'Bheemla Nayak' hit the screens this Friday. In this section, we are going to review one of the biggest mass entertainers ever.
Story:
Bheemla Nayak (Pawan Kalyan), a no-nonsense cop, minds his business but doesn't forgive the criminals. Daniel Sekhar (Rana Daggubati), a self-styled enfant terrible he arrests for the crime of transporting alcohol through his private vehicle, goes against him to avenge the insult to his prestige. The whimsical Daniel and the tempestuous Nayak fight it out. Will Daniel manage to avenge the insult? Will Nayak manage to put his rival in place?
Analysis:
When the Malayalam original 'Ayyappanum Koshiyum' (2020) was released, film critics described the two leading men as flawed characters who were grey. They saw the Sachy directorial as a subtle commentary on privilege. That was possible because Ayyappan (reprised by Pawan Kalyan in the remake) hailed from a humble background. He also was a man of meagre means.
The original had pretty much plain dialogue-writing, something that perfectly suited the Malayalam sensibilities. For the remake, Trivikram has penned one-liners that glorify Power Star's superstardom as much as they respect the spirit of the original story. The titular character is more a Gabbar Singh on the loose than a virtuous underdog.
The first half gives high moments in the shape of the title track (with Sunil, Saptagiri and Hyper Adhi making appearances in it) and 'La La Bheemla'. The staging of the fights, the face-off between Nayak and Daniel, the lighter scenes involving Rao Ramesh and Shatru's characters - everything is well-written and equally well-executed.
Nitya Menen gets to play a character that is more flashy than stoic. When she backs her husband's unforgiving nature, she comes across as a commercial heroine. Samyuktha Menon has a meaty part in the story as Daniel's wife. Samuthirakani is effective in the role of Daniel's father. Director Saagar K Chandra ably balances the machismo with the subduing of his character.
The film ends on an emotional note. The writing is formulaic in the third act but engaging nevertheless. Power Star's image needed a much-needed booster in the second half, which the writing gives aplenty. The action choreography is on expected lines but Thaman's terrific background music is unusually good throughout. The scenes pick up energy somewhere from the middle of the second half. The flashback giving a glimpse into Nayak's past is brief.
The heroism-elevating episodes are told in full glory. Ravi K Chandran's cinematography is solid. Thaman makes us root for the mood and the lead character strongly with his songs and BGM. Trivikram's pen retains only the plot points and creates a whole set of original scenes.
Murali Sharma, as Nayak's superior, is very good. Tanikella Bharani, Harshavardhan, Pammi Sai, Kadambari Kiran, Monica Reddy and Ravi Varma are seen in different roles. Brahmanadam has a cameo. The changes made to the original make the remake more mainstream and commercial.
The performances by the Pawan-Rana duo are intense and gripping in the second half. In the first half, they let their hair down, at least they seem to, in the initial scenes. For Power Star, whose massy image needed a makeover, 'Bheemla Nayak' comes off as a boon.
Sithara Entertainments makes sure the production values are rich. AS Prakash's production design needs a special mention, so also Navin Nooli's excellent editing. The running time is not more than 145 minutes, unlike the 3-hour-long duration of the original.
Verdict:
'Bheemla Nayak' is tailor-made for the big-screen experience. Glorious performance by Pawan Kalyan, a rousing background score by Thaman, excellent visuals, and Trivikram's writing are its stand-out features.
