Bhagavanth Kesari Movie Review : Anil Ravipudi and Balakrishna Deliver a Mediocre Action-Packed Family Drama

Bhagavanth Kesari Movie Review

Anil Ravipudi’s ‘Bhagavanth Kesari’ – Breaking the Mould with Nandamuri Balakrishna

Anil Ravipudi, the writer and director of ‘Bhagavanth Kesari,’ had expressed in several pre-release interviews his intent to create a film in collaboration with Nandamuri Balakrishna that transcends the boundaries of catering solely to the star’s fanbase. In a conscious effort to diverge from the formula of Balakrishna’s recent films, Anil Ravipudi introduces Balakrishna as an ‘adavi bidda’ (son of the forest), speaking in the Telangana Telugu dialect with a hint of Hindi. In his signature fashion, Balakrishna resolutely proclaims ‘I don’t care’ (the film’s tagline) and delivers an abundance of punchlines that are challenging to keep up with. Simultaneously, the film carries a substantial message of women’s empowerment, predominantly conveyed through the character portrayed by Sreeleela. Fortunately, the 22-year-old actress is not cast as Balakrishna’s romantic interest but is granted a significant role. Anil also opts to omit the traditional duets featuring Balakrishna and Kajal Aggarwal. However, the question remains – is all of this sufficient?”

In the 164-minute runtime of the movie, Anil dedicates a considerable portion of it to establishing the universe of ‘Bhagavanth Kesari.’ The plot adheres to a familiar and foreseeable course. Right from the moment the character is introduced in prison, it’s evident that he carries a mysterious past and unresolved matters. The introduction of Sarath Kumar as a police officer with his young daughter immediately hints at the expected direction of the story. As the narrative unfolds, the responsibility of safeguarding the girl as a fatherly figure falls upon Nelakonda Bhagavanth Kesari, also known as NBK or Nandamuri Balakrishna. Anil Ravipudi, fully conscious of the star power he’s working with, repeatedly emphasizes that NBK is no ordinary name.

The heart of the drama revolves around the connection between Kesari and Vijayalakshmi, who later matures into Sreeleela and regards him as a superhero. The girl grapples with anxiety issues, and Kesari, affectionately referred to as “chicha” by her, endeavors to imbue her with the strength and determination needed to aspire to serve in the Indian Army.

Numerous one-dimensional characters are sprinkled throughout the storyline. We encounter at least three individuals from various age brackets who insist that women should confine themselves to marriage, domestic life, and raising children, discouraging them from pursuing physically demanding endeavors. Amidst them, psychologist Katyayani (Kajal Aggarwal) attempts to provide a voice of reason, although her character is inadequately developed, making it difficult to regard her with seriousness. Many of the psychological insights she dispenses would hardly hold water in the real world.

To compensate for the absence of comic interludes, the plot introduces frivolous humor centered on Katyayani’s fascination with Kesari’s salt-and-pepper appearance, as she attempts to court him. At one juncture, he humorously refers to her as ‘aunty’ due to her age, and the audience in the cinema hall cheered, seemingly oblivious to the irony. Another segment set in a police station delves into crass humor, reinforcing the trope of a male savior showcasing his dominance.

During such moments, one cannot help but ponder the film’s commitment to the message of women’s empowerment, given the inclusion of such writing.

Running parallel to the father-daughter narrative is the subplot involving business magnate Rahul Sanghvi (played by Arjun Rampal), who expounds on the law of nature, echoing Darwin’s theory of survival of the fittest. As expected, the father-daughter tale and Kesari-Rahul’s story converge, reviving a classic revenge narrative. Rampal’s character doesn’t stray far from the stereotypical villain roles popular in Telugu cinema, often cast with Hindi cinema figures. Rampal’s Telugu dubbing adds a slight improvement.

The protracted action drama features several action sequences where Balakrishna’s character remains invincible, delivering an onslaught of punchy dialogues. Sometimes, he takes on a group of hooligans armed with nothing more than a steel bucket, while on other occasions, he drives a lorry into a harbor or a bus into an opulent mansion – seemingly capable of anything. Nevertheless, the relentless action does become wearisome. There is a glimmer of amusement in the reference to a heavy firearm, akin to those featured in recent Tamil blockbusters, with Balakrishna humorously proclaiming that his audience craves more ‘sound’ as he goes all out with his firepower.

As the film nears its conclusion, it decides to momentarily depart from the male savior trope. Sreeleela, who is granted a substantial role, second only to Balakrishna, seizes the opportunity and shines.

‘Bhagavanth Kesari’ offers Balakrishna a quieter backdrop compared to his recent cinematic ventures, affording him the opportunity to delve into the emotional father-daughter relationship. It also demonstrates his self-awareness when he playfully sings a few lines from a song, alluding to a viral Instagram meme, and confidently asserts that he doesn’t care. Those who find these subtle departures satisfying may consider the film a success. However, for those seeking more, alternative options abound.