‘Bhairavam’ Movie Review: Belmakonda Srinivas starrer is a loud, disgruntled rural drama

There are no difficult and fast rules to remake a successful film in any other language. Nevertheless, a director would do well to remember why a story for a new audience is getting retailed, while the goal is not to improve the original. BhairavamTelugu remake of Sori’s Tamil film GullyTargetlessly resumes a hit formula, which makes very little effort to decod the properties of the original.

In a futile effort to lend social-political relevance to a story about the looting of temple money, in a futile effort, Bhairavam The need to protect our temples and religion from falling into the wrong hands begins with a disclaimer, even thrown in a context of the Mughal era. The rural drama, at its core, is a direct story of a devious politician who exploits a rift between three friends for personal gain.

Director Vijay Kanammela filled the story with mythological contexts. Vada (Nara Rohith) and Gajapati (Manoj Manchu) are compared to Rama and Laxman, while Seenu, orphans they grow up and protect, are depicted as Hanuman, keeping them against all obstacles. Gagratnamma (Jayasudha), the lone trustee of the Varahi temple and the shape of Godwoman for trio, are afraid of a adjacent Kurukshetra that may leave the village in ruins.

When a politician sets his eyes on the wealth of the temple, he deploys various pawns to cross the trio, manipulates his insecurity and wreakes havoc on his life beyond repair. The story comes out through a glimpse of growing tension between friends and their families, as men struggle to maintain their bonds, providing the audience a mixture of action, drama, romance and timely adventure.

While Aadhaar is nothing out of normal, origin Gully Used the story as a springboard to portray the daily realities of village life, local traditions and complex power mobility within the community. As is often accompanied by Telugu remake, Bhairavam Provides very little space for nuances, shines on details and focuses completely on wider stroke – high and climb in the journey of three main characters (and it does not do a good job of it).

Also read:Actor Belmakonda Srinivas booked for traffic violations in Jubilee Hills; Car seized

On paper, the film may have all familiar elements that expect from a commercial camp, but lack a vision that can tie its elements into a consistent product. Vague, Verbose visuals move mechanically forward, and there is no attempt to set the symptoms of major characters or set the phase for conflict. It is difficult to understand why this story is being told.

Varada, Gajapati, and Seenu are very stage for assuring the friendship. The aim was to emphasize his bond fall flat. Women are either saints figures or glorious vamps that run wedges among men – and sometimes dance with them (songs are again unstated heat brakes).

The main element of working of the film was not likely to be a Dalit hero under important circumstances. The director appears to be torn between presenting him as a specific Macho Nayak and a subjected friend, so much that his change, especially when he is in a transfusion between the temple celebration (suggests that he is the favorite child of God), it has no effect.

In the early 2000s, an unrelated but cheerful comedy track will at least distract the audience from a weak story. The presence of Venela Kishore as beautiful, a constable that is Telugu provides such relief. Finally, what’s like films Bhairavam There is the absence of any nature in execution, such as a director is assembling different pieces of a product.

None of the three major men enough to take care of their characters. Belmakonda Srinivas, who, selects a decent part, for a change, provides a reliable opportunity to establish himself as an artist. Manoj Manchu, like his previous films, shows very little control over his expressions and dialogue distribution. The slogan Rohith looks rigid as a rock, although she displays a sign of restraint that makes her performance somewhat tolerable.

Aditi Shankar, accused of typical song-and-dance routine, seems wrong as a village belle, except for a few scenes where her spanki presence injects some life in action. Divya Pillai’s character seems highly melodramatic. Anandi’s arc is poorly installed; She talks about family solidarity in one scene, only bitterness in the next.

Ajay and Sharath Lohitaswa, without any good intentions, play the role of men, not to do much. Casting fit as Jayasudha’s maternal mother -in -law, but the role lacks depth. Sandeep Raj’s turn as an actor recalls the bus, while Sampat Raj is strictly fine. The rare effort of Sricharan Pakala to score music for a commercial potobiler is not a result. Action scenes lack intensity and reliability, which looks like compulsory pieces inserted into the puzzle.

It is difficult to tell what a viewer can inspire to see BhairavamThe story is as old as hills, the leading stars are not crowded or charismatic, which are enough to give to anyone Pisa charge At moments, songs are barely leg-tapping, and the film lacks a storyteller who is able to help the audience see its flaws. Gully There was no classic, but it was at least certain. Bhairavam There is only noise.