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Sunil, Ajay Ghosh, Anasuya, Shatru, Dhanunjay needed a little more bite to them they almost always seem tepid compared to Pushpa.Īnd then, there’s the matter of Fahadh Faasil. It adds precious little to take the proceedings on the screen to mass levels. But the story settles for using it as a mere theme to stack set pieces on, instead of exploring what Pushpa might be willing to sacrifice for it. The red sanders, which has driven the people mad after power, gives Pushpa a sense of identity and respect.
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Although Rashmika does her best to imbue bubbliness and the innocence required in these testosterone-charged surroundings, her brown-facing is unnecessary and ineffective. Even when Sukumar tries to involve her in the plot, it feels forced. I understand the temptation to create an epic saga like Nayakan did for Velu Naicker or Narcos for Pablo Escobar but do we need the boilerplate romance portions? These might have been fresh in another film, but in Pushpa, they are a drag. But he gets this right without playing to the gallery.īut barring a few such sequences the film struggles to justify its length - it feels too long for one film, I can’t imagine why we need a second part. Allu Arjun effortlessly embodies a little bit of feeling wronged - or as Pushpa would say not being a ‘partner’- a little bit of ambition, and a whole lot of anger. In fact, look at his face when he begins to discover his true worth before he proceeds to confront Mangalam Sreenu (Sunil). It is a breath of fresh air to see Allu Arjun, the actor, on screen. He pulls off the costumes, makeup and accent with ease.
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If in Ala Vaikuntapurramloo he deliberately played to the gallery, in Pushpa, he earns more whistles as Pushparaaj than as Allu Arjun. Much of the credit should go to Allu Arjun. The interval sequence sets the screen on fire. The sequence where Pushpa saves the day when it looks like the smugglers are done for is a stellar example. In Pushpa, Sukumar corrects that mistake and delivers some stunning set pieces.
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That film, while labelled ‘ahead of its time,’ suffered from an inability to stay focused on its character. There too a young man rises up the ranks in the criminal world at great personal cost. Pushpa, however, borrows from Sukumar’s first mis-hit Jagadam. Whether they were the screenplay loopholes in 1 Nenokkaidine that made way for a more straightforward screenplay in Nannaku Prematho or the ‘psychopathic’ nature of Aarya in Aarya 2 being replaced with a more palatable egotist in 100% Love ’s Balu. Sukumar has a habit of correcting one film’s mistakes in the next one. And the music and songs have parallels too. The comparisons to Sukumar’s previous work Rangasthalam are easy to make because these are both rural dramas and both have themes of upper-caste men abusing their power. Pushpa: The Rise, like a diligent biopic, chronicles the rise of its eponymous hero to the top of the pyramid… until something happens, but I’m getting ahead of myself. But Pushpa has a super-power to smuggle red sanders which earns him a place in the good books of a local smuggler. He is constantly disrespected by his ‘brothers’ and the society around him in Chittoor District. Pushpa tells the story of a coolie Pushparaaj who is denied a surname because of his bastard status. Would the film have enough meat for two parts or was it trying to cash in on the success formula of KGF and Baahubali ? Given how much buzz there is around the production and release of the film, it is almost impossible to see it as an independent work of art alone. And finally, the decision to break the film into two parts after announcing it as a single film has been most curious. There is also the issue regarding Devi Sri Prasad’s music, which hasn’t seen big highs in a long time, given he reserves his best for Sukumar - case in point Rangasthalam.