A kid fascinated by the idea of Sholay’s Gabbar Singh and considers himself to be a villain in real life too; a Gabbar Singh living with his mother, a step-father and a dull step brother. He hates the ways of his current household and leaves home with the promise of payback someday.
All grown up and in slow motion Pawan Kalyan appears on a horseback in his kakis to fill the first slot of the formula: the opening fight (recovery of a bank robbery, dacoits from film city). Gabbar Singh in his series of transfers had now arrived at his home town (Kondaveedu).
His family, the girl from the handicraft store (Shruthi Hasan), his entourage (his constables) and a major local hooligan trying to be the next MLA (Abhimanyu Singh) is what Gabbar spends time with in the screenplay.
The Star Sized Piece
Think of a war strategy board (screenplay) and there are a lot of pieces placed in many strategic points so that it is successful (well told).
Someone else takes that board, doesn’t understand what’s what, clears out all the pieces, brings in a huge piece (star sized), places it bang in the middle and wonders why the film was boring.
It’s all lies, when the hero said that he missed his mom when she died or any of the other claims he makes throughout. The hero on page itself never had any time, but, for himself.
The many sub-plots of the original have been reduced to simpler sequences to just remind us that there is a plot beyond Gabbar’s fun time on screen. The hero only makes these claims because he has to, not because he means it, the character is just another repetitive extension to the Pawan Kalyan persona.
Pawan Kalyan was in his zone when he breaks into dancing to the beat and with his usual timing in the funny parts (and there were plenty of those). And it’s been a while since he’s brought in the moves like he did to a catchy bunch of songs.
Shruthi Hasan once again proves her invisibility; she just walks past without demanding the slightest bit of attention. All Abhimanyu Singh had to do was fume with anger all the time and kill anyone (mostly his own men) when they talk to him (even a casual “Hey” and he’s dead).
Most of the other cast reprise their industry tested roles. A drunken Kota and Tanikella as the villain’s right hand man.
Better watched when the theatres are still noisy, the noise might help you past the not so good scenes, when every sigh and move of the hero is cheered on heart fully, it is a nice theatre to be in.