Story: A sub-inspector and selfish son of the former MP member in the selfish war when the former catch the last to bring liquor from Telangana to AP.
Review: Every time there are remakes that are announced and Pawan Kalyan sustain it, you know the original will not only be reset but will be adapted to ensure that the fans remain happy. So if the original is a drama about the two male offers to show off with each other with the manufacture of class disparities and caste for unbalanced power dynamics, remake will have sufficient battle scenes, Massy moments and touch of actor’s political ideology thrown. While sometimes such films work and other times they don’t, Adaptation Saagar K Chandra from Ayyappanum Koshiyum, with a scenario and dialogue by Trivikram Srinivas, definitely serves for the most part.
Sarhad Bheeemla Nayak (Pawan Kalyan) is a sub-inspector at Srisailam Tehsil in Andhra Pradesh. He belongs to Hamlet Tribal and has a haunting past. Daniel Sekhar (Rana Daggubati) is the selfish son of a former parliamentary member (Samuthirakan) who was stuck carrying a bottle of liquor illegally from Telangana to Andhra Pradesh. The first is stikler for rules; He will fulfill his duties at any cost. So when the Sekhar got physical with one of the police, Bheemala dragged him to the police station. Humor immediately kicked a eager dialogue made him entertain. Bhemala Suguna’s wife (Nithya Menen) is Firebrand also adds salt to the wound. Saagar does a good job to change his character to fit this adaptation.
Immediately there was a cold war that went berserk between Sekhar and Bheemala, with the former decided to embarrass the last. The last transformation of police officers who strictly to a complete mass role is the peak of this adaptation. This is indeed a treat for Pawan fans, who have not seen their favorite heroes in roles like now. But the trivikram political dialogue seems unnecessary, even if fans seem to enjoy it.
As soon as Bheeemla released a wild animal inside her, everything was bad for Sekhar and Soon Suguna was also involved in a face-off. The battling of the cottage scene is a good choreography and not just a decent moment for fans, but for everyone. But the film immediately lost speed; A flashback that doesn’t need to seem to be there just to show off other battle scenes that choreography – when there are too many of them to start. Hamlet-tribal hamlet from the nallamalla interior was well illustrated but one questioned the political intention behind them, given who sustained this show. Climax can also be handled better because after the film is full of mass scenes, pale ends seem to be unqualified. The emotional scene in the film is definitely written lazily.
Bheeemla nayak is an example of what makes Pawan Kaly a very big star – the antics of the trademark is in full screen in the film and the simplely charming dance steps. The daggubati shutter is top notch and this film is proof of how well he can act. Nithya Menen deserves in his role but Samyuktha Menon who provides mature performance that will make many roles in the future. Thaman is also worthy of shouting to keep his promise and give a score that will stay with you. The folk songs he arranged for Bheemala helped push emotions and he made use of singers like artists Kinnera Darshanam Mogilaah and Kummari Durgavva.
With everything that was said and done, it was not fair to compare Bheeemla nayak to Ayyappanum Koshiyum. The maker only stores a blank framework, perfecting the rest of the film to fit the power of the star. If the original is a film driven by the story, the telugu adaptation is driven by the stars. And that means, the makers do the best for the sugar coat of the economy and castes between lead characters in the original. Every mention of communism is also carried out with and whatever politics seems only driven by the agenda
