Bangarraju is director Kalyan Krishna Kurasala’s follow-up film to his 2015 supernatural thriller, Soggade Chinni Nayana. For those who occur to haven’t watched the first film, chances are you would possibly find yourself a bit misplaced within the case of understanding the character of relationships between the characters throughout the sequel. It’s protected to think about that Soggade Chinni Nayana might want to have executed first price enterprise on the cinemas and the filmmakers wished to benefit from its residual discipline office potential. In every other case, there isn’t any goal for anyone to make such a horrible movie. It type of reeks of desperation to achieve a discipline office hit by retelling the worn-out story of a privileged family, which makes a fuss over the smallest of points.
Bangarraju junior, carried out by Naga Chaitanya, is a typical spoiled brat. Coming from a rich family, he has grown up throughout the care of an over-indulgent grandmother, and shares the promiscuous gene of his grandfather, Bangarraju senior. Now that his grandmother Satyabhama (Ramya Krishna) is lifeless, don’t ask how she handed, he sulks and pouts when his dwelling help doesn’t show the similar gentleness whereas washing his hair. He’s pampered to a fault, and it’s nearly not attainable for any man to get nicely from such an upbringing, and research to deal with precise life.
They’re saying it takes a village to spice up a toddler. Nevertheless heaven and hell ought to be moved sooner than a fully-grown Bangarraju comes of age. Quite a bit so that Satyabhama kicks Bangarraju senior, who was partying with the celestial ladies, out of heavens and once more to the earth to help her grandson navigate the day-to-day challenges of his life. You see, Bangarraju continues to be a 25-something youngster, and he can’t address the problems of an grownup.
The first time we meet Bangarraju senior (Nagarjuna), he’s participating in kabaddi with celestial ladies on a courtroom filled with flowers. He’s a single participant in direction of 5 – 6 girls. Once more on the earth, Bangarraju junior has gained a fame of a skirt-chaser and rightfully so. Nevertheless, in distinction to completely different womanizers, due to his magnificence, the women of his village don’t uncover him creepy the least bit. The women characters look like absolutely okay with him, participating in footsie with completely different girls, whereas making eyes at them. For some time, we see Bangarraju with hordes of women blindly cheering for him. It seems your entire village is devoted to caressing his ego and making him actually really feel good at any worth. There could also be hardly an individual or a woman who believes throughout the idea of self-respect.
Such films propagate the problematic idea of women as a type of helpful gadgets, which is acquired by males who’re wealthy, good wanting and blessed. The higher the number of girls dying to be with the individual, the higher his price. The film offers additional layer to its problematic understanding of what are fascinating traits of an individual when the entire villagers huddle up and decide to take care of the youthful girls of their family in administration on account of they suppose Bangarraju is simply too enticing and girls of their family don’t have adequate self-control to reject the advances of an individual, who’s a longtime flirt.
And the villain of the piece, oh the horror. No, the unhealthy man doesn’t strike concern in our hearts, it comes from the way in which through which director establishes him. The villain performs a ritual to hunt the blessing of the almighty to kill Bangarraju. He screams his wish to murder Bangarraju in entrance of strangers and buddies, solely to know that the sinister plot was an infinite secret. He then has to kill his pal who clearly heard his rant.
And there could also be lord Yamadharma Raja and lord Indra, who’re kind of biased in course of Bangarraju’s family. The gods are so docile that they adjust to irrespective of ridiculous requests Satyabhama makes to them to protect her family. And these normally will not be merely half of the film’s points, there often is the director’s over-$exualisation of women’s navels, problematic male gaze, unoriginality, lack of frequent sense and basic respect for logical pondering and reliable storytelling.
Bangarraju makes one marvel what kind of lies some actors have to tell themselves to sign such mediocre movement footage? Nevertheless, these lies must be additional fascinating than the tales they approve of.