Game Changer review: Ram Charan and SJ Suryah make this political tug of war worth watching

Over the years Shankar has created a niche for himself as a director tackling issues of corruption and presenting social crusaders of different natures. Some of his protagonists take extreme measures like the extremely popular Gentleman (1993) and Anniyan (Aparichitudu) (2005).

On the other hand, you have Mudhalvan (1999), in which a television presenter becomes a chief minister. He ends up repairing the rotten system while staying within his powers.

Despite repeatedly tackling corruption themes in different forms, Shankar has enjoyed a huge fan base in not just Tamil but also Telugu. His Tamil dubbed movies have many admirers, in the recent past though the celebrated director has lost his mojo due to certain datedness, Bharateeyudu 2 (2024) being the best example.

The recent release Game Changer comes with a lot of pressure for Shankar, as there are doubts about his abilities to adapt to the present audience.

Synopsis

With Game Changer, Shankar proves that he has still got it, particularly the way in which he has designed the different shades of Ram Charan’s character and some solid moments between the protagonist and the antagonist.

He also discusses vote bank politics, in which poor people are given money to vote for a candidate belonging to a specific political party.

The storyline of Game Changer focuses on the battle between Ram Nandan and his father Appanna. It is about a generational fight between a father and son against societal injustices. SJ Suryah plays the chief antagonist Bobbli Mopidevi.

Bobbli has major aspirations of being a chief minister. To fulfil those dreams, Bobbli can go to any extent. Senior actor Srikanth also plays the grey-shaded character of Bobbli Satyamurthy. In the flashback portions, Bobbli is initially shown to be an admirer of Appanna, but things take a very drastic turn.

Strong aspects

Game Changer is a political drama
‘Game Changer’ is a political drama. (X)

As already mentioned a strong aspect of Game Changer is how Shankar has designed the dual roles of Ramcharan. The character of Ram Nandan on the one hand is high on swagger and Ram Charan pulls it off in a charismatic manner.

He brings in the required authority to command the screen, particularly in the confrontation scenes with SJ Suryah. As Appanna he brings in an emotional depth. Appana is a man who suffers from a serious stutter.

In spite of his inability to deliver powerful speeches, Appanna is driven by a single-minded goal of changing the corrupt political system. Ram Charan does a very good job of bringing out the various nuances.

SJ Suryah has emerged as a wonderful character artiste in the last few years and in this one too, the actor makes for an extremely formidable antagonist. SJ Suryah does a terrific job of portraying the obsession of Bobbli Mopidevi.

His trademark dialogue delivery coupled with the mannerisms is a delight to watch. Srikant in a grey-shaded role also deserves appreciation for his effective portrayal of a guilt-ridden man. The way he showcases the transition of Bobbli Satyamurthy from an admirer to a backstabber has been wonderfully written and enacted.

Among the two female leads Anjali as Appanna’s wife leaves a significant impact. Her role as Parvathy is an important emotional anchor and this has come out very well despite having less screen time. The mother and son scenes in the second half are another major asset.

Weak aspects

Ram Charan in Game Changer
Ram Charan in ‘Game Changer’. (X)

A major drawback of Game Changer is the insipid love story between Ram Charan and Kiara. All the sequences featuring the two have been weakly written.

Kiara doesn’t bring much to the table, other than looking beautiful and dancing energetically. Also, the portions featuring the likes of Priyadarshini and Satya among others are a major misfire. Despite their proven abilities, the comedic situations lack the required punch.

The climax is also too elongated with repetitive action sequences. The movie needed a much crisper edit in the closing portions. The cat-and-mouse game between Ram Charan and SJ Suryah though well-written gets repetitive.

Technical aspects

Thaman’s songs also enhance the narrative. On one hand, there is the upbeat “Jaragandi” and “Raa Macha Macha”. On the other hand, there is also the soulful “Arugu Meedha” picturised on Ram Charan and Anjali. Thaman has also delivered a thumping background score, particularly the portions elevating Ram Nandan.

Like most of Shankar’s movies, this too is visually grand. Cinematographer Tiru does a very fine in capturing the grand visuals through his lens. Sai Madhav Burra’s dialogues are also quite effective particularly the ones featuring Ram Charan and SJ Suryah.

The portions where Ram Nandan talks about the dangers of accepting money from a political party and subsequently voting for a particular person deserve a special mention.

Final take

Overall Game Changer is a passable political drama majorly enhanced by Ram Charan’s double role and S J Suryah’s antics. Don’t expect vintage Shankar and chances are you won’t be disappointed. For die-hard Ram Charan fans though the movie would be an absolute treat.

(Views expressed here are personal, edited by Sumavarsha)

Best of Tollywood web series 2024: A solid showcase for the evolving OTT space in Telugu

Web shows in Telugu have witnessed a slow yet steady growth both in terms of quality and quantity. The last few years have seen numerous impactful web series.

In 2023, there were two great shows Dhootha and Newsense. Both explored the topic of journalism through a different lens. Vikram Kumar’s Dhootha had a supernatural touch with a newspaper cutting playing a pivotal role. The Naga Chaitanya starrer made some important points on the dangers of intersecting politics and journalism, a relevant issue even today.

Newsense on the other hand directed by Sri Prawin Kumar was an insightful take on the nexus between media and rural politics. The story written by journalist Priyadarshini Ram reflected the lived realities.

2024 too gave us numerous web series, covering important social topics like Surya Manoj Vangala’s Brinda starring Trisha in a non-glamorous role. Using the genre of an investigative drama Surya Manoj Vangala explored the side effects of extremism both religious and otherwise.

Similarly, Paruvu directed by the duo of Siddarth Naidu and Rajesekhar Vadlapati was an engrossing social thriller focusing on different issues like caste, greed and communal harmony. The use of the funeral background also kept the viewers hooked adding to the tension.

Apart from thrillers, the second season of Save The Tigers went deeper into marital problems faced by today’s couples while maintaining the entertainment quotient.

This year also saw Telangana’s first detective web show Vikkatakavi: The Chronicles of Amarigiri led by an excellent Naresh Agastya.

Director Pradeep Maddali immersed the viewers into the world of Amaragiri. The director skilfully blended Telangana folk beliefs with the subplot of a bio-war

Following is the list of the best web shows in Telugu in 2024.

Brinda

Trisha in Brinda
Trisha in ‘Brinda’. (X)

Brinda opens with a disturbing prologue set in the mid-1990s, where a young girl becomes a scapegoat in a ritual to satisfy a goddess. This unsettling start sets the tone for the main plot. The story follows Brinda, a newly appointed sub-inspector, portrayed by Trisha.

Initially confined to desk work, Brinda suffers from anxiety and relies on medication. When a series of murders occur, she defies her superiors, leading to life-altering consequences.

A key strength of Brinda is how Surya Manoj Vangala expands the story beyond Brinda’s character. While Trisha is central, Ravindra Vijay, playing fellow cop Sarathi, also plays an essential role. Sarathi is waiting for a breakthrough in his career and personal life. The evolving dynamic between Brinda and Sarathi creates some of the show’s most compelling moments.

In addition to themes of extremism and blind faith, Brinda also addresses gender discrimination in the workplace and the importance of child care in juvenile prisons. Trisha breaks away from her glamorous image to deliver a nuanced performance. Alongside Ravindra Vijay, Indrajith Sukumaran also stood out as the charming yet calculating Dr Satya/Prof. Kabir Anand.

Save The Tigers Season 2

A poster of the series Save The Tigers Season 2
A poster of the series ‘Save The Tigers Season 2’. (X)

Save The Tigers Season 2 successfully took off from the immensely popular first one. New director Arun Kothapally did a great job maintaining the entertainment value while delving deeper into marital issues.

The theme of the seven-year itch stood out, through the character of Vikram, played by Krishna Chaitanya. Vikram works on a project with Harika (Darshana Banik). What starts as a professional relationship soon turns into mutual attraction. However, Vikram realizes that understanding his wife is more important, and a better sense prevails.

As in Season 1, the interactions between Abhinav Gomatam and the house help were a highlight. A memorable scene occurs when Rohini discusses her business aspirations, joking about what captions to write on an auto rickshaw, leading to some hilarious moments. The director also made some valid points about people who blindly believe gossip spread by news channels, particularly about actresses.

Priyadarshi, as Ghanta Ravi, continued to shine with his impactful performance, excelling in both comedic and emotional scenes. Among the female cast, Jordar Sujatha made the biggest impact.

Vikkatakavi The Chronicles of Amaragiri

Still from the series Vikkatakavi
Still from the series ‘Vikkatakavi’. (X)

Vikkatakavi, directed by Pradeep Maddalli, was a highly engaging detective thriller with a strong Telangana flavour. The story followed Naresh Agastya as Ramakrishna, also known as Vikkatakavi. Apart from being a brilliant student, Ramakrishna is renowned for his exceptional investigative skills. Due to certain circumstances, he embarks on a dangerous mission in the village of Amaragiri.

One of the standout aspects of Vikkatakavi was its world-building. Cinematographer Shoeb Siddiqui’s work was particularly impressive. The rustic village atmosphere, combined with thrilling night sequences, drew viewers in. The series also succeeded due to the constant tussle between superstitions and rationalism.

Naresh Agastya’s performance in the title role further elevated the plot. He brought the right mix of boyish charm and intensity to his character. Among the supporting cast, singer-turned-actor Raghu Kanche also impressed with his remarkable performance. His ability to convey negative traits through subtle expressions was a delight to watch.

Paruvu

A still from the series Paruvu
A still from the series ‘Paruvu’. (X)

Paruvu, directed by Siddarth Naidu and Rajasekhar Vadlapati, is a well-crafted thriller that tackles various social issues. While the core plot revolves around the theme of honour killing, what makes the show gripping is how the directors blend different aspects into the central narrative.

The story centres on Nivetha Pethuraj’s character, Dolly (aka Pallavi), and her husband Sudheer (Naresh Agastya). Dolly had married Sudheer against her family’s wishes and now returns to her native village, Guntur, to pay respects to her deceased uncle. Her cousin, Chandrasekhar (Chandu), picks them up. Dolly is heavily pregnant but this doesn’t soften Chandu. There is an exchange of heated words leading to a big turn of events.

A major strength of Paruvu is its well-written characters, beyond just the leads. Each character has shades of grey, with Sudheer and Pallavi occasionally appearing opportunistic.

The funeral setting adds to the drama, with the relatives insulting each other while settling old scores. At times, it seems like no one cares about the departed soul, enhancing the narrative.

Both Nivetha Pethuraj and Naresh Agastya delivered brilliant performances, fully embodying their characters. In the supporting cast, Naga Babu surprised with his portrayal of MLA Ramayya, bringing out the impact of caste-based politics in rural Andhra. Praneetha Patnaik also gave a noteworthy performance.

Bahishkarana

Anjali in Bahishkarana
Anjali in ‘Bahishkarana’. (X)

Bahishkarana, directed by Mukesh Prajapathi, is an intense rural drama that effectively transports viewers to the era of feudalistic landlords.

Anjali plays the mysterious Pushpa, who arrives in the village of Peddapalli. She then becomes involved with Shivaya (Ravindra Vijay), who assigns his right-hand man, Darshi (Sritej), to look after her. As the story unfolds, Darshi and Pushpa fall in love, with many twists and turns along the way.

A strong aspect of Bahishkarana is its period setting. Cinematographer Prasanna Kumar does an excellent job capturing the rustic landscape of Peddapalli. The love story between Darshi and Pushpa is well-developed, making the viewers hope for a happy ending.

The dialogues, written by Shayam, are perfectly in sync with the story. They offer impactful social commentary on the exploitation of the poor, while also addressing how society views women like Pushpa.

The performances of the three main characters were captivating. Anjali delivered a bold and compelling performance. Ravindra Vijay’s portrayal of Shivaya, with shades of legendary actor Rao Gopal Rao’s roles, was excellent. Shivaya appears to be a do-gooder but is, in fact, a womanizer, and Vijay brought this subtle menace to life. Sritej also impressed with his rugged portrayal of his character.

At times, the show felt reminiscent of Rangasthalam, but overall, it remained engaging.

(Edited by Sumavarsha)

Bahishkarana: A gripping rural drama which successfully transports the viewers back to the period of feudalistic landlords

Director Mukesh Prajapathi takes a leaf out of Sukumar’s Rangasthalam and also other village based social dramas however he does show his individual stamp

  • Starcast: Anjali, Ravindra Vijay, Sritej, Ananya Nagalla etc
  • Direction and screenplay: Mukesh Prajapathi
  • Dialogues: Shaymu Chennu
  • Music: Siddharth Sadasivuni
  • Cinematography: Prasanna Kumar
  • Production Company: Pixel Pictures Pvt LTD
  • No of episodes: 6
  • OTT platform: Zee 5

Mukesh Prajapathi takes the viewers back to the times of caste discrimination and landlords exploiting young girls of lower social strata. The strange thing is that these upper-class men do not want them in their houses but have no qualms about enjoying them in bed. The story of Bahishkarana isn’t particularly new. The village president Shivaya (Ravindra Vijay) is revered by the villagers of Peddapalli and also the surrounding ones. Darshi (Sritej) is Shivaya’s right-hand man; he reveres Shivaya like the rest. However not surprisingly Shivaya is not what he appears to be, there is an unknown dark side.

To this the director has added the angle of a mysterious woman who pops up in Peddapalli. Pushpa (Anjali) is the personal mistress of Shivaya and is kept far away from the village. Darshi is given the responsibility of looking after Pushpa instead he ends up falling in love with her and she too reciprocates his feelings. But Shivaya obviously isn’t pleased with this development and gets Darshi married to someone else in a cunning manner. As the plot thickens the story takes many turns and deals with different threads. For example, how the villagers come to know about the reality of Shivaya among others.

Darshi and Pushpa falling in love

An aspect which captures the viewer’s attention while watching the show is the period set up. The production design and the cinematography deserve a particular mention. Prasanna Kumar needs to be praised for how he has captured the rustic terrain of Peddapalli through his lens. His cinematography adds immensely in creating the right atmosphere.

Siddarth Sadasivuni’s songs perfectly gel with the nature of the story. My favorite song of the album is Kalaa Nijam, a melodious tune that establishes Darshi and Pushpa falling for each other. He has also delivered an impactful background score particularly in the scenes of tension.

The love story between Darshi and Pushpa has also been well developed. The process of them falling in love is filled with some adorable moments. As viewers you wish they had a happy ending.

Darshi as Shivaya’s right-hand man

Dialogues by Shayam are another asset. His dialogues are power packed with some impactful social commentary on the exploitation of the poor. There are also some powerful scenes showcasing how the society looks at the likes of Pushpa.

What hampers the series somewhat though is the hangover of some village based social dramas particularly those that have featured the legendary actor Rao Gopal Rao. Apart from this the show could have also done with more attention-grabbing twists. The plot mostly runs on a single thread, and this does get monotonous at places.

The performances of the three principal actors elevate the drawbacks in a significant way. Anjali shines bright with her bold performance. Her portrayal of Shivaya’s concubine and also Darshi’s lover deserves distinction marks. Ravindra Vijay also does a splendid job in portraying a quiet menace. Shivaya is someone who portrays himself as a do- gooder from outside but he is actually a womanizer. The actor brings out the subtle variations in a wonderful manner. Sritej also gets into the skin of Darshi. The rugged look coupled with his performance in the emotional scenes deserves distinction marks. Ananya Nagalla is pretty good in her limited screen time.

Anjali shines with her bold performance

Bahishkarana is a must watch for those who like gritty dramas with village background.

Paava Kadhaigal: Disturbs You But Not In The Right Way

Caste based killing is a subject that is relevant even to this day and when told in an engaging manner it gives you good results like Nagraj Manjule’s Marathi film Sairat or even Article 15, but Paava Kadhaigal (Sinful Stories) will make you lose faith in human beings particularly parents, this in spite of having formidable directors like Gautam Menon, Sudha Kongara and Vetrimaaran.  The commonality between this and Putham Pudu Kaalai apart from being an anthology are the directors Gautam Menon and Sudha Kongara. While Putham Pudu Kaalai left you with a happy feeling this anthology leaves you thoroughly depressed and also makes you wonder what was going in the minds of the directors when they decided to make this one.

The first story is about a transgender Sathaar (played by Kalidas Jayaram). Sathaar dreams of marrying his childhood friend Saravanan. But Saravanan is in love with Sathaar’s sister Sahira. Although the incidents of Sathaar being teased by village bullies are realistic, the episode feels like more of a documentary and it is also poorly structured. Kalidas Jayaram tries his level best to elevate the proceedings but it is a lost cause. This is very sad since Sudha Kongara had proved her worth as a director in Soorarai Pottru where she took on a familiar underdog story and made it work.

Vignesh Shivan’s Love Panna Uttranum is a story of two sisters both played by Anjali. We are told that one of the sisters is a lesbian who is in love with Penelope played by Kalki Kochelin. The other sister is looking for her father’s approval to marry someone outside their caste. The biggest issue here is the treatment of LGBT. This is particularly reflected in the scene where a character misreads lesbian as ESPN. It is meant to play out as a comic scene but it doesn’t bring much laughs. The LGBT thing looks more like an add on and needed more meat. The only thing which remotely works here is the character of the father who positions himself as an anti-caste leader but in reality he is not.  Anjali in a dual role is mostly there to cry while Kalki looks completely out of place as the foreigner.

Gautam Menon’s Vaanmagal sounds poetic but it is anything but that. This segment deals with sexual assault of a minor girl and how it leaves a scar on the family. The father character is played by Gautam Menon himself and the mother character is played by Simran who returns to screen after a long time. Much like the segment in Putham Pudu Kaalai Gautam Menon goes out of his comfort zone once again but this time the result is far from pleasing. The most disturbing thing about this one is the scene where we see Simran pushing her daughter from a mountain top.  Though it turns out to be not real but the thought itself is very regressive.

Vetrimaaran’s Oor Iravu stars Sai Pallavi and Prakash Raj as daughter and father. The story is in two timelines one in the present where Sai Pallavi’s character returns to the village for a supposed baby shower. The other timeline is the past where Prakash Raj’s character goes to his daughter’s house to make amends. There is no denying that the climax is gut wrenching and does jolt you but it doesn’t affect you the way that Sairat climax does. The biggest reason being too much negativity never works and since you have already had so much of negativity in the other three stories you feel like screaming at the director. Also it is tough to buy into what Prakash Raj’s character does particularly given his caring attitude in one of the timelines.

In totality Paava Kadhaigal might have started with the good intention of showing the evils of caste, LGBT prejudices and honour killings but it went totally overboard. Given the times that we live in with so much stress this film is completely avoidable.