Bhairavam Review: Traditional Ambiance, Inconsistent Outcome

BOTTOM LINE: Rustic Setup, Patchy

Payoff RATING :2.25/5

CENSOR A, 2h 35m

What Is the Film About?

The narrative of Bhairavam centers around three intimate friends — Varada (Nara Rohith), Gajapathi (Manchu Manoj), and Seenu (Bellamkonda Sreenivas) — whose existence is profoundly altered when a politician sets his sights on ₹1000 crore worth of Temple land, ensnaring them in a web of treachery and the struggle for survival.

Performance

The film Bhairavam showcases three prominent heroes in leading roles, each of whom is assigned a significant part. None of the characters appear to be superfluous to the narrative, and each one integrates seamlessly into the storyline. Regarding their performances, all three actors excel, but the degree of connection each performance establishes will vary based on individual viewer preferences, primarily influenced by the design of their characters. Beginning with Bellamkonda Sreenivas — for the majority of the film, his character is portrayed as subtle and gentle, particularly in the first half, where he seems to primarily serve the purpose of the musical and dance sequences. Nevertheless, his role gains importance in the latter half, where he is given a few well-crafted scenes that enable him to leave a mark. Manchu Manoj’s character tends to be boisterous most of the time, irrespective of the context. It is refreshing to see him return to the screen after an extended hiatus. If the writing for his character had been more robust, his intensity and volume could have had a greater impact. Nonetheless, at times, his delivery of dialogue evokes memories of his father, Mohan Babu, which is not necessarily a negative aspect. Nara Rohith emerges as an unexpected highlight. He portrays an aggressive character, offering a mature performance. His gray hair and muscular build are well-suited for this specific role, and he executes his part with conviction. In summary, all three heroes fulfill their respective roles admirably and make valuable contributions to the film.

Analysis

Bhairavam is helmed by Vijay Kanakamedala, who previously directed films such as Naandhi and Ugram. This time, he presents a remake. The film begins by introducing the three principal characters — Seenu, Varada, and Gajapathi — through their typical grand entrances and a few fight scenes that help to establish their personalities and relationships. Although the setup suggests a grounded rural action drama, it soon becomes evident that the character development lacks emotional resonance. The narrative progresses swiftly, yet the writing fails to enable the audience to genuinely connect with the protagonists, remaining at a superficial level. For almost the first 45 minutes, Seenu’s character (portrayed by Bellamkonda Sreenivas) seems to exist solely for the purpose of songs and dances. Nara Rohith delivers the necessary intensity, and Manchu Manoj fulfills his role by being loud and aggressive, but overall, the writing appears outdated. The presentation style and screenplay in the initial segments further contribute to this antiquated feel. Nevertheless, improvements begin to surface from the pre-interval segment. The storyline involving the ornaments and land documents introduces an element of intrigue. The interval block is well-crafted — while not revolutionary, it is reasonably engaging. Although it evokes memories of similar sequences from Kantara, the interval scene is distinctive and is executed effectively. The action sequence feels rather lengthy, almost resembling a climax, yet it captures attention and is well-staged. However, the film concludes its first half without leaving a strong hook or a suspenseful moment that genuinely heightens anticipation for the second half. In summary, Bhairavam’s first half is hindered by outdated writing and average execution in the early stages, but it gains traction as it approaches the interval with a well-executed segment that offers some hope for what lies ahead. The second half also commences in a rather conventional manner, featuring yet another dance number with Bellamkonda Sreenivas. However, what ensues makes the remainder of the second half quite engaging.

The complete Mamidi Thota segment, which presents a significant twist to Nara Rohith’s character, is executed effectively, featuring sufficient tense moments to captivate the audience. The ensuing drama and emotional elements contribute to maintaining the film’s momentum throughout its duration. In the climax, the director introduces a divine aspect for Bellamkonda’s character, which bears some resemblance to Kantara. Nevertheless, this element does not fully resonate, as the concept appears contrived. There is a lack of adequate build-up or preceding drama that would enable this divine aspect to create a strong positive effect. Nonetheless, it somewhat succeeds in deviating from a completely formulaic climax, even if it does not serve much purpose beyond that. In summary, Bhairavam is hindered by an outdated and feeble first half, burdened by superfluous songs. However, the second half presents improved drama and action, although it concludes with a mediocre ending, rendering it a reasonable one-time viewing experience.

Performances by Other Actors

Bhairavam showcases several renowned and skilled supporting actors, yet not all are effectively utilized. Beginning with Vennela Kishore — his role is notably inconsistent and forgettable. It appears that a significant portion of his scenes was cut from the final version, as he only makes a few brief, random appearances. Regrettably, this once again underscores the direction team’s failure to make proper use of him; even his comedic segments lack coherence and fail to contribute any value. Jayasudha takes on a minor grandmother role and executes her part commendably. Ajay, Sampath Raj, and Sandeep Raj perform their roles well, seamlessly integrating into the narrative. Regarding the female leads, they do not embody conventional heroine roles. The actresses paired with the three male leads function more as supporting characters, with the exception of Aditi Shankar, who appears alongside Bellamkonda Sreenivas primarily for the dance sequences. In summary, all three female characters seem to belong more to the supporting cast than to the principal leads in the film.

Music and Other Departments?

The score for Bhairavam is crafted by Sricharan Pakala. Regarding the songs, there is little to commend him — they are standard commercial tracks that are quickly forgotten once they leave the screen. Nevertheless, Sricharan excels in his background score. His contributions significantly enhance the film, particularly in amplifying the action sequences with his powerful score. This aspect of his work truly bolsters the film. The cinematography by Hari K Vedantam is quite commendable. Visually, the film sustains a consistent and authentic atmosphere from beginning to end, which is effective for its rural setting. The editing by Chota K Prasad is generally satisfactory, although there are a few uneven and abrupt transitions that could have benefited from more precise cuts. The production values from Sri Sathya Sai Arts are sufficient and appropriate for a rural action film like Bhairavam. The film features a genuine and grounded production design that aligns well with its environment.

Highlights

Second half All three lead actors A few action blocks and the BGM Drawbacks?

Dull first half Lacks emotional depth Forced dance numbers Weak ending

Did I Enjoy It? Yes, more so in the second half, but not fully.

Will You Recommend It? Yes, if you don’t mind a dull first half and an okay-ish ending.

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