Director S Krishna has good ideas for making commercial films larger than life. For example, his previous film Hebbuli, starring Sudeep in the lead role, revolved around a highly trained commando on a path of revenge. A soldier, whose specialty is to perform surgical attacks in the enemy's territory, faces untrained and low-life, urban criminals. The premise provided the director with sufficient opportunities to present a non-stop action movie that could keep the public on the edge of his seat. But, S Krishna ruined it. He turned it into a hero-worship movie, where he couldn't even make Sudeep move like a command that performs undercover operations.
I'm afraid he repeated the mistake with his latest movie Pailwaan, starring Sudeep in the lead role. What happens when you put a hardcore fighter in a boxing ring? In the real world, without proper training, the fighter could be taken out of the ring on a stretcher. But, in S Krishna's movie, of course, the same fighter would make professional boxers look like a lot of fans.
The film follows the story of Krishna, an orphan, who fights on the streets for a wager to feed hungry kids. The size of the heart of young Krishna impresses Sarkar (Suniel Shetty), a champion wrestler, so much that he adopts him. And he imparts his wrestling knowledge to Krishna who grows up to become a very formidable champion in the sport. We meet the grown-up Krishna (of course, after a sufficient build-up) working out with mace and weights made of stones, like an ancient Hindu warrior. And then, in slow motion, he walks to the arena, where he is about to wrestle with an opponent who looks much bigger than him. As the contest begins, Kirshna decimates his rival and immediately we slip into the title song, Baaro Pailwaan...
The song is choreographed by Ganesh Acharya with the sole intention of giving Sudeep ample opportunity to flex his newly constructed muscles. And Sudeep embraces the movements of showing his biceps with the enthusiasm of a teenager who achieved his first milestone in fitness. There is nothing wrong with that. As the saying goes, if you have it, presume. But, not just the song, the whole 3-hour movie feels like an opportunity for Sudeep not to flex anything but the muscles.
S Krishna seems to have written this film before demonetization and the #MeToo movement since his writing has not been affected by two of these historical events. The role of the heroine, played by Aakanksha Singh, is misspelled. The character is reduced to the sweet arm of the hero who does not deserve to be the only one. In addition, the way the hero perceives heroin is also very regressive.
Krishna almost immediately begins to deter Rukmini (Aakanksha) when he thinks she has a habit of drinking and smoking. He becomes too critical and states that a woman who does it is not culturally and traditionally appropriate. But, when he learns that everything was a misunderstanding and that she does not drink or smoke, he begins to imagine her again. Don't you think it's time for conventional filmmakers to stop gender stereotypes?
Sudeep does a lot for the script that the clichés-filled script does for him. In one scene, he drowns tears because he cannot respond to a girl's difficult situation. The scene is an example of Sudeep's ability to deliver real performance. All that is needed is a filmmaker who can write strong scenes that can take the actor out of Sudeep. Unfortunately, Pailwaan is not that movie.
Director S Krishna has spent so much time spinning, it seems too late to keep our attention when he finally puts Krishna in the boxing ring. I thought boxing would be the main course of this movie. But it turns out it's just a dessert at the end of the meal. And neither of the delicious type. Boxing sequences are poorly researched and organized uncomfortably.
However, if you only want to see an attractive and torn Sudeep on the big screen, Pailwaan might work for you.
I'm afraid he repeated the mistake with his latest movie Pailwaan, starring Sudeep in the lead role. What happens when you put a hardcore fighter in a boxing ring? In the real world, without proper training, the fighter could be taken out of the ring on a stretcher. But, in S Krishna's movie, of course, the same fighter would make professional boxers look like a lot of fans.
The film follows the story of Krishna, an orphan, who fights on the streets for a wager to feed hungry kids. The size of the heart of young Krishna impresses Sarkar (Suniel Shetty), a champion wrestler, so much that he adopts him. And he imparts his wrestling knowledge to Krishna who grows up to become a very formidable champion in the sport. We meet the grown-up Krishna (of course, after a sufficient build-up) working out with mace and weights made of stones, like an ancient Hindu warrior. And then, in slow motion, he walks to the arena, where he is about to wrestle with an opponent who looks much bigger than him. As the contest begins, Kirshna decimates his rival and immediately we slip into the title song, Baaro Pailwaan...
The song is choreographed by Ganesh Acharya with the sole intention of giving Sudeep ample opportunity to flex his newly constructed muscles. And Sudeep embraces the movements of showing his biceps with the enthusiasm of a teenager who achieved his first milestone in fitness. There is nothing wrong with that. As the saying goes, if you have it, presume. But, not just the song, the whole 3-hour movie feels like an opportunity for Sudeep not to flex anything but the muscles.
S Krishna seems to have written this film before demonetization and the #MeToo movement since his writing has not been affected by two of these historical events. The role of the heroine, played by Aakanksha Singh, is misspelled. The character is reduced to the sweet arm of the hero who does not deserve to be the only one. In addition, the way the hero perceives heroin is also very regressive.
Krishna almost immediately begins to deter Rukmini (Aakanksha) when he thinks she has a habit of drinking and smoking. He becomes too critical and states that a woman who does it is not culturally and traditionally appropriate. But, when he learns that everything was a misunderstanding and that she does not drink or smoke, he begins to imagine her again. Don't you think it's time for conventional filmmakers to stop gender stereotypes?
Sudeep does a lot for the script that the clichés-filled script does for him. In one scene, he drowns tears because he cannot respond to a girl's difficult situation. The scene is an example of Sudeep's ability to deliver real performance. All that is needed is a filmmaker who can write strong scenes that can take the actor out of Sudeep. Unfortunately, Pailwaan is not that movie.
Director S Krishna has spent so much time spinning, it seems too late to keep our attention when he finally puts Krishna in the boxing ring. I thought boxing would be the main course of this movie. But it turns out it's just a dessert at the end of the meal. And neither of the delicious type. Boxing sequences are poorly researched and organized uncomfortably.
However, if you only want to see an attractive and torn Sudeep on the big screen, Pailwaan might work for you.
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