Bholaa Shankar Review

Bholaa Shankar Review

In Meher Ramesh’s Telugu remake of Ajith-starrer “Vedalam,” titled “Bholaa Shankar,” audiences are subjected to a cinematic experience that struggles to find its footing. Promising to be a commercial potboiler, the film instead feels like a chaotic amalgamation of three disjointed narratives, each more outdated or cringe-worthy than the last. Despite the earnest efforts of Chiranjeevi and Keerthy Suresh, “Bholaa Shankar” fails to rise above its lackluster storytelling and uninspiring character arcs.

A Complex Web of Stories:

The film introduces Shankar (Chiranjeevi) and his sister Maha (Keerthy Suresh), who move to Kolkata in pursuit of a brighter future. Shankar takes up a taxi-driving job to make ends meet and crosses paths with a criminal lawyer named Lasya (Tamannaah Bhatia). As the narrative unfolds, it becomes apparent that Maha is entangled in a complex love-hate relationship with Shankar, while Lasya’s brother Srikar (Sushanth A) develops feelings for Maha. Amidst this romantic turmoil, Kolkata grapples with a series of kidnappings of young girls, exacerbated by corrupt law enforcement.

Narrative Chaos:

“Bholaa Shankar” begins by painting Shankar as an almost unrealistically virtuous character, but as the story progresses, it becomes clear that appearances can be deceiving. Unfortunately, the film follows a predictable trajectory common to Indian cinema, where the hero is idolized and all actions lead to his glorification. The first half of the film meanders between multiple narrative tracks, struggling to find a cohesive tone. Meher Ramesh attempts to blend seriousness with humor and adds obligatory song-and-dance sequences, but the result is a disjointed and inconsistent viewing experience.

The second half of the film offers little respite, with the flawed writing failing to captivate the audience’s attention. Despite its potential, “Bholaa Shankar” falls short in exploring the core issues at its heart—the trafficking of women and Shankar’s relationship with Maha. Only a few scenes towards the end manage to salvage some degree of engagement.

Performances:

Chiranjeevi delivers a commendable performance, infusing life into his character despite the film’s limitations. Keerthy Suresh remains dependable as she skillfully handles her role. Tamannaah’s dubbing could have been more polished, but her acting prowess shines through. The supporting cast, including Sushanth A, Murli Sharma, Brahmaji, and others, contribute competently. However, actors like Tarun Arora, Sayaji Shinde, Ravi Shankar, and Shawar Ali are hindered by underdeveloped characters.

Conclusion:

“Bholaa Shankar” ultimately suffers due to its disjointed storytelling and a lack of narrative finesse. Even the charisma of Chiranjeevi and the talent of Keerthy Suresh cannot salvage a film that feels outdated and unoriginal. Meher Ramesh’s attempt to combine multiple narratives results in a confusing and inconsistent viewing experience. “Bholaa Shankar” is a reminder that a star-studded cast cannot compensate for poor storytelling and disjointed execution. As audiences seek compelling and innovative narratives, “Bholaa Shankar” falls short of delivering a satisfying cinematic experience.

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