(Vanam Jwala Narasimha Rao)
Little bit of Entertainment to relax for a while, and a pinch of Artistic Experience with vivid description of ideas, are the minimum requirement of mine, to go to any movie. Of Late, movies by and large are of Poor Content Quality, Time Consuming that could be otherwise used Productively, Overexposure like Excessive Violence etc. are reasons in avoiding movies by me.
If Directors combine ‘Creativity with Commercial Viability’ while staying true to audience expectations, and adhere to ‘Balancing Factors’ especially avoiding misleading trailers, then cross section of audience automatically appreciate. ‘Current Cinema Scenario’ is dominated by ‘Blockbusters, OTT Platforms, and Big-Screen Experiences.’ For majority of Directors, ‘Artistic Experience’ means ‘Visually Stunning Movies,’ coupled with ‘Overexposure and Overhype.’
‘Pushpa: The Rise’ and ‘Pushpa 2: The Rule’ (Part one and two of Pushpa), directed by one of the ‘Best Directors, Sukumar,’ in which Key Characters and their Roles are: Pushpa Raj (Allu Arjun), Srivalli (Rashmika Mandanna), Bhanwar Singh Shekhawat (Fahadh Faasil), Mangalam Srinu (Sunil), etc.
Both parts together are gripping tales of ambition, rebellion, and dominance set in the world of red sandalwood smuggling. Pushpa Raj who faced humiliation due to his illegitimate birth, is portrayed as a resourceful, shrewd, and fearless individual rising from poverty to become not only a feared but also respected figure in a treacherous world, outsmarting Mangalam Srinu.
Pushpa’s control over the red sandalwood smuggling empire, and his growing influence threatens government also. Confrontations between Pushpa Raj and Shekhawat, like a ‘Cat-and-Mouse Game’ has been time and again repeated. The climax builds on Pushpa’s defiance against the system and his assertion of his identity. His favorite words that ‘Pushpa will never back down’ becomes a symbol of his indomitable spirit.
While ‘Pushpa: The Rise’ focuses on Pushpa Raj ascent, the sequel delves into his struggle to consolidate his rule. Following his growing dominance, the government declares a crackdown on him by launching a massive hunt to dismantle the smuggling empire. Pushpa fights back.
The public humiliation by stripping of the Police Uniform of SP Bhanwar Singh Shekhawat, intensifies his battle against Pushpa. Shekhawat decided to destroy Pushpa professionally and personally. Pushpa’s rise creates enemies in the syndicate as well. Often it was given to understand that, Pushpa successfully played a dual role as a kingpin and as a family man.
Director Sukumar has left no stone unturned to show both the parts, in a grandeur way, as a story of an ‘Underdog’ who refuses to bow down, and inspiring others to fight for their dignity and rights. Allu Arjun in the role of Pushpa Raj with all his ‘Idiosyncrasies’ from bending to walking typically, puts up with the ‘Cinematic Grandeur.’ With his inimitable electrifying performance, he ensures that, he continues to remain as HERO of his committed Fans.
A critical analysis of ‘Picturization in Couple of Scenes’ in the movies directed by ‘No less a person than Formidable Sukumar’ gives rise to few unanswered questions, because they did not convey any meaning. For instance, it look absurd and stupidity to show ‘Stripping of the Uniform’ except conveying a message to ‘Allu Arjun’s Fans of his Heroism’ and ‘Fearless Attitude.’
Portrayal of Pushpa Raj in ‘Women’s Clothes and Fighting Enemies’ is an unconventional sequence, and explicitly symbolizes his disregard for conventional norms. Pushpa is shown using the guise to get close to his enemies without being recognized. There is absence of clarity except Hero’s Heroism.
Why Pushpa’s Brother’s Daughter was Kidnapped is a mystery if not meaningless. At the most it serves as a tool to heighten the stakes and create an emotional core for Pushpa’s actions. To ‘Lure Pushpa’ into a Trap, the kidnappers used the girl as bait, knowing Pushpa will go to any lengths to rescue her. Pushpa faces his enemies on their terms, and despite legs and hands tied, bounces on enemies in a typical costume, a ridiculous scene from a director of Sukumar caliber.
Showing Pushpa’s involvement in manipulating political outcomes, and changing Chief Minister through ‘Bribe’ adopting new methods of reaching currency under sofa, is in bad taste. Bribing to become CM may expose the deep-rooted corruption in political institutions but it teaches new methods of criminal enterprises, that could extend their reach into governance. Not desirable at all Sukumar the Director, at all please!!! Pushpa’s actions are dubious and undesirable.
Depiction of an IPS Cadre Officer, who is expected to uphold discipline, professionalism, and authority, as behaving unpredictably, eccentrically, strangely with exaggerated manners, ego-driven vendetta, and willingness to humiliate himself, are uncharacteristic. Character of his deputy, a DSP, often projected as a Joker.
Member of Parliament (MP), who is expected to maintain decorum, dignity, and be a Role Model, dancing openly, especially in the context of a smuggler’s celebration is silly and absurd, in a realistic context. It undermines his authority or respectability. Publicizing an MP’s behavior (it may be True) reflecting deep nexus between politics and crime is unprincipled. What message the director has in his mind is difficult to comprehend.
The fight scene between Pushpa Raj and Japanese smugglers, portraying as a dream sequence within the narrative, in the very beginning of part 2, is ridiculous. In this extended fantasy Pushpa imagines himself extending global stage operations.
Similarly, the Rs 2000 crore sandalwood deal with Dubai Team, and in the process, series of bribery acts, with Himalayan Heights, including changing Chief Minister, is nothing but impracticable by any means. A good Fantasy here again. Director even escalates the cost of Helicopter to Rs 100 Crores!!! Why?
Pushpa distributing terminal benefits to police personnel in large sums like ‘kids’ toys’ prompting them to resign, is childish and funny. In real life scenario, it reflects adversely a societal issue, where personal financial stability outweighs professional ethics or duty. This is nothing but Undermining Rule of Law, Deliberately Promoting Corruption, Weakening Government Institutions’ Strength, Creating Negative Societal Impact, Contradiction to Societal Values etc.
Body language, dialogue delivery, Costumes, Hair Style, Allu’s Alcohol Consumption, Frequent ‘Impromptu Behaviour’ with nonsensical approach to romance and physical intimacy, by indulging in sex by ‘Allu Arjun Pushpa’ with ‘Srivalli Rashmika’ nauseates audience.
The ugliest scene in Pushpa 2, where Pushpa Raj urinates on SP Shekhawat in a swimming pool is nothing short of deliberately crafted wit to highlight power dynamics and rebellious nature of the central character. Mannerisms of SP later are funny. Director should have given a thought to this irrelevance and inappropriateness. Such scenes could have been trimmed better to suit the story.
By and large, Director Sukumar who otherwise excels in weaving a gritty and compelling story that balances commercial appeal with realistic undertones in his films, is certainly, not wholly successful. Failure in depicting the purpose and depth of characters is visible. Sukumar’s characteristic gift of creating multidimensional characters is significantly absent in Pushpas.
Nevertheless, ‘Sukumar’s Style of Ever Creative Remarkable Direction’ is seen in Pushpa, according to large number of audience, which matters most. ‘Production and Direction’ balancing the elements appealing to the masses, and sanitizing the storytelling for better polished cinematic experience require refining.
While ‘Pushpa’ has significant strengths, refinements would have been more cohesive, impactful, and resonant with both masses and critical audiences, by striking a balance between commercial elements and authentic storytelling.
Cultural Responsibility of Cinema Director, Producer, Dialogue Writer, and other important persons is infinite, unlimited, and dynamic. While cinema invariably reflects the ‘Harsh Realities of Society,’ it also has the power to shape opinions and inspire change.
Scenes that glorify undesirable behavior, as in ‘Pushpa: The Rise’ and ‘Pushpa 2: The Rule’ (Part one and two of Pushpa), should ideally come with consequences to emphasize the importance of ethical choices and societal welfare. Good Luck in Next Part, Sukumar, to attempt refining!
