Bhairavam Review: A Decent Comeback with Action and Flaws
After a hiatus of 2-3 years, Bellamkonda Sreenivas, Manchu Manoj, and Nara Rohith reunite for Bhairavam, a Telugu remake of the Tamil film Garudan. Directed by Vijay Kanakamedala, who is known for Ugram and Naandhi, the film introduces some tweaks to the original screenplay. But does this film serve as a strong comeback for the three heroes? Let’s find out.
Storyline:
The film centers on the enduring friendship between Gajapathi Varma (Manchu Manoj) and Varadha (Nara Rohith), a bond passed down from their fathers. Orphaned Sreenu (Bellamkonda Sreenivas) was raised by Gajapathi’s grandmother (Jayasudha) and is like family to them. The grandmother is the caretaker of a village temple dedicated to Goddess Varahi, entrusted with safeguarding its precious jewels and land. Minister Vedurupalli (Sarath) covets the temple land worth ₹1000 crore and conspires with the local goon Nagaraju aka Theatre (Ajay) to seize the temple documents. What unfolds is a tale woven with friendship, betrayal, and conflict.
Performances:
Bellamkonda Sreenivas starts off playing a reserved and innocent character but turns intense and action-oriented after the interval. His steady dialogue delivery and emotional poise, especially during the possession scenes, show improvement compared to his earlier films.
Manchu Manoj takes on a loud and aggressive role right from the start. While his energetic screen presence commands attention, his character lacks emotional layers, which makes his performance feel more surface-level.
Nara Rohith shines as the subtle but fierce Varadha. His portrayal of a responsible father and friend is convincing and grounded.
Among the female leads, Aditi Shankar’s role is minimal, mainly limited to a romantic subplot and songs, with dubbing that feels unnatural. Divya Pillai fits well as the emotionally charged wife, while Anandi makes a brief but effective appearance. Vennela Kishore’s comedy track feels forced and unnecessary. Veteran actors like Jayasudha, Sarath, Sampath, Ajay, and Sandeep Raj offer solid support.
Technical Highlights:
Hari K. Vedantam’s cinematography beautifully captures the rural setting, especially the night action sequences, with a consistent and appealing color palette. Editing by Chota K. Prasad, however, is patchy and could have benefited from a tighter, more cohesive approach, ideally closer to the original’s pace. Production design is commendable, with authentic sets of the village, temple, and brick kiln adding to the film’s realism.
Sricharan Pakala’s soundtrack features three commercial songs, two of which became popular online, thanks in part to Aditi and Bellamkonda. The background score stands out as a key strength, elevating many scenes despite occasional loudness.
Vijay Kanakamedala mostly sticks to the original Garudan script, expanding the romantic and comedic elements, which unfortunately slow down the narrative and weaken the emotional impact. His handling of action scenes is praiseworthy, but character depth and dramatic moments feel neglected.
Pros:
- Strong performances by the lead trio
- Well-choreographed action sequences
- Effective background music
Authentic production design and cinematography
Cons:
- Lack of emotional depth and character development
- Uneven editing and pacing
- Forced romantic and comedy sequences
Conclusion:
Bhairavam delivers solid action and technical finesse but falls short when it comes to emotional engagement and storytelling. The decision to remake a moderately successful film without adding significant emotional weight makes the film a decent but forgettable watch. The premise of friendship and betrayal had potential but wasn’t fully realized due to underdeveloped characters and distractions in the form of unnecessary subplots.
For viewers craving action and performances from Bellamkonda, Manchu Manoj, and Nara Rohith, Bhairavam offers some thrills. However, those seeking a deeper emotional connect may find it lacking.
Final verdict: An action-heavy entertainer with limited emotional appeal.
