ఏపీ కేబినెట్ సమావేశం ప్రారంభం | AP Cabinet Key Meeting | CM Chandrababu

Nandamuri Balakrishna is undeniably a legend in Telugu cinema, known for his fearless performances and his willingness to take on any role without being concerned about his image or public opinion. His approach to acting is one of complete dedication, always prioritizing the director’s vision, even when it leads to criticism. Recently, the actor has been at the center of controversy over his new song “Dhabbidi Dhibbidi” from the film Daaku Maharaaj, which has sparked a wave of trolling, particularly for its quirky dance moves.

The song has faced significant backlash, with many pointing out Balakrishna’s awkward dance steps and one particular moment where he punches Urvashi Rautela’s back. Choreographed by Sekhar Master, the sequence has been the subject of online mockery, but much of this criticism seems to be unfairly directed solely at Balakrishna. The actor has long been known for stepping out of his comfort zone and trying to bring a unique flavor to his performances, even when it doesn’t always land well with the audience.

This isn’t the first time Balakrishna has faced such reactions. A decade ago, he was mocked for some over-the-top action scenes, like slapping his thigh to change the direction of a speeding train in one of his films. He later explained that these were suggestions from his directors and producers, and he had no intention of drawing ridicule. Similarly, with “Dhabbidi Dhibbidi,” Balakrishna is following the vision of the director and choreographer without adding his personal touch to the awkwardness of the dance.

If Balakrishna had been focused on creating cringe-worthy content, it would contradict his approach in Daaku Maharaaj itself, as demonstrated by the song “Chinni.” While “Chinni” didn’t get the attention it deserved, it stands out as one of the best songs in recent Telugu cinema. Moreover, in his recent film Bhagavanth Kesari, Balakrishna gave considerable importance to Sreeleela’s character, further emphasizing his ability to adapt to the needs of the story rather than trying to overshadow it.

Ultimately, the critique of “Dhabbidi Dhibbidi” should not fall solely on Balakrishna, who remains a dedicated artist, doing his best to serve the story and the vision of his filmmakers. It’s a reminder that a true director’s actor sometimes has to take on roles or perform actions that may not always be universally accepted, but they’re done with the best intentions to enhance the film.