Banner: completely satisfied films
Forged: Nandamuri Balakrishna, Sonal Chauhan, Vedhika, Prakash Raj, Bhumika, Jayasudha and others
Story: Parachuri Muralic
Music: Chirantan Bhatt
Cinematography: C Ram Prasad
fights: Ram-Lakshman, Anbu Arivu
Producer: C Kalyan
Directed by: KS Ravikumar
Publication date: December 20, 2019
After the profitable movie ‘Jai Simha’, senior actor Nandamuri Balakrishna, director KS Ravikumar and producer C Kalyan crew up for ‘Ruler’. The movie didn’t trigger a lot ado, however it’s anticipated to be considered one of this yr’s greatest releases for a wide range of causes.
Let’s see if this profitable mixture has resulted in a special winner this time?
An organization president (Jayasudha) rescues a badly injured man, who in flip rescues her on one other event. She adopts him as her son. She calls him Arjun Prasad (Balakrishna) and makes him the brand new president of her firm.
When Balakrishna proposes to take up a photo voltaic vitality challenge on behalf of his firm in Uttar Pradesh, a politician threatens him. The locals acknowledge him as Dharma, a police officer.
Why and the way did Dharma lose his reminiscence and what’s his rivalry with Thakur, the native preacher?
Performances by artists:
Nandamuri Balakrishna performed a task of two completely different shades – a software program firm proprietor and a police officer. In each variations, he seems clumsy together with his outrageous wigs and costumes. In some locations he seems fats and in different places he’s a bit slender.
Sonal Chauhan and Vedhika have performed loopy characters and appear to be ladies with out brains. Nevertheless, they’ve supplied sufficient glam present.
Prakash Raj, Bhumika, Jayasudha and Nagineedu. have all performed monotonous characters.
Music director Chirantan Bhatt has given very common and affordable tunes. Cinematography by C Ram Prasad is nice. Modifying is uneven. Dialogues additionally lack effectiveness.
Not a lot
Romance from the 70’s and 80’s
Whereas all the opposite senior stars are experimenting with tales and attempting arduous to attach with the present era with new kinds of characters, it’s stunning that Nandamuri Balakrishna nonetheless agrees to make films with scripts from the 80s and 90s. His selection of scripts is proof that he doesn’t replace himself.
The issue just isn’t within the clichéd storylines, however within the hackneyed narration and the insanely unhealthy bodily appearances. Director KS Ravikumar, who additionally appears to have caught within the 90s, has offered Balakrishna in a garish avatar.
The story of Parachuri Murali is outdated. Balakrishna herself had acted in lots of such tales a long time in the past. Nonetheless, Murali and Ravikumar have informed it in an outdated manner with pointless comedic scenes.
Some pattern scenes:
1) Sonal Chauhan is the proprietor of an IT firm. However she is aware of nothing about IT hackers. When her assistant introduces some pickpockets as IT hackers, she blindly believes and takes them to Bangkok to hack into hero Balakrishna’s pc. We see low cost comedy in Bangkok.
2) When an IT employee has a grievance about sexual harassment by a international firm supervisor, her challenge supervisor tells her to work with the supervisor in order that they might get the challenge.
3) Vedhika (in a flashback episode) in her first assembly with Balakrishna asks him to take a look at each inch of her physique and let her know which physique half wasn’t lovely so she would have beauty surgical procedure (naa construction lo ee half baledo cheppu….adi operation cheyinchukunta).
4) A comedy monitor that includes Saptagiri with cow urine and dung.
Along with these foolish episodes, there are lectures on the greatness of Telugu farmers who can domesticate even barren lands. Then there’s additionally a speech in opposition to the caste system by Balakrishna.
All of those scenes are straight out of poorly made business films from a bygone period. It’s a marvel how Balakrishna authorised such a crude and outdated story.
Frankly, we’ve to make use of a microscope to search for one constructive facet on this film that’s rife with boredom.
Backside line: Oh my Balaya!