Starring: Chiranjeevi, Tamannaah Bhatia, Keerthy Suresh, Sushanth, Raghu Babu, Murali Sharma, Ravi Shankar, Vennela Kishore, Tulasi, Sree Mukhi, Bithiri Sathi, Satya, Getup Srinu, Rashmi Gautam, Uttej and others
Director: Meher Ramesh
Producers: Ramabrahmam Sunkara, Anil Sunkara, and Ajay Sunkara
Music Directors: Mahati Swara Sagar
Editors: Marthand K Venkatesh
Release Date : August 11, 2023
Bholaa Shankar is megastar Chiranjeevi’s latest film which has been directed by Meher Ramesh. The film is out now and, read our review to find out if the film has any juice in it or not.
Venturing into the heart of Kolkata, we embark on a journey with Shankar (Chiranjeevi) and his sister Maha (Keerthy Suresh), driven by the pursuit of education. However, the tides of fate take an unexpected turn, propelling Shankar into the perilous world of human trafficking. With relentless determination, he takes it upon himself to dismantle the trafficking syndicate. The crux of “Bholaa Shankar” hinges on unraveling the enigma that is Shankar and unearthing the intricate layers of his history.
Chiranjeevi shines as the film’s undeniable anchor, delivering a performance that resonates with poise and depth. Yet, even his prowess cannot fully counterbalance the disjointed vision of Meher Ramesh, which at times leaves him adrift in the narrative currents. Keerthy Suresh’s portrayal adds a layer of authenticity to her character, infusing much-needed gravity into the unfolding events. While her efforts are commendable, the overarching plot’s dated nature hampers her impact. Tamannah’s portrayal, though spirited, tends to teeter into excessive dramatization, failing to ignite sustained intrigue. Sreemukhi offers a solid performance, but the remaining cast leaves a trail of underwhelming portrayals.
Meher Ramesh direction
Lack of proper emotions
Bholaa Shankar steps forth as a reimagining of the Ajith-starrer “Vedhalam,” a vision tarnished by Meher Ramesh’s handling. The audience is greeted with an unsettling feeling of déjà vu, as novelty takes a back seat throughout the narrative. Predictability becomes the governing force, fostering a sense of monotony that threatens to lull the viewer into a slumber. The initial half of the film labors through its minutes, languidly progressing without a sense of urgency.
Regrettably, the film falters in its musical execution, courtesy of Mahati Swara Sagar. His contributions, unfortunately, fall short of the grandeur expected from a production of this stature. The storyline’s antiquated nature, despite attempted tweaks, fails to rejuvenate the narrative. While the cinematography exhibits merit, the editing falters, particularly in the elongated first half that stretches beyond its intended boundaries.
Dance sequences, a hallmark of Chiranjeevi’s repertoire, falter, missing the mark that has come to define his performances. The fight choreography stands as a redeeming quality, while the dialogue falls within the realm of adequacy but fails to achieve distinction. The film’s emotional potential remains largely untapped, particularly concerning the central brother-sister relationship. Regrettably, their bond feels hurriedly constructed, lacking the resonance needed to deeply connect with the audience.
Chiranjeevi, for his part, navigates the first half with limited purpose, ultimately hindered by the absence of substantial material. The villains in “Bholaa Shankar” suffer from an inherent weakness, devoid of the menacing aura necessary to counterbalance Chiranjeevi’s formidable presence. Meher Ramesh’s endeavor to direct a Chiranjeevi film, a golden opportunity, ultimately crumbles beneath the weight of his execution. “Bholaa Shankar” emerges as a colossal disappointment, a stagnant piece of cinema that defies its potential for brilliance.
Bottom Line – A big mega bore from Meher Ramesh