Chatrapathi film Review: A mass entertainer spoof featuring a scammed Nushrratt Bharuccha is led by Sai Srinivas Bellamkonda.

by ihsan
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At the start of the partition of India and Pakistan, a youngster who is half-orphan is split from his stepmother. He becomes a local thug in Gujarat, India, where a different villain appears every day, but little actually happens.

I procrastinated and thought about what I should say about a movie that couldn’t even pass the most basic definition of a film for exactly 2 hours and 23 minutes. With time, the “mass entertainer” genre in Indian cinema is evolving into one of the most mistreated and exploited. You are not only making a fool of yourself but also offending the sensitivities of the audience if mundane stories with no filmmaking grammar involved and far from even enjoyable are ones that can be advertised as masala movies that are Pan-Indian and made for the Indian audience.

Chatrapathi is a movie that needs to be reminded that it is being filmed in 2023 because there is no clear visual timeline for this story. This movie shows little interest in being aesthetically accurate for a plot that starts in 1947, advances for maybe a few years, and then jumps for, I think, a decade and lands in the early 2000s. Since the sons had only matured a few years, how did it travel for decades? How does Mother Bhagyashree not age at all? How does she maintain her hair? Who is employing so many dancers, and where exactly are they performing in a stage that doesn’t have room for them?

My mind also struggles to accept Chatrapathi, a novel authored by V. Vijayendra Prasad, who is known for collaborating with his son SS Rajamouli to create the iconic Baahubali and the terrifying RRR. This remake fails to live up to the standards of film. The goal of V.V. Vinayak is to write a story that has been done to death and to execute it in such a careless manner that there is no connection between scenes. If you look at nothing else, read the introduction. You must not squander time setting up the movie since it rushes as if the budget was only needed for the second half. It doesn’t even give the audience a chance to breathe as it quickly starts. Additionally, the movie attempts to mimic some aspects of the Rohingya issue, and that too in no way lands well.

In no way does the writing attempt to make the plot more complicated. A villain appears, perishes, and a new one is born. Shiva (Sai) is prepared to combat them as though he were a martial arts expert in a previous life. The only character layers he receives are the close-up pictures of each individual hair pore on his muscles. Because the movie never allows him to express any sorrow for his circumstance. On the next set, right there, was the mother he was seeking for, although he hadn’t seen her in ten years. On the second page of the first file he chooses in a government office, on the day he discovers she is still alive, he finds her photo. He then decides to stay oblivious but still built a mansion for his mother.

Here, when he sobs over realizing his mother’s goal, the real assault on our collective intelligence starts. Nushrratt, a dancing aficionado, declares, “Ye time emotional hone ka nahi, party karneka hain,” and they then break out into a strange dance routine that goes, “Laila lagja gale, Majnu khada tere window tale.” God, please save us.



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