Down-to-end villagers, a rural background of paddy fields and greenery, traditional homes, and a revered temple takes care of the village respected families, an innocent love story begins to bloom-even when the greedy eyes of a crooked politician do not give broth. But servants get up on the occasion and save the day. How long is this since a film after this cute template hit theaters?

Despite the language, most of the heroes in South Indian cinema – especially those who have now reached an experienced position – earned their fame and praise to fulfill the characters who emerged with the audience of the city not only with the audience but also in the villages. Not only those legends that are no longer with us, but also actors like Chiranjeevi, Nandamuri Balakrishna, Rajinikanth, Shiv Rajkumar, Mohanlal and their contemporaries also shine in such roles, which take theaters from every corner of South India to the herds.

Vijay Kanammela’s ‘Bhairavam’ defines the glory of this classic template by completely immersing his screenplay in a rustic rural setting. Manoj Manchu, Belmakonda Sai Srinivas, and Nara Rohith starrer, the film brings all the more tables above. But did the classics have a similar effect once? Let’s know!

https://www.youtube.com/watch?v=3Qique

‘Bhairavam’ follows the story of Varada (Nara Rohith) and Jagapathi (Manoj Manchu), since birth, inseparable friends who take their father’s legacy, who were friends even until death, quite literally. SEAWU (Belmakonda Sai Srinivas) is an orphan taken by Jagapati’s grandmother, and he grows as an integral part of both Jagapati and Varada’s homes.

What happens when the shadow of a minister falls in the village? Will the trio manage to fight evil, or will you succeed in running a nail between the minister and his minion friends? Answer – and much more, with a dash of cinematic masala – affects the plot of the film.

The biggest ability of the film lies in the way it connects with the audience through emotions. Friendship, family, loyalty, integrity, devotion, tradition and indifference (at some level) play an important role in the story and the construction of a bridge between the audience, develop many emotionally charged moments.

Belmakonda Sai Srinivas is the most bright shining among the lead trio, offering lump sum entertaining performance with its screen appearance, action and dance. The scene of the pre-infinite battle is a moment for the film and to be a witness to Srinivas’s performance-because it leaves one with Gozbumps. Manoj Manchu and Nara Rohith have also given a strong performance in their roles.

The supporting artists, including Jayasadha, Aditi Shankar, Divya Pillai, Ajay, Sarath Lohitashwa, Sampat Raj and Venela Kishore, have done justice to their roles, enhancing the impact of the performance of the leading characters. This type of film is expected to acting melodramatic acting, and the artists distribute it to the dot.

Director Vijay Kanammela revives a story that has been presented several times before – but with an interesting wardrobe change. The film tops its action and character symptoms. There are moments when the proceedings become so melodramatic that one may be surprised whether they are in a theater or suffer from the inconveniences of their living room in view of the daily soap produced on TV.

However, there are also moments when the film brightens brightly, where Bhavna supports the madness on screen. It has a significant contributor to the background score of Sricharan Pakala. While many times it may remind the audience to see Baleya’s ‘Veera Simha Reddy’ in the theater – thanks to its sheer volume – BGM mostly complements onscreen proceedings.

The chaotic nature of the film reflects the contribution of technical departments. With the background score described above, the songs of the film also touch both ends of the spectrum. While a couple of the track are really attractive- especially the song ‘Dum Dumare’- Bhiyan is so sudden and flat that they provide a four-minute break to the audience to examine all their messages.

It also applies to cinematography, set design and visual effects: some major moments are exactly great, while others are the best in the best. But it is due to these important moments that the film comes out as a surprisingly good entertainment. By placing these moments at regular intervals, the director has succeeded in providing a final output that is definitely fun to see.

If someone enjoys emotions, drama, action, songs and dances – then commercial entertainment – ‘Bhairavam’ is definitely worth a watch. But careful: This logic, gravity and feeling abusing the spirit, presents the opportunity itself.