To remake a movie like Pink, starring Amitabh Bachchan, Taapsee and Kirti Kulhari, in Telugu, with Pawan Kalyan reprising Bachchan’s position as a lawyer, is like strolling on a double-edged sword. On one hand, it’s an necessary movie that frames the thought of ‘consent’ and underlines its significance, however on the identical time, there’s each likelihood that the message could be misplaced within the proceedings. In spite of everything, there’s Pawan Kalyan and his star picture looming massive. Fortunately, director Sriram Venu manages to weave these two threads collectively and delivers a compelling drama, which works finest when the Telugu model sticks to the source material.
Vakeel Saab, which accurately interprets to ‘Lawyer Sir’, is each a celebration of Pawan Kalyan’s stardom and an evocative commentary on how girls are judged within the society. Its coronary heart lies within the second half of the drama when the narrative shifts to the courtroom, and it’s right here that the movie finds its rhythm and soul. The icing on the cake is a terrific efficiency from the lead solid, led by Pawan Kalyan, Prakash Raj, Nivetha Thomas, and Anjali, who maintain your consideration until the tip.
The movie stays loyal to Pink within the opening phase. Pallavi (Nivetha Thomas), Zareena (Anjali), and Divya (Ananya) are roommates in Hyderabad. Their backgrounds are completely different, however they’re pleased with their lives and assist their respective households with their very own hard-earned cash. One night time, whereas getting back from a celebration, they’re left stranded within the outskirts of town when their cab breaks down. Pallavi’s childhood good friend, who is on his approach to a resort alongside along with his associates, offers them a carry; nonetheless, they find yourself going to a resort. Moments later, Pallavi, Zareena, and Divya run out of the resort, and Vamsi (Vamsi Krishna), an MP’s son, is hospitalised with a extreme damage. The remainder of the story is about how the life of the three girls adjustments after this incident, and the way a lawyer, Satyadev (Kalyan) comes to their rescue.
After this opening phase, Vakeel Saab feels the burden of the expectations of having a star like Pawan Kalyan taking part in a central character within the story, which is basically in regards to the three girls driving the story ahead. To justify Pawan Kalyan’s presence within the story, Sriram Venu weaves an elaborate backstory about how Satyadev turned a person of the plenty, a messiah to the weak and downtrodden in search of justice, and the rationale why he was compelled to take up legislation within the first place. On paper, all this is actually in sync with the character, however one can’t assist however really feel how out of place your complete phase is within the bigger context of the story. The flashback phase is additionally the weakest factor in Vakeel Saab and it doesn’t add any worth to the story past telling us that Satyadev stands by fact and justice. His identify itself suggests so, and Sriram Venu struggles to merge the reel and real-life picture of Pawan Kalyan. Fortunately, the narrative undergoes a dramatic course correction and finds its path simply when the proceedings appear hopeless.
The rationale why Vakeel Saab works extraordinarily properly within the second half boils down to how sincere it is about what it desires to say. The presence of Pawan Kalyan and Prakash Raj, particularly when the 2 take one another head on, accentuates the drama. Sparks fly throughout their arguments and director Sriram Venu channelises Pawan Kalyan’s aggression to a dramatic impact. In contrast to Amitabh Bachchan’s Deepak Sehgal in Pink, Pawan Kalyan’s Vakeel Saab is much more flamboyant, aggressive, and argumentative within the court docket. There’s no room for subtlety, and the entire second half has an unrestrained vitality that uplifts the underlying emotion within the story. As Satyadev, Pawan Kalyan delivers one of his finest performances in a very long time.
Whereas Pawan Kalyan and Prakash Raj give the movie its firepower, its emotional core lies with what the three actresses – Nivetha Thomas, Anjali, and Ananya – carry to the desk. They make you empathise with their state immediately and the trials and tribulations they undergo really feel much more private, even when they play mute spectators to all of the drama unfolding round them. It’s the look on Nivetha’s face, even when she restrains her tears, that leaves a lump in your throat. It’s the gaze of a lady who’s making an attempt to stand tall whereas everybody round her turns judgemental about her character. In Anjali’s case, it’s her helplessness, and for Ananya, it’s her innocence that captivates your consideration.
It’s not and not using a motive why the factor that issues probably the most in Vakeel Saab is how properly the courtroom segments are dealt with. Proper from the dialogues by Mamidala Tirupathi and manufacturing design by Rajeevan, to PS Vinod’s cinematography, the courtroom scenes within the second half depart a long-lasting impression. The pacing of the story feels close to good, and three cheers to music director Thaman for delivering a background rating that matches the riveting drama unfolding inside and outdoors the court docket.
For Sriram Venu, a movie like Vakeel Saab is at least a litmus take a look at about how properly he can do justice to each the star and the story. Not solely did he go the take a look at on each counts but additionally, he leaves you with lots to take into consideration, past Pawan Kalyan’s display presence. Vakeel Saab desires to combat the precise combat, even when it turns its gaze away from the three girls on the centre of all of the drama to glorify its lead actor. It tells us that one should stand by the reality irrespective of how onerous the journey is and one should not quit preventing in between. It’s this intent that issues probably the most. In spite of everything, what stays probably the most with you after watching the movie is what occurs within the court docket.