‘Hanuman’: A mixed bag of goosebump moments

• Release Date: 12/01/2024
• Cast: Teja Sajja, Varalaxmi Sarathkumar, Vinay Rai, Amritha Aiyer 
• Director: Prasanth Varma

“A Mixed Bag of Goosebump Moments and Commercial Clichés”

Hanumanthu is a kindhearted pickpocket in the fictional village of Anjanadri. Raised by his elder sister in the absence of their parents, he is deeply in love with Meenakshi, a town-educated doctor who despises him for being a thief. Hanumanthu’s life takes an interesting turn when, after facing an extraordinary situation, he is bestowed with the power of one of the Chiranjeevis—Hanuman—in the form of an artefact. Now, Hanumanthu must comprehend the newly acquired power and learn to use it to the advantage of both himself and the village. However, time is of the essence, as an evil force, long in search of a natural source of unlimited power, finds its way to the village of Anjanadri. This intrusion appears to be triggered by the superhuman exploits of Hanumanthu after obtaining the artefact’s power. The remainder of the story unfolds as these two formidable forces come face to face, exploring the potential long-term impact on human existence in the village and the world at large.

Director Prasanth Varma has consistently delivered unique storytelling and concepts in all of his previous films. Among them, ‘Awe!’ stands out as the most distinctive and widely accepted. Given Varma’s track record, I had confidence that his foray into the superhero genre and the creation of an entire superhero universe would begin with a film truly unique, infused with a distinct Indianness.

However, having watched “Hanuman”, I can assert that while it carries several elements that feel distinctly Indian, it ultimately falls into the trap of clichés and repetitiveness commonly found in superhero films and commercial Telugu cinema. The storyline adheres closely to well-worn tropes, from the origin of the superhero’s powers to the conflicts surrounding them, and the eventual resolution. I had hoped for a more unique and different treatment in both the story and the overall cinematic approach, setting it apart from the conventions seen in both Indian and international cinema. Unfortunately, that wasn’t the case here.

The integration of Indian itihasa (epic history) with the introduction of superhero elements in the film resonated with me:

Two crucial characters from the Ramayana play significant roles in the narrative, seamlessly woven with care, reason, and the celebration they deserve. The impact of one character, in particular, towards the end of the film gave me goosebumps. The process of initiating Hanumanthu into superheroism, the circumstances leading to it, and the detailed explanation of his powers were skillfully executed, and backed by sound logic. I was particularly impressed by how the sequences involving the artefact, which bestowed Hanumanthu with his powers, were built up and presented with conviction.

Well-Developed And Purposeful Antagonist:

The villain in this film is not a caricature, a departure from the norm in Indian superhero films. He possesses a solid backstory, having undergone a journey parallel to Hanumanthu, leading him to the place where he finds himself. In a poignant scene, the villain recalls something his mother told him before an action of his that resulted in her death. This scene adds depth to the villain’s story, accomplishing what many other additional scenes might have failed to do. What stands out about the villain is the fact that, for a significant portion of the film, he sees himself as the hero. His gradual realization of his true villainous nature and the madness accompanying his insatiable desire to possess superhuman powers are dealt with authenticity, poignancy, and realism. This makes the character the perfect antagonist for the film.

Extreme and frequent Tonal Shifts Between Comedy and Drama Were Not Dealt with Efficiently:

While the film excels in character development and thematic elements, its execution falters in the plot and scenes leading up to the climax, particularly in the first and earlier portions of the second half. The narrative suffers as the focus shifts to mediocre comical exchanges, romantic interludes between Hanumanthu and Meenakshi, and prolonged action sequences that serve more as comic relief than impactful encounters between the forces of good and evil, capable of altering the fate of Anjanadri village and the world. Throughout the film, I never felt genuine concern for Hanumanthu’s safety, and his actions failed to inspire.

The action sequences lacked impact, and the constant comedy hindered the film from assuming the necessary seriousness. Amidst this cacophony, there were oddly serious scenes attempting to make the audience take the story, characters, and the film seriously. This did not work for me at all. Adding to the inconsistency, major characters were killed off unceremoniously, and the village faced genuine threats in the end that came as a major jolt. This abrupt tonal shift left the audience unprepared and disrupted the narrative flow, making it challenging for viewers to connect with the film in a way that would evoke inspiration and genuine emotions.

Teja Sajja Is Underwhelming and Uninspiring as Hanumanthu:

Teja Sajja puts in a genuine effort to make the character work, but it’s undeniable that he may not be ideally suited to play a superhero. There’s a lack of aura, personality and heroism about him that fails to convey the kind of power his character is supposed to possess in the film. Unfortunately, he also doesn’t exude the charisma required for a character of this nature. While he convincingly portrayed the protagonist in films like “Zombie Reddy” or ‘Adbhutham,’ he falls short here, diminishing the overall impact of the film and its inherent heroism. The mannerisms he’s asked to portray in the film, such as twirling his moustache, further contribute to making him appear more like a comedian than an impactful superhero. In my opinion, Teja was the weakest element of the film, and his portrayal raised questions about the believability and realism of the film, ultimately preventing its impact from resonating.

Vinay Rai And Varalaxmi Sarathkumar Excel in Their Essays:

Interestingly, Vinay Rai brings a compelling and impactful performance as the antagonist. He not only successfully sells the madness of his character but also convincingly portrays the inner conflicts of a man who believes he is a superhero but does things that are more reminiscent of a villain. Rai effectively conveys the character’s inability to handle criticism and the lengths he would go to silence those who question his heroism. This dynamic results in interesting situations that are well-conceived and equally well-acted by Vinay Rai. I only wish there was more of him in the film, as it would have greatly benefited the overall narrative. Amritha Aiyer as Meenakshi, while having little to do, performs her part with sincerity. Varalaxmi Sarathkumar, always a striking presence, stands out in emotional and dramatic scenes, contributing significantly to their effectiveness. One particular action scene involving her is fantastic and highly enjoyable. On the other hand, Vennela Kishore and Getup Srinu are unfortunately wasted in characters that could have been portrayed by anyone, not fully utilizing their potential.

The CGI Is Notably Good for The Budget:

One aspect of the film that deserves applause is the director’s work on visuals and action. While I have a few concerns about the action sequences, I’ll address those shortly. The CGI in the film, considering the budget, is marvellous. I was particularly in awe of the visual representation of the village of Anjanadri. The shots establishing its location and vibrant beauty felt beautifully real, leaving me thoroughly impressed. The use of CGI in the action sequences and the rendering of a character from the Ramayana towards the end added further accolades to an already praiseworthy effort in the visual department.

The Action and Its Staging Could Have Been Better:

A recent example that comes to mind is “Salaar”, where Prabhas does very little in terms of movement, yet the action is staged and presented with such gusto and power that it feels mighty impressive. This is an element missing from the action in “Hanuman”, and it desperately needed this dynamic quality. Moreover, Teja Sajja lacks the physicality required to sell such sequences. The use of wirework also detracts from the enjoyment of the action sequences. Additionally, the editing choice, where the screen goes dark and only the results of Hanumanthu’s actions are shown instead of illustrating how it was done, dampens the excitement of the action on multiple occasions.

Final Words:

“Hanuman” attempts to blend elements of Indian itihasa with the superhero genre, offering a semi-unique narrative that incorporates characters from the Ramayana in the modern world. While the film boasts commendable visual work and a standout performance from the antagonist, Vinay Rai, it falters in its execution of the plot, particularly in balancing tone and pacing. Teja Sajja’s portrayal as the protagonist falls short, lacking the charisma and physicality required for a superhero role. Despite its shortcomings, the film manages to deliver moments of emotional resonance, especially through Varalaxmi Sarathkumar’s impactful performance and a bravura post-climax scene where one of the most beloved, heroic and enduring characters of all times makes an appearance on the big screen. “Hanuman” leaves the audience with a mix of awe for its visual achievements and a yearning for a more refined and consistent storytelling approach.

Rating: 2.5/5 (2.5 out of 5 Stars)

The views expressed in this article are that of the reviewer and do not reflect EastMojo’s position.

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