Bagheera: a simple, done-to-death story at its core

• Release Date: 31/10/2024
• Platform: Netflix
• Cast: Sriimurli, Rukmini Vasanth, Prakash Raj, Garuda Ram
• Runtime: 158 Minutes
• Director: D.R. Suri

A Sensational Sriimurli Elevates Prashanth Neel and D.R. Suri’s Predictable Vigilante Tale 

“Bagheera” is written by Prashanth Neel and D.R. Suri, who had previously collaborated on “Salaar” and “KGF Chapter 2,” both directed by Neel with Suri assisting him. Vijay Kiragandur served as the producer of both films. One can clearly notice a sense of familiarity in how the three films look, feel, and unfold. The storytelling focuses on the hero’s journey, emphasizing the development of a single character and using it as a lens to showcase the corrupt world around him, highlighting how his actions alone are sufficient to suppress the evil to its bare minimum.

In “KGF” and “Salaar,” the protagonists were criminals with superhuman strength and intelligence, waging war against larger criminal forces. In “Bagheera,” the protagonist is a police officer raised on a steady diet of superhero comics and an idealistic sense of right and wrong instilled by his principled mother and father. After joining the force and dealing with the criminals of his city within the confines of the law, he realizes the limits of his uniform and the constrained power it represents. He understands that adopting an alter ego to instil fear among the worst in society is a more effective way of fighting evil than relying on the judicial system.

This realization comes after a harsh reality check from his father (also a police officer) and his superior, and witnessing the suicide of a rape victim in his presence, a tragedy that shakes him to the core. Thus, the vigilante Bagheera is born, a name given to him by the people.

As with “KGF” and “Salaar,” “Bagheera” has a simple, done-to-death story at its core. Anyone familiar with Bollywood masala potboilers or Hollywood vigilante films will predict every twist and turn. The character arc is obvious, and the protagonist’s trajectory is straightforward. The situations and challenges created for him are not novel, and while the elaborate action sequences are competently executed, they feel repetitive and echo the superior action and violence of “KGF” and “Salaar”.

What works for the film, however, is that its core story, despite being rehashed, retains its appeal. Society remains riddled with evil, and every viewer can relate to the torment of witnessing villains escape justice. The film taps into a universal desire to see wrongdoers get punished. Watching an idealistic hero thrash antagonists and dismantle their operations is cathartic and entertaining, even if it veers into fantasy. Neel and Suri exploit this cinematic trait to its fullest, crafting moments of high drama and tension that pay off in the hero’s bravura actions.

The leading man, Sriimurli, elevates the film with his charisma, physicality, and mannerisms, adding weight to pivotal moments. Key scenes like his first kill, the rape victim’s suicide that pushes him to vigilantism, his transformation with the help of allies, and the montage of his initial kills are impactful largely because of his performance and the rousing Background Score. While the film lacks originality and finesse in execution, Sriimurli’s commanding screen presence and undeniable heroism compensate to a great extent.

In a story of this nature, the villain is as crucial as the hero. Garuda Ram, who played the big bad in “KGF: Chapter 1,” takes on the role of Rana, a name synonymous with fear in the film. People choose suicide over dying by his hands in the film underlining his terror. Unfortunately, the character is underdeveloped, lacks significant screen time, and fails to raise the stakes meaningfully for the hero. Even the confrontation between Rana and Bagheera lacks the emotional depth and intensity seen in other iconic rivalries, such as Bane and Batman in “The Dark Knight Rises”. While Rana commits a heinous act against Bagheera’s love interest, the moment is rushed and fails to evoke the hero’s pain or the audience’s empathy. This trope of the heroine meeting a tragic end is also becoming a recurring theme in Neel’s stories, and it was predictable here as well.

Prakash Raj adds an interesting layer to the story as a senior CBI officer seeking vengeance against Bagheera for personal and professional reasons. His character arc, showcasing how even the most vindictive man can be transformed by true heroism and goodness, serves its purpose but doesn’t significantly impact the overall narrative. Similarly, the romance between Sriimurli and Rukmini Vasanth feels formulaic, existing mainly to spice up the final conflict. Even the scenario of choosing to save between the heroine and a group of endangered civilians borrows heavily from Christopher Nolan’s “The Dark Knight” bringing down its impact in the film no matter how seriously it is dealt with. 

In terms of visuals and storytelling approach, the film feels uncannily similar to Neel and Suri’s previous works. However, I must admit that this film is a tad brighter than both Salaar and KGF, which significantly elevates its visual presentation. While the background score is impactful in several moments, and the song “Rudhira Dhaara” successfully instils a sense of heroic fervour, the film falls short of offering more such memorable elements. This lack ultimately dilutes its overall impact, preventing it from being as memorable as the makers’ previous offerings.

“Bagheera” is a decent entertainer that taps into our inherent desire to see the oppressed and wronged rise against the powerful and obliterate them in creative ways. The film benefits immensely from a fantastic performance by Sriimurli, whose presence, charm, and heroism elevate otherwise ordinary sequences to a much higher level. Memorable and well-designed set pieces help sustain the audience’s interest through transitional periods in the film, and the screenplay remains engaging enough to avoid boredom, even though every aspect of it feels predictable and rehashed.

That said, I expected more from Prashanth Neel and D.R. Suri, especially after the benchmarks they set with their previous films. These heightened expectations were a key reason why this film ended up being disappointing for me. I was excited to see what they could bring to a vigilante/superhero narrative, but they fell well short of the brilliance they achieved with their earlier works, which didn’t rely on the straightforward superhero trope.

Rating: 3/5 (3 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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