‘Bachchala Malli’ Movie Review: Allari Naresh is the only saving grace of this mega-bore

Allari Naresh in ‘Bachla Malli’ Photo Credit: Special Arrangements

In an hour of chest-pounding heroism when films are filled with a series of successive highs, it is heartening that filmmaker Subbu Mangadevi has chosen to tell the story of a loser in an unexpected way. his Bachala Malli It’s about a good young Malli (Allari Naresh) who follows a self-destructive path, never coming out of trouble.

Malli, by no means, is your average male protagonist. He barely acknowledges his mother’s presence at home, sews bags for a living, steals donation boxes from children for drinks at the local bar, engages in petty fights with fellow customers. As he falls off his bike, lying unconscious on the street, not a soul cares about him, you are then slowly introduced to his sordid past.

The film crosses multiple timelines — from 1985 to 2005 — focusing on key events that changed the course of Malli’s life. Every embarrassment inevitably comes back to his ‘father’ issues. Malli cannot make peace with his father’s decision to leave his mother for another woman; He destroys himself, almost on purpose. He sinks lower and lower, leaving little room to sympathize with him.

issue with Bachala Malli It’s not the title character or his problems, it’s the directionless storyline. A movie may not necessarily reach something, but at least it can make us feel for its characters. Tired, over-the-top storytelling accentuates its problems.

The film moves from one tragic incident to the next — the number of victims who fall victim to Malli’s actions only increases. Working on a love track with Kaveri (Amrita Iyer), it taps into an old fetish of Telugu directors – an unsuspecting, well-educated girl falls for a notorious boy (read stalker) and passes it off as romance. The girl slaps him too, but he is adamant and has his way.

Ironically, women are the silent victims in the story. Subverted by her husband (Kota Jayaram) and son Malli, the mother (Rohini) lacks the agency to challenge their authority and put them in their place. Malli’s stepmother is portrayed as a victim of circumstance. The father (Rao Ramesh) and the lover – there is a clash of egos between the men – do not let Kaveri have her way. Malli’s niece Rajyam (Hari Teja,) is an eternal giver and never loses hope despite her mistakes.

Apart from a strong climax where Malli repents, her character arc remains largely static. Veteran actors Rao Ramesh and Rohini prove their range as actors, especially towards the end. Bachala Malli There was plenty of scope to be an emotionally rich story but it has neither the appeal of masala fare nor the roots of a realistic film.

While the entire film is about Malli, it is further flourished by a short subplot set around a saree shop owned by her niece Rajyam and her husband (Praveen). A section about Malli’s half-brother and her mother was likely – considering how Pushpa It was born out of such conflict. Achuth Kumar is vain in the typical role of a shrewd businessman.

Allari Naresh’s hunger to reinvent himself as an actorNandi is very clear in his role Ugram, Maredumili Prajanikam, Na Sami Ranga, Aa okkati adakku And now Bachala Malli. However, it is time for him to be careful and choose stories that work as a whole rather than as characters or backdrops. Here too he assures but sadly the film gives him very little.

Apart from Naresh, the film has a good mix of talent – Harsh Roshan, Ankit Koya, Praveen, Hari Teja, Rohini and Rao Ramesh – who shine within the scope of their roles. Amrita Iyer gets a raw deal in a lively role without any substance.

On the technical front, the staging is sluggish, like a big dramatic play, while the cinematography and editing do little to save the film. Vishal Chandrasekhar’s subpar music is disappointing, though to be fair to him, the song situations are hardly compelling.

Bachala Malli Also does not provide satisfactory resolution facility. Like Mally, you feel tired and depressed.

(Playing at Bachala Malli Theatre)