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Review With Pushpa The Rise, Sukumar gambles into unchartered home by making a rustic masala film filled with punch discourses, characters that speak in a Chittoor shoptalk and a story that’s confirmed deep in the region it’s set in. And seeing as how prospects were sky-high after Rangasthalam, what he delivers turns out to be a mixed bag that isover-long, falters at times and delivers what it promises at others.
Pushpa Raj (Allu Arjun) is one of the numerous coolies in Seshachalam who hash down red sandalwood immorally and vend it by the kilo to powers-that- be. In a syndicate that consists of multitudinous players, Pushpa sluggishly learns to find his footing and rise in species till the man who would formerly hash down these trees becomes the one giving the orders. Still, his Achilles heel isn't his lady love Srivalli (Rashmika Mandanna), or the big- hairpieces Konda Reddy (Ajay Ghosh), Jolly Reddy (Dhananjay), Mangalam Srinu (Sunil) and his woman Dakshayani (Anasuya Baradwaj). It's the fact that his family (Ajay) wo n’t let him claim his lineage, commodity that takes Pushpa from zero to hundred in no time and frequently becomes the reason for this laid-back, sardonic, arrogant, indeed funny man to lose his cool. And right as he gets where he wants to be in life, in comes IPS Bhanwar Singh Shekawat (Fahadh Faasil) hanging to upend the precisely constructed order that Pushpa has put in place.
Pushpa The Rise is backed by a story that’s frequently explored in cinema – the rise of the sacrifice. So Sukumar really has nothing new to explore then. What’s new is the way he chooses to expand the story and spend time on setting up Pushpa’s character for a whole film, gauging three hours, before getting into the thick of effects. And this move really might not sit well with everyone because despite all the hoopla, that's basically what this film is. Pushpa might have made foes of multitudinous people, but none of them feel to indeed ever be a match to his frosty nature, that is, till Shekawat comes into city. Sukumar’s film fares well when it sticks to the story at hand and focuses on the nitty gritty of red sanders smuggling, Pushpa’s donation to smoothening effects out, etc. Where the film falters is when it tries to pull off an odd (and problematic) love between him and Srivalli, this does n’t always work or indeed add to the larger story at hand. Sure, Pushpa gets a chance to be her knight-in- shining-armour but it seems to move the story in a direction it would ’ve gone anyway. The final battle between Pushpa and Shekawat also does not have the asked effect, coming off as rushed and the latter's character acting underwhelming.
Also underwhelming are the VFX, art direction, editing and sound design in certain scenes. The platoon of Pushpa The Rise didn't hide the fact that they had to rush to release the film on time and it shows through the cracks. Given the run- time that seems unwarranted formerly, the specialized glitches only make the excrescencies all the more striking. Where Pushpa The Rise shines is when it comes to the casting, direction, cinematography, costumes and music for the utmost part. Sure, the BGM by Devi Sri Prasad might feel underwhelming at times, but his music further than makes up for it because it blends well into the story. Photographer Mirosław Kuba Brożek and director Sukumar feel to have plant the perfect groove for this film, completing each other with their work. Pushpa's character's costumes see a change depending on his standing in this world. The supporting cast also gets a chance to shine, despite occasionally being chump- drilled into playing characters that are nothing further than cookie- knife. Rashmika also seems lost in a film that’s high on testosterone. Anasuya on the other hand gets a scene with Sunil that proves she’s a fit in this world. Samantha's gem in Oo Antava Oo Oo Antava elicits hisses, to no bone's surprise.
With all said and done, Pushpa The Rise is Allu Arjun’s show all the way. He shines in playing this rustic character that's hard on the face but vulnerable in ways that others do n’t see. Allu Arjun’s suckers might be happy to see him shaking a leg briefly in figures like Saami Saami and Eyy Bidda Idhi Naa Adda but he truly shines when he’s in a hassle for power, with Peter Hein, Ram-Laxman calculating some stunning action sequences or when he’s brushing off being called coolie oda constantly because he knows he’s too good for whatever others conception him as. He also gets a chance to show off his acting chops, piecemeal from the shoptalk he worked hard on, when he shoulders a film as massive as this one, occasionally he indeed makes you laugh.