Acharya Movie Review: An out-of-date, uninteresting drama
Story: A stranger appears in a temple town to save the people from hellfire. Who is he, and will he be able to save this village?
When a movie boasts that it has two A-listers, you tend to expect too much from it. Then the producers add a village in verse with the temple town, some laal salaam, and a villain or two; on paper, it’s the makers of a great masala film. But Koratala Siva’s Acharya feels as divided as the temple town is between being a commercial potboiler and one that takes its plot way too seriously.
Director: Koratala Siva
Writer: Koratala Siva
Stars: Chiranjeevi, Ram Charan, Pooja Hegde
According to legend, an Ammavaru descended to Earth to save a clan from a terrible fate and remained on the planet. The settlements of Dharmasthali and Padaghattam are located around the temple erected in her honor, as well as the wilderness area called Siddhavanam. Years later, people from Padaghattam are recognized for upholding Dharma and practicing Ayurveda. The inhabitants of Dharmasthali, on the other hand, engage in unethical behaviors, with Basava (Sonu Sood) assisting them. A business owner named Rathod (Jisshu Sengupta) covets Siddhavanam for illegal mining. Soon after his arrival in the city, a mysterious stranger known as Acharya (Chiranjeevi) appears to restore order. But who is he? Why is he interested in these people’s fates? What relationship does he have with Siddha (Ram Charan) and Neelambari (Pooja Hegde)? The plot begins there).
The idea of Acharya runs on an unusual, if conventional, premise. The issue is that because the advertising provides so much away, there’s nothing particularly interesting about the film. You can guess right away that Acharya is a naxal; you may even figure out why he’s in Dharmasthali since it’s as old as cinema itself. However, the first half of the film tries to persuade us that we are unfamiliar with these subjects, relying on us learning more about Acharya as the film goes on. The vigilante climbs some ladders and soon Basava is behind him. However, it is only in the second half of the narrative that Acharya manages to arouse interest in events, even if only because Ram Charan joins up.
The film is a whirling bag of paradoxes that makes you dizzy after a while. Even as the camera objectifies Regina Cassanda in the special number, Saana Kashtam, it judges men who pursue pleasure and immoderation. However, once Siddha’s tale is told, and while it remains predictable, Koratala succeeds in providing audiences with some memorable moments. A particular sequence in which Acharya and Siddha make fun of goons as they stab them will be remembered by fans aside from the song Banjara. The film concludes with a couple of fights that are effective.
It’s a shame that Acharya doesn’t work as planned since Chiranjeevi and Ram Charan have shown in the past that they can do much better. However, it is only these two who succeed in keeping you engaged throughout the trip. Kajal Aggarwal’s role, of course, has been significantly reduced from the film, while Pooja Hegde does not receive one with any substance. Mani Sharma’s songs, such as Laahe Laahe and Neelambari, are firmly integrated into the narrative and his BGM is appropriate. On the other side of the scale, Manu and Jisshu can play their parts in their sleep, whereas Ajay manages to secure (and pull off) a part that is different from his regular ones. The rest of the cast does well as well. M Mani Sharma’s music consists of compositions with an aggressive rhythm that are violently inserted into the narrative and serve their purpose effectively.
There’s no other way to put it — Acharya doesn’t have the soul the book required in order to succeed at telling a story that relies too much on individuals connecting to the idea of dharma. We all know that Koratala Siva, Chiranjeevi, and Ram Charan are capable of producing more than this.