Hanu Man, one of the most ambitious Telugu films in recent times, quite deservedly garnered a ton of attention during the time its teaser release for not only achieving lavish visuals with a shoestring budget compared to recent releases like Adipurush but also for its ambitious storytelling. With that said, fast forward a year later, Director Prasanth Varma, realizing the gigantic expectations in the sparsely occupied realm of Indian superhero films, carved a film that exceeded expectations, solidifying its place in the genre.
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Set in the quaint town of Anjanadri, Hanu Man unfolds as a careless teen pickpocketer named Hanumanthu receives extraordinary powers through a mystical gemstone. As the storyline progresses, he gets foreordained to combat the challenges plaguing his village and beyond.
One of the most surprising elements of Hanu Man is its well-crafted screenplay. Initially expecting a generic narrative filled with typical superhero tropes, I was pleasantly captivated by Prasanth Varma and Scriptsville’s commendable work. Despite traversing familiar ground, the film showcases layers of intricate character development. Varma skillfully elevates the conventional tale of a small-town hero battling a power-hungry villain with engaging nuances, ensuring a compelling and unpredictable viewing experience.
Furthermore, the hero’s character arc unfolds seamlessly, transitioning from a carefree teen to a responsible adult, showcasing a journey beyond mere physical prowess. Also, the comedic scenes featuring ‘Getup’ Srinu, Satya, and ‘Vennela’ Kishore intertwines seamlessly with the narrative, providing some genuinely funny and humorous relief while maintaining story cohesion.
In the second half, the sibling bond strikes an emotional chord, significantly impacting the overarching narrative and the romantic subplot between Teja and Amritha is handled with subtlety. Furthermore, the film adeptly leverages the powerful presence of Lord Hanuman, creating whistle-worthy pre-interval and climax episodes that resonate with audiences, and seamlessly weaves in Hindu Ithihasas.
Despite its strengths, Hanu Man succumbs to a common superhero film pitfall – a lackluster villain with clichéd motivations, echoing issues found in some Marvel and DC counterparts. The antagonist’s character lacks the depth and novelty necessary to elevate the conflict. Furthermore, Prasanth Varma’s visual style, reminiscent of mid-2000s craftsmanship, may not resonate with audiences anticipating a more contemporary cinematic feel in 2023. While the film maintains a generally steady pace, subtle pacing issues emerge. Varma’s direction, while effective, could benefit from judicious editing to remove a few scenes. This would contribute to a more refined and tightly knit narrative.
On to the technical aspects, Gowra Hari’s background score is a standout element, enhancing crucial moments with its emotive resonance. While the production design and cinematography achieve a commendable standard, it is crucial to acknowledge the constraints of the modest budget (around 30 to 50 cr). Consequently, critiquing the VFX would be unjust; considering the financial limitations, the visual effects are commendably decent.
Overall, in Hanu Man, ambition, emotion, and stellar performances converge, complemented by a compelling incorporation of Hindu mythology. Despite some drawbacks, Prasanth Varma’s unwavering commitment to storytelling triumphs. The film delivers a potent superhero experience, marked by its punchy narrative and engaging theatricality. An ideal family viewing, particularly during festive seasons.
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