Ustaad Bhagat Singh

On the whole, Ustaad Bhagat Singh is a formula-driven action drama that delivers a few fan-pleasing moments. Pawan Kalyan’s presence and select action sequences work in its favour. However, a predictable storyline, weak first half, and underdeveloped characters hold it back. It may appeal to fans, but for a wider audience, it remains a routine commercial outing.

Much of the film feels cliched. The narrative structure and scene construction appear dated, lacking the freshness. Harish Shankar seems conscious of not turning this into another “Theri,” yet the film doesn’t fully capitalize on even that borrowed template. As a result, the antagonist, played by Parthiban, comes across as weak and underdeveloped.

Gabbar Singh is still being considered as one of the textbook references for any film director who would like to make a commercial film. It is a typical commercial entertainer but what worked in its favour is the protagonist’s characterisation. Gabbar Singh’s character may have a few resemblances to Pawan Kalyan’s real-life personality traits but a majority of its characterisation looked original and fresh. The story and premises of that film were familiar to the audience back then but it worked because of its originality in characterisation and in screenplay. This is where the director failed in Ustaad Bhagat Singh. What we get to see here is the characterisation of the protagonist that is quite similar to real-life Pawan Kalyan, his social conscience and political ideologies. And then, the writer and the director, used multiple references from other movies in the name of ‘bringing back the vintage Pawan Kalyan’.

‘Dekhlenge Saala’ is a super hit number from the album and the song is shot well. It offers a feast for the fans. The other songs are ok. Thaman fails this time with the background score. Several massive sets are constructed in the film. Some of the one-liners penned by Harish Shankar are impressive. On the whole, Ustaad Bhagat Singh is a mixed bag and it impresses Pawan Kalyan’s fans.

It is only in the second half that the film finds its actual footing. The narrative delves into Bhagat Singh’s past: his tenure as an ACP in Hyderabad’s Old City, his love story with radio jockey Leela (Sreeleela), and his conflict with the local MLA Nagappa. This portion carries the core emotional weight of the film. While still formulaic, it offers a few engaging moments. The love track works to an extent, and the use of “Ee Manase” (from “Tholi Prema”) adds a nostalgic charm. There are also a handful of genuinely enjoyable scenes here.