Devara: Part 1 (2024) Review!!

Synopsis – An epic action saga set against coastal lands, which briefs about rip-roaring ,emotionally charged incidents in the periodic timeline, also comprises the titular protagonist being the rescuer to deprived and fear to evildoers.

My Take – Though N. T. Rama Rao Jr has been a massive star in the Telegu speaking belts of India since the early 2000s, it was his co-lead role in S. S. Rajamouli‘s magnum opus RRR (2022), that turned him into global phenomenon, earning him Pan-India fame and universal recognition, as the film went on to become one of the highest-grossing Indian films all the time, while also picking up the Oscar for Best Original Song at the 95th Academy Awards.

A result of which his first solo lead starrer has been one of the much-hyped films of the year. Expectedly, it is mounted on a large scale, from the commanding “Man of Masses” title card to the chilling stone inscription written in blood during the interval, the film is a non-stop barrage of a killer background score from Anirudh Ravichander. But only if the narrative was also up to the same mark.

Heavily inspired by the Baahubali films and many other recent PAN-Indian money-spinners, writer-director Koratala Siva’s latest is strictly for fans of films that, in the absence of a solidly original concept, seek to thrive on their epic scale and the star power at disposal.

Marred by a fairly predictable arc, the film’s pacing is uneven, with unnecessarily long sequences that add little value to the plot. Even the action scenes are poorly executed and feel repetitive.

Visually, the film doesn’t stand out, and the soundtrack fails to leave an impact. It’s aims high but ultimately falls flat under the weight of its own ambition dampening the future prospects of the two-part film.

Sure, certain elements work, but they are few and far between, leaving NTR Jr. to become more of a one-man show and carry the insipid and predictable storyline on his shoulders to the cliffhanger finish line.

Beginning in 1996, with a meeting between senior Bombay police officers, a RA&W official and a minister, discussing about a potential attack planned by a mafia don to disrupt the upcoming Cricket World Cup. Given freehand the lawman (Ajay) in undercover mode heads to the Red Sea villages in the Ratnagiri Mountains along the border of Andhra Pradesh and Tamil Nadu to nab the crime lord who has not been seen in public for several months.

Once there they are told about a story taking place in the 80s and that follows Devara (NTR Jr.), a fearless pirate leader of one of the four Red Sea villages, the descendants of warriors who once fought against the British, who were reduced to smugglers after Independence.

However, when one of their escapades go south, Devara swears off the criminal life and strongly opposes the other clans too from indulging in it, even resorting to violence when the need arrives. Setting off a lifelong rivalry with Bhairava “Bhaira” (Saif Ali Khan), the leader of another village.

And when he is nearly killed in an attempt on his life, Devara disappears from the main land, with a vow to continue protecting the seas and to kill those who venture out for smuggling.

Turning into a myth, which even years later threatens the life of his son, Varadha ”Vara” (NTR Jr.), who is instead a meek personality and totally the opposite of what his father stood for.

Here, director Koratala Siva has created an interesting and ambitious fictional world, introducing the 4 clans and their culture. Even though, it never delves into how Devara and Bhaira from different clans became friends and collaborators, it gradually shows how their moral compasses are different. Several scenes and segments, like the container sequence and the pooja festivities, have their resonance as the story progresses, rather than being standalone moments.

But then Koratala Siva‘s screenplay suffers terribly in establishing the central conflict and elevating the emotion to the right level as he falls into the regular commercial demands and gives in. While the first half offers a satisfying blend of crowd-pleasing moments and commercial masala tropes.

Unfortunately, the second half of the film doesn’t live up to the promise of the first hour as it is clubbed together with filler scenes of humorous scenes which never land.

Yes, there are a few entertaining aspects to the film’s post-intermission part, such as a scene where Vara subdues strong fighters to obtain the weapons at the ceremony with sand in their eyes. It’s a different, more improvisational fighting style than the brutish Devara. However, it sadly lacks investment previously captured.

Then it immediately rushes for the third act and the impact remains completely missing. Even the major twist in the end lacks the shock value the director clearly intended.

But nothing in the film is as disappointing as the VFX. Never completely abysmal, but the underwater sequences, the shots of the turbulent ocean, the explosions and the superhuman leaps across and over hurdles are tacky to say the least. That is one area that the next installment of the film would need to register a huge improvement.

Simply told, like Salaar (2023), this is another example of a commercial film, hoping to capitalize on the glory of the Baahubali series, forced into two parts. What could have easily been told in one film, is dragged beyond necessity.

Performance wise, NTR Jr. proves to be a one man show again. Essaying dual roles, the super star is able to contrast both characters. By now Saif Ali Khan has mastered the art of villainy and brings the required subtlety, viciousness and rustic ruthlessness of his role. Janhvi Kapoor appears in the second half and is not allowed to do anything noticeable. The role didn’t demand anything else but to look sexy and romance the lead.

In supporting roles, Prakash Raj, Shruti Marathe, Srikanth, Shine Tom Chacko, Murali Sharma, Abhimanyu Singh, Kalaiarasan, Zarina Wahab, and Ajay are decent. On the whole, ‘Devara: Part 1′ is an underwhelming experience that is mostly derivative and predictable. Had it been a single film, it might have been much more wholesome.