Actor Duniya Vijay’s second directorial venture, **Bheema**, mirrors his earlier film, **Salaga**, in numerous ways. In both cinematic endeavors, Vijay portrays an anti-hero character, striving for a more significant cause. **Salaga** championed the idea of reformed rowdies, while **Bheema** focuses primarily on the necessity of a drug-free society. However, unlike **Salaga**, **Bheema** holds a different, albeit slightly scrambled, narrative concerning its core message.
Vijay seems to have a penchant for crafting fierce and influential police characters. In **Salaga**, Dhananjaya’s portrayal of an unrelenting police officer overshadowed Vijay’s character. Similarly, in **Bheema**, Vijay takes a backseat as Priya Shatamarshan steals the limelight, offering a riveting performance as a brutal yet upright policewoman.
**Salaga** is held in higher regard when compared to **Bheema**, particularly because the former seamlessly merges its underlying message with engaging entertainment. In **Bheema**, however, Vijay appears to have overcrowded his screenplay—especially in the latter half—making the film inconsistent and somewhat disjointed.
The narrative of **Bheema** follows the life of an orphan named Bheema (played by Vijay), who is brought up by a mechanic named Ramanna (portrayed by Achyuth Kumar). Bheema’s life takes a drastic turn when he encounters Dragon Manju (Manju), a nefarious drug dealer who endangers the lives of young individuals via his extensive drug racket. Corrupt politicians exploit these vulnerable individuals to fulfill their political ambitions.
Despite the myriad ideas presented by Vijay, some semblance of well-crafted writing is evident in the characters of the policewoman Girija and the female lead, enacted by Ashwini. Girija stands out for her fearlessness amidst a male-dominated and morally bankrupt world of crime and politics. Her significant presence is a narrative breath of fresh air. She is often seen reprimanding young boys and girls, encouraging them to pursue education instead of falling prey to harmful addictions.
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Vijay sets the stage in the narrow lanes and congested, dingy houses of Kalasipalya area and SP Road in Bengaluru. For viewers unfamiliar with these bustling city parts, the cinematic experience offers a fresh perspective. The authenticity of the world-building is elevated by Charan Raj’s dynamic musical score, which consistently surprises with its blend of songs and background music. Vijay also ensures an array of interesting characters populate the narrative, maintaining the viewer’s engagement.
Nevertheless, **Bheema** stumbles significantly in the second half. Vijay attempts a deep dive into the drug scandal but fails to unearth anything groundbreaking or insightful. The narrative becomes overly didactic about the dangers of drug use, causing it to lose momentum.
In the film’s final act, **Bheema** slips into predictability, offering familiar tropes to please the audience. Handling a sensitive subject like drug addiction without glorifying it is indeed a challenging balance to achieve. The film’s intent is to dissuade the youth from engaging in drug use, and while this message is clear in some parts of the film, numerous scenes depicting unruly youth might inadvertently convey the wrong impression.
After spending two decades honing his skills as an actor, Vijay seems to be gradually finding his footing as a director. However, to refine his directorial craft, what Vijay really needs is a proficient writer who can enhance the film with consistent narrative depth beyond just impactful one-liners.
**Bheema** is currently running in theaters, inviting audiences to witness its message-strewn narrative firsthand. As Kannada cinema explores themes like drug addiction through films such as this, the hope is that future projects will balance entertainment and messaging more seamlessly. Vijay’s evolution as a filmmaker holds promise, contingent on his ability to harness cohesive storytelling in his future ventures.
