After the duds, Komaram Puli and Panja, Pawan Kalyan is back with a vengeance, with Gabbar Singh, the free-style remake of Bollywood hit Dabangg.
The Tollywood filmmakers have always found it hard to impress the audiences with remakes, but Gabbar Singh is an exception.
In the town of Kondaveedu, Gabbar Singh (Pawan Kalyan), a police officer, wants to unite his stepbrother (Ajay) and stepdad (Naidu) after the death of his mother (Suhasini). He is also in the process of reigning in the local goons led by Siddappa Naidu (Abhimanyu Singh).
Gabbar Singh is also in love with Bhagya Lakshmi (Shruti Hassan), a ravishing beauty, but the lady proves to be a hard nut to crack. How Gabbar Singh solves the issues form the crux of the story.
Pawan Kalyan rocks in and as Gabbar Singh. After Kushi, this particular role can be seen as the best in his career. His comedy timing is superb, coupled with mass stunts and dances. Gabbar Singh seems to be tailor made for Pawan Kalyan.
Shruti Hassan justifies her role, which of course is limited.
Abhimanyu Singh, who plays the villain, renders a terrific performance. Ajay does a wonderful job as stepbrother.
Ali as Sambha and Brahmanandam as recovery Rajnikanth have done a great job. Nagineedu, Suhasini, Tannikella Bharani, Jayaprakash Reddy and others played their respective roles well.
Coming to Malaika Arora`s item song `Kevvu Keka`, the audience feels that the oomph factor is missing.
Director Harish Shankar proved that he is fully in control of the subject and its modifications to suit the nativity factor. Harish Shankar played his part as dialogue writer, keeping in mind the requirements of the fans of Mega family. The director did follow the original script of Dabangg in most sequences, but gave more importance to comedy.
Devi Sri Prasad gave excellent music which is an asset to the film. All songs are shot well too. Cinematography by Jayan Vincent is also good. Ram-Lakshman duo brings the much required energy in the fight sequences. Gowtham Raju`s editing is fine, though the screenplay jars between the start of second half and close to the climax. Production values are high.
The first half is filled with mass masala, while the second half turns hackneyed, but the drawback is instantly overcome thanks to the comedy.
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