Game Changer Review: Ram Charan and Shankar Deliver a Grand Take on Electoral Politics

Game Changer Review: Ram Charan and Shankar Deliver a Grand Take on Electoral Politics

Game Changer, the first Telugu film directed by Shankar and starring Ram Charan, Kiara Advani, Anjali, and SJ Suryah, is a costly and engrossing tutorial in political politics. Since making his debut with Gentleman in 1993, Shankar has been known for his unique narrative approach. His films frequently combine nostalgic elements with recognizable rhythms. With Game Changer, he continues to follow the tried-and-true pattern that has influenced his filmmaking.

Story Overview

An IPS officer who became an IAS, Ram Nandan (Ram Charan), is a guy of integrity who has trouble controlling his wrath. He wants to make Vizag a city free of corruption. Satyamurthy (Srikanth), the chief minister of Andhra Pradesh, on the other hand, changes his style of leadership once his previous transgressions come back to haunt him. Satyamurthy’s son, Mopidevi (SJ Suryah), is a power-hungry politician who would stop at nothing to seize power. When Ram and Mopidevi disagree on their beliefs and goals, the main conflict of the movie is revealed.

A Familiar Yet Entertaining Shankar Formula

Game Changer is a rather traditional route for Shankar’s style of commercial filmmaking, despite Ram’s assertions of unpredictable content. The pattern is well-known: the hero always wins, and you can get a thorough education on any societal subject Shankar choose to address, even if it involves some artistic license. Although the movie does a good job of entertaining and informing viewers, it falls short of evoking the kind of strong emotional response that is required to completely support its protagonist. Another figure begins to take center stage about the midway point.

The Heart of the Film: Appanna and Parvathy

The emotional center of Game Changer is formed by Shankar’s choice to concentrate on the roles of campaigner Appanna (played by Ram Charan) and his wife Parvathy (played by Anjali), who is both an artist and another activist. Their tale, which is framed by the hardships endured by the oppressed, strikes a deep chord and adds a level of sensitivity that the rest of the movie lacks. Ram gives one of his greatest performances to date in this segment, displaying a level of dedication and empathy that is uncommon in his typical parts. Shankar’s more subtle filming in this section complements the emotional depth of Appanna and Parvathy’s trip. This section is enhanced by the talents of composer Thaman and cinematographer Tirru, who produce a cozier visual and aural experience. This scene gives the spectator a chance to think and feel a genuine connection to the characters, in contrast to the remainder of the movie, which is presented in a hurried and polished manner.

The Predictability of Shankar’s Approach

A specific formula has always been followed in Shankar’s films. Sequences of colorful, opulent songs (such as Dhop and Jaragandi) emerge, providing visually enticing moments. Featuring Kiara Advani as Deepika, the love story is more of a typical romantic subplot and contributes nothing to the film’s themes. Mopidevi, the adversary, is vicious and without a strong past; he plays the stereotypical “villain” character without any nuance. There is minimal opportunity for moral ambiguity, as is to be anticipated from Shankar’s works. There is no middle ground; they either easily fit into the roles of hero or evil. Although this structure makes the film interesting, it leaves little room for examining the characters’ internal struggles or the more significant social concerns they stand for.

Pacing and Plot Development

There is rarely a boring time in Game Changer because of its fast-paced nature. But occasionally, the development of important story aspects may be hampered by this tempo. At best, the relationship between Ram’s character and Appanna’s tale is shaky, and other significant subplots—such as the one involving Mopidevi and his brother Jayaram—are not given enough attention. Even though Shankar wants to tell a big story, the movie occasionally feels like a haste to move on to the next set piece or conflict, which leaves important scenes undeveloped.

Also Read: Bigg Boss 18: Vivian Dsena Rejects Finale Ticket Win; Fans Slam Chum Darang for “Woman Card” Drama

In Conclusion: A Rehash of Shankar’s Legacy

Although Karthik Subbaraj’s Game Changer aims to provide something new, it frequently comes off as a repetition of Shankar’s previous writings. There are many allusions to Muqabla and Mudhalvan (also called Oke Okkadu), and although the movie is enjoyable, it lacks the enchantment that characterized Shankar’s best years from 1993 to 2007. In the end, Game Changer is successful in exposing political corruption in India, but it doesn’t provide anything revolutionary. The movie feels like a step backward as a sequel to Shankar’s Indian 2, providing amusement without the nuance and inventiveness for which Shankar was renowned. Despite being a good commercial movie, Game Changer falls short of the lofty standards set by Shankar’s previous productions. Although it’s a fun ride, you end up wanting more.