I will not reveal the end of the breakout Telugu film, Arjun Reddy, coveted for a Bollywood remake with Ranveer Singh expressing keen interest. But it suffices to say that somewhere in the first half when the narrative glamourizes a bad boy, I knew that the end would make or break the movie for me. Touted as the modern-day Devdas, Arjun Reddy is the story of how a surgeon grappling with anger issues starts sinking into a black hole of alcoholism and drug abuse after his college sweetheart, Preethi gets married to another man.
At the risk of stoking the AR funs the wrong way, I will clarify that I love seeing despicable characters on screen with their flaws, front and center. I am interested in the people they emerge as, at the end of their grueling journey (what is technically speaking, the character arc). And yes, my criticism comes from context and not just a sense of righteousness. Arjun Reddy, (hereinafter AR) with his great looks and cringe-inducing attitude can keep you hooked, thanks to the immersive storytelling and Vijay Devarakonda’s fiery performance. Of course, there is the heroine who is willing to endure silently to transform this hotheaded guy with a heart of gold into a worthy man, setting the stage for a toxic love story. One would argue that these ideas ought to be presupposed and accepted in the framework of the films of the region. But with some of the refreshing departures that the film makes with a new cinematic language, I was led to expect more. The sparks of brilliance hold more possibilities, that the film fails to explore with its climax.
Arjun’s character is a bundle of contradictions. He stakes a claim over his junior in college, Preethi by threatening other junior students to stay away from her and turn their gaze on other girls. He almost bullies the timid Preethi into spending time with him. When AR interrupts her in the middle of an antakshari game to plant a kiss on her cheek, it is evident that he has thrown consent out of the window. But we shortly see that Preethi is the one who makes the first move when it comes to making love. Well, scriptwriting is the art of manipulation, after all! Her quiet adulation of a senior with a clout in medical college, who adamantly looks out for her, then does not seem so misplaced. In one of the scenes, Arjun even asks Preethi to speak to her parents as a ‘woman’ and not a ‘teenager’. You have to credit the smart writing for the mixed feelings it provokes.
A raging alcoholic but also an impeccable surgeon, he brooks no dissent. He also lambasts a man for objectification of women and in the following scene we see him chasing after his maid out of fury but the clever placement of scenes depicts AR as someone who has anger issues but is not necessarily a male chauvinist. The chronology suggests that an evolution may be in order but we don’t witness a character growth in that direction. Despite many contemporary touches, the film refuses to address his aggression as an ailment. It is revered as machismo, instead. So much for ‘heralding’ a new chapter in Telugu cinema.
Unlike most Indian films plagued with the curse of the second half, the film comes into its own in the second half when the protagonist nosedives into devastation. The focus is entirely on his gradual descent into a whirlpool of ruin. The film pulses with an unpredictable fervor. You are left wondering what will make AR hit rock bottom. Enduring his eccentricity almost becomes a visceral test. The filmmaking is slick with its exquisite long takes and rousing background score. I expected it to stomp over tropes and give us a raw character study of an antihero. I even stopped watching it as a love story. In a telling instance, AR’s grandmother speaks of how suffering is personal and that he needs to hurt. There is much to suggest that his tale would not meet the Devdas fate but would conclude with an imaginatively bleak streak. Alas! It is in the sudden and unconvincing subduing of the ferocious AR that the film completely lost me.
The impossibilities of AR’s character are wisely cushioned with the character of Shiva (Rahul Ramakrishna), AR’s steadfast friend who holds a mirror up to him. In one of the best scenes in the film, Shiva confides in his father about the frustration of dealing with his doggedly dismal friend. He lends the much needed sardonic humour to the film. It is rare to see a supporting character being drawn to the fore from the periphery. A scene which would have otherwise been considered as exposition does the job of offering the lens of empathy to viewers. In the same vein, another character in the film calls him a ‘free spirited individual in a democratic world.’
It’s a rare joy to see an anti-hero meet his grotesque fate and rise above it or get crushed under its weight. What Boss Getty says in Citizen Kane comes to mind, “He’s going to need more than one lesson. And he’s going to get more than one lesson.” But this anti-hero turns into a hero. All his self-defeating means stand vindicated. And a passionate character study becomes a conventional love story. Perhaps the audience is not ready for this bitter pill but we can still revel in the unconventional narrative style of the film and the acting smarts of Vijay Deverakonda.
(Dipti has quit her corporate job and is having fun dipping her toes in a ton of stuff like binge watching TV and web series, doing movie marathons, gallivanting, and writing about her escapades. She tweets @kuhukuro)
F.i.g.h.t C.l.u.b 