Cast: Prabhas, Tamanna Bhatia, Deeksha Seth, Krishnam Raju, Pradeep Rawat, Mukesh Rushi, Brahmanandam and Ali.
Music: Raghava Lawrence
Dialogues: ‘Darling’ Swamy
Fights: Ram Lakshman
Art: A S Prakash
Associate Director: Balaga Sheshu
Co-director: N V Bhaskar Reddy
ProductionController: Bezawada Koteswara Rao
Producers: J Bhagavan, J Pulla Rao
Story-Screenplay-Choreography-Direction: Raghava Lawrence
The first Rebel celebrity aka Krishnam Raju wants his son to be a Maryada Ramanna. unhappily, he turns out to be a firebrand Puli Bidda. He publicly beats the local MLA to pulp. This determinants the killing of his parents and his young female ally and there begins Rishi, calling himself Rebel, hunting for the murderers.
A decayed story and a tasteless narration, are only two of the several mind-numbing flaws of Rebel. Arrogant, self-important creators make movies like professional and DCM. Confused creators make films like Nippu. Lawrence is neither arrogant nor bewildered, but he bears from that very widespread hangover disease. An LIB modelled on the template of joyous Days is understandable, but infusing pointless choreography into the narrative, together with villains in trendy attires (Style), totally inconsequential gangster look of the champion (Don) not only seem unsuitable but also peeve us to the farthest.
To add to the anguish of Prabhas’ fans, he is seen putting on pointless tearjerkers throughout the video, if he is distributing his plight with a ‘chellemma’ or promenading with the orphans or inserting his lover to his father. He gets exaggeratedly emotional every now and then when he is anticipated to consign hit lines and bang out the villains.
Till about 10 minutes before the interval, Prabhas is no more than a character artiste, while our beloved comedy champion Brahmi and Kovai Sarala have all the duets. To make the matters poorer, Larencce outrageously makes the superstar proceed like Aparichitudu’s Ramu in the flashback! Take out the four battles and the songs, even Sunil could have pulled off the script. Why does Bhupathi Raju (Krishnam Raju) desire his child to augment like a timid guy with a passion for melodies? His yearn is not integral to the story. But it is integral to Lawrence’s creativity. He wants to choreograph a foolish view with Prabhas and Ali utilising this component as a con.
Is there any justification for a solo recital for Tamanna when the ‘Rebel’ himself doesn’t have one? There are more dialogues for Brahmi, Tamanna and Krishnam Raju combined than for Prabhas! What a awful way of making a ‘mass performer’ with one of the most treasured champions of Tollywood!
To start with, Rishi has to find the whereabouts of Stephen-Robert, not certain whether he is one, like Raghava Larencce, or two. He resides in a flat in Hyderabad, where he inhabits with the blabbermouth Brahmi (Narasa Raju, furthermore called Nasa Raju). discovering that dreaded don Nana’s female child (Tamanna as Nandini) is a dance educator in Bangkok, he flies there along with Brahmi and starts wooing her miserably. His mystery motive is to extract the identity of Stephen-Robert, whose whereabouts no one but Nana knows.
Once Nandini inquires probing inquiries, Supreeth (as Prabhas’ lieutenant, is over-the-top like numerous others) starts narrating the flashback. There arrives Krishnam Raju, who punishes the SI (Bharath) for wanting to doze with a woman. In ‘far-away’ Bangalore, Prabhas is in love with Deeksha Seth (as Deepali, she sleepwalks her secondary role), an orphan with three religious mothers.
So, when and how did the problem begin? When his dad was in danger, Prabhas had to fight with many Kanchanas and even trounce MLA Simhadri (Pradeep Rawat, who kills himself for no ordered cause) for liking to murder his dad. This enraged Simhadri, who then joined hands with two other villains in alignment to eliminate Rebel Sr.
The rest of the movie is about how the now-deeply disturbed Rebel Jr. uses his below average mind to get some info about Stephen-Robert in alignment to avenge the death of his parents and Deepali.
Faltering in execution, Larencce ballpoints some outlandish scenes with reckless leave. Tamanna’s demeanour after listening to the flashback, where she breaks into ‘Ori Nayano’ number, is one such view. Prabhas’ heroism is not cleverly elevated, and it was completely pointless that he was made to have a rivalry with David in the first half because David’s character was not required. Lawrence makes his hero either an observer or a bystander or a witless character in many other scenes.
The demeanour of the villains in the climax fight is illogical, to state the smallest. Would a bloodthirsty man be foolish sufficient to proceed by the rules set by the champion when death stares him in the face in spite of having a gun in his hand? Did Larencce think it was a dance competition (like the one seen in Style)?
‘Darling’ Swamy disappoints with his unintelligent dialogues. Most lines are hackneyed and some even comical. Chinna’s BG tally is ok. The revising could have been decisively better, while the cinematography was satisfactory. Ram-Lakshman’s fights are not inventive.
talking of performances, Prabhas does fairness to his feature even in the ill-etched scenes. general, he depicts the strong feelings rather well. His modulation is apt.
Krishnam Raju should have been negligible. His get-up is appalling, the costumes are unfortunately Western. He examines a bit tired.
Tamanna adds the required glamour quotient, but hers is not a meaty role. Deeksha may be disregarded. Mukesh Rishi, Supreet, Pradeep Rawat, and that so-called Stephen go wrong to add any thing. Brahmi, Ali and MS are dull.
If there are any charming elements, it is those promenade moves perfected by Prabhas and Tamanna. The minimum anticipated when a top class dance director is the helmsman. Two pieces of music, unhappily, come at the right time.
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