When his mother (played by Eswari Rao) advises him against this, he reminds him that the reason they were able to do namaz in the first place was because of Bhai. Early on, we get a scene about a boy, born and nurtured in KGF who joins BhaiвЂ™s camp to train as an armed guard. There is a line about a hard rock and a hammer that hits you like a bullet. This film too suffers from the leanness in writing, though the dialogues in Tamil (written by Ashok Kumar) are terrific. All those things that were flat and derivative in K.G.F: Chapter 1 continue to be, in the sequel. There is nothing new to the way things are dealt with in the second instalment, except the addition of three new villains in Adheera, Ramika Sen and Inayat Khalil. K.G.F: Chapter 2 begins right where the first part ended with Rocky Bhai announcing himself as the messiah, breaking the shackles of 20,000 men, women and children in KGF.

Which in itself could have been a befitting conclusion to celebrating the Angry Young Man heroes of a bygone era. Although when Yash and Dutt face-off, it does feel like the latter has passed on the hyper-masculine muscle man that he is known for, to the former. Remember Vaastav? Khal Nayak? But the reason to induct Dutt appears as if Prashanth Neel wanted the actor to repeat his menacing looks as Kancha from Agneepath. There could possibly be no other actor to have done justice to a film universe teething with masculine rage than Dutt, who used to be the poster boy of hyper-masculinity at one point. Speaking of tradition, it is truly a remarkable decision to cast Sanjay Dutt as Adheera. NeelвЂ™s films are more focused on the extremes, while RajamouliвЂ™s are a work of visionary. There is something singularly distinct about Prashanth NeelвЂ™s idea of masala in comparison to SS RajamouliвЂ™s, who, we must acknowledge, brought about a much-needed renaissance to the masala tradition of Indian cinema. This is masala and it is pure.Д¬ome to think of it, the only emotional stake that is anchoring both the K.G.F films is the sufferings of BhaiвЂ™s mom, which again is a throwback to a popular trope from the masala universe of a previous era - but. Not to mention the lullaby score in the background. Instead, she says, вЂњ amma vara poranga,вЂќ a callback to BhaiвЂ™s emotional struggle with memories of his mother.

Now, the usual way is to make Reena say sheвЂ™s going to become a mother or Bhai is going to become a father. She doesnвЂ™t straight away tell him but drops hints that Bhai, who is preoccupied with business, doesnвЂ™t catch.

Reena (played by Srinidhi Shetty) attempts to convey to Bhai that she is pregnant with his child. Let me illustrate this marriage with the most terrific scene of K.G.F Chapter 2 which concerns Bhai but isnвЂ™t about him. This meeting of the two worlds is powerful and visceral, even if it remains just a possibility throughout. The most amazing achievement of Prashanth Neel has got to be the marrying of the Hollywood motifs from influential figures - Coppola, Scorsese, Mel Gibson to Peter Jackson and George Miller - with masala flourishes from Indian filmmakers. There is only one way to look at K.G.F for it to work for you and that is to partake in the madness it offers - from scene to scene one set piece to another one giddy stunt choreography to the next. There, in that one single shot, Prashanth Neel highlights what the K.G.F films are for: to create a delirious cinematic experience, where there is barely any time for us to contemplate logic and sense. Bullet casings drop to the ground and Bhai walks in slow-motion to light up his cigarette from the gunвЂ™s nozzle with an equally electrifying background score by Ravi Basrur. With a cigarette hanging from his lip, he fires aimlessly to show his prowess as bullets zoom past the station and everything in between. There is a moment in K.G.F: Chapter 2, where Rocky Bhai (a rocking Yash, bathed and cleansed in masculine orgy) takes a machine gun out to blow up a police station, in the garb of a вЂњfield testвЂќ. After all, K.G.F films are written on steroids. That they no longer imagine scenes propelled by absolute madness. There is something outlandish yet gorgeous about the K.G.F franchise that they no longer make such films.

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