Bhagyada Balegara

sealing the deal: Navya Nair and Shivrajkumar.

Bhagyada Balegara, Ghallu, ghallenutaa gejje... are all folk songs, representative of the rich Kannada culture.
The various interpretations of these lays have kept the debate alive on the propriety of their usage amidst bizarre plot constructions.
These songs now appear in Bhagyada Balegara, set to tune by a tired or perhaps, bored Ilayaraja.

Director Saiprakash has tried to weave in a ‘love story’ dominated by heavy-duty, melodramatic ‘sentiments.’
Using a few old concepts and themes does not help his cause.
The disconnect between the director’s vision and current audience is painful to see. Only effortless performances by seasoned actors keep the film afloat. Shivanna is his usual self, while expressive Navya seems to have been trussed up.
Shobha Raghavendra is way too loud. The ensemble supports the lead pair quite well.
Interestingly, the film throws up several possibilities... deft handling of what may now appear regressive themes, popularising almost extinct torch-bearers of native culture and the pairing of Shivanna with his erstwhile heroines.

 Indeed, the last mentioned possibility should be thoroughly explored - they don’t make the likes of Sudharani or Anu Prabhakar any more. Too bad, Saiprakash chose not to make use of these things,  thereby rendering the film a little weak.
Coming back to the film, Seenu’s camera seems to have caught the flu bug, leaving an unsatisfactory finish or perhaps it is a manifestation of lack of funds?

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