‘Pushpa 2: The Rule’ movie review: Barring the ‘jatara’ sequence featuring a superb Allu Arjun and a few face-offs, director Sukumar’s film is incoherent

Allu Arjun in ‘Pushpa 2’
| Photo Credit: Special Arrangement

Some narratives tend to grow upon repeated viewing, revealing subtle details. Before the release of Pushpa 2: The Rule, revisiting the 2021 Telugu action drama Pushpa – The Rise, the origin story of Pushparaj (Allu Arjun), a coolie who rises through the ranks of a smuggling syndicate in the Chittoor district of erstwhile Andhra Pradesh, highlights how writer-director Sukumar establishes the protagonist as a potential leader. Pushpa is often framed at a higher position than the others, as he navigates tricky situations. These visual metaphors apart, there was a nuanced portrayal of how Pushpa dealt with members of the syndicate as well as the cops. His Achilles heel? Being born out of wedlock, he is frequently taunted about his surname or ‘inti peru’ (family name).

In the second instalment, the narrative dwells on whether Pushpa can consolidate his position and rule. He has plenty of money from red sandalwood smuggling, but can it give him the respect, stature and power that he craves for? Sukumar, who ended the first film with a ‘second interval’ card, does not bother with a recap. He is aware of the film’s cult-like status and knows that both fans and critics are likely to revisit the first part before watching the 3-hour 21 minute sequel.  

A few episodes are designed to echo or resonate with the highlights of part one. If the opening animation sequence in part one informed us of the global demand for red sandalwood, the second one begins in one such country, to establish that Pushpa, like the red sandalwood, is also going international. The elaborate introduction sequence plays to the gallery but later, seems like an aberration. Was there no other way for Pushpa to extract his dues? Was it necessary for him to embark on that journey? Perhaps part three will have the answer.

Remember the scenes in which Pushpa hoodwinks the police officer Govindappa (Shatru) in the dam sequence? A couple of sequences in Pushpa 2:The Rule show how Pushpa can still be a nightmare to the cops, this time led by the egoistic Bhanwar Singh Shekawat (Fahadh Faasil). These portions are engaging and have the desired crowd-pleasing effect. Another sequence that reminds us of part one is how Pushpa, who purchased a car on a whim, does something more this time.

The highlight of Pushpa 2:The Rule is a stunning ‘Gangamma jatara’ sequence, in which Pushparaj is draped in a sari. This goes beyond recreating a festive ritual from Tirupati and Chittoor where a male is dressed androgynously, and it is believed that his wish to the Goddess will be granted. Miresłow Kuba Brożek’s cinematography, and the production design by Ramakrishna and Monica, fill the frames with a myriad of eclectic hues, capturing the rustic fervour in all its glory. The score by Devi Sri Prasad and Sam CS adds the necessary vigour to these portions. Allu Arjun is impeccable in the androgynous avatar, imbuing both ferocity and feminine grace. When he is in the frame, it is hard to notice anyone else.

What he says when his wife, the feisty Srivalli (Rashmika Mandanna), questions him about his wish to the Goddess, is the crucial point in the film. During this jatara sequence, Srivalli too voices her view rather forcefully, wherein Rashmika truly shines. The subplot about a photograph requested by Srivalli and how Pushpa makes it happen is the stuff of cleverly designed masala cinema and projects the protagonist as a kingmaker.

But why do we discuss isolated sequences and performances rather than the narrative as a whole? The answer lies in the film, which simply offers more of the same thing as part one. It presents a prolonged battle of egos between Pushpa and Shekhawat. Shekhawat is written as a man consumed by his vain ego rather than being tactful. At least Govindappa wanted to give smugglers a tough time. Shekawat is blinded by his need for one-upmanship and does not come across as a worthy opponent for Pushpa.

The refrains of Pushpa as a brand play throughout the film and the contrast between his floral shirts synonymous with his name and his firebrand (not fire, but wildlife) image is also reiterated time and again.

Had all this been anchored by a solid story, it would have made for a compelling film. There are a few interesting characters, like the politicians Siddappa (Rao Ramesh) and Pratap Reddy (Jagapathi Babu). Other characters — Mangalam Srinu (Sunil), Dakshayani (Anasuya Bharadwaj) and several others — come across as mere bystanders.

The oft-used trope of the threat of sexual violence against women is one of Pushpa 2: The Rule’s weaknesses. A woman in distress and a saviour who will rise against all odds has been an overused trope in films, to the point of weariness. To see this being stretched by a director like Sukumar is disappointing, despite the subtext of Mahishasuramardini. In the initial portions, it is easy to guess who this damsel in distress might be, making the storyline predictable.

Despite its long duration, Pushpa 2: The Rule leaves unanswered questions and ends on an abrupt and underwhelming note, leaving the stage open for part three, Pushpa – The Rampage.