Game Changer review: Director Shankar's debut Telugu film, Game Changer, featuring Ram Charan, Kiara Advani, Anjali, and SJ Suryah, serves as an elaborate exploration of electoral politics. Since establishing his unique style in 1993 with Gentleman, the director's works often adhere to recognizable patterns that may evoke a sense of nostalgia for some viewers, while others may find his lack of evolution somewhat frustrating. Game Changer is a competently crafted film that adheres to Shankar's established formula.

Game Changer story

Ram Nandan (Ram Charan) is an IPS officer who transitions to the IAS, grappling with anger management issues while embodying a strong sense of integrity. He aspires to establish a corruption-free environment in Vizag and to serve the community to the best of his capabilities. Meanwhile, Andhra Pradesh Chief Minister Satyamurthy (Srikanth) experiences a moral awakening as the consequences of his past actions catch up with him in his later years. This situation frustrates Mopidevi (Suryah), a corrupt politician and the son of Satyamurthy, who is determined to seize power by any means necessary. The narrative unfolds as Ram and Mopidevi confront each other in a battle of wills.

Game Changer review

Although Ram asserts that he is 'unpredictable', Shankar's film is far from it. As a piece of commercial cinema, it is evident that the hero will ultimately triumph. Furthermore, given that this is a Shankar production, viewers can expect an educational experience that imparts knowledge on the subject matter at hand, despite the director's tendency to take significant creative liberties. Game Changer succeeds on both counts, providing entertainment for the majority of its duration. However, it falls short of evoking sufficient empathy for Ram, making it difficult for the audience to fully support him, especially as another character emerges to dominate the narrative more than halfway through the film.

Appanna and Parvathy

Shankar relies on a brief segment of Game Changer to serve as its emotional core. Ram portrays Appanna, an activist advocating for the marginalized, while Anjali takes on the role of his wife, Parvathy, who is not only an activist but also a Tappeta Gullu artist. This segment featuring the couple significantly enhances the film, compensating for its shortcomings elsewhere. Both actors infuse their roles with a delicate vulnerability within a short timeframe, fostering audience investment in their journey. Additionally, Srikanth excels in these scenes, providing his character with a depth that it would otherwise be missing.

The portrayal of Appanna and Parvathy's narrative distinctly contrasts with the polished approach evident in the remainder of the film. The cinematography by Tirru and the background score by Thaman in these segments warrant commendation. The colour palette is more inviting, the music flows with greater ease, and Ram likely gives one of his finest performances as Appanna, reminiscent of his role in Rangasthalam. Unlike the rest of the film, Shankar takes his time with this section, allowing it to breathe.

The Shankar formula

Those familiar with Shankar’s cinematic style will recognize the familiar trajectory of his films. He presents vibrant musical numbers filmed on an extravagant scale (Dhop, Jaragandi) that are visually appealing; however, the romantic subplot involving Kiara Advani as Deepika contributes little to the narrative. Deepika embodies the archetypal heroine with a benevolent nature, guiding the protagonist towards righteousness. In contrast, Mopidevi is portrayed as merciless and devoid of ethics, serving merely as the villain.

Shankar’s films leave no room for ambiguity, both in terms of colour and moral complexity; one must either embrace the narrative or reject it entirely. The pacing is relentless, offering little opportunity for the audience to fully absorb the unfolding events.

While this brisk tempo ensures that Game Changer is never dull, it also hinders Shankar from establishing a solid foundation for several pivotal moments. Although the storyline of Appanna and Parvathy is poignant, its connection to Ram feels tenuous. Furthermore, the narrative surrounding Mopidevi and his brother (Jayaram) warrants greater exploration. Shankar possesses a more expansive story to convey, yet instead of delving into introspection, the film primarily showcases the rivalry between Ram and Mopidevi in a repetitive cycle.

In conclusion

Karthik Subbaraj has crafted the narrative for Game Changer, possibly with aspirations for it to be more innovative and distinct. However, the final product, while engaging, appears to draw heavily from Shankar’s earlier films, featuring references to Muqabla and Mudhalvan (Oke Okkadu). In contrast to the 1990s, by 2025, audiences are acutely aware of when the boundaries of logic are being tested.

Additionally, the film lacks the enchantment characteristic of Shankar's works from 1993 to 2007. Game Changer ultimately comes across as merely average, despite the audience's hopes for it to transcend that status. It effectively maintains its focus on addressing corruption within Indian politics, yet fails to offer anything beyond that. Following Shankar’s previous film, Indian 2, this may be considered a modest achievement.

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