Ram Charan Impresses in Game Changer:
Shankar’s first Telugu outing, Game Changer, is an ambitious but uneven concoction that struggles to find harmony in its diverse elements. The film’s initial half is a cacophony of exaggerated action sequences crafted to amplify Ram Charan’s larger-than-life persona as an action hero. While his charisma lights up the screen, the narrative fails to live up to the promise of its title.
The story follows Ram Nandan (Ram Charan), the district collector of Vishakhapatnam, who undergoes a dramatic transformation after intermission. From a furious young man seeking personal retribution, he morphs into a crusader championing electoral reforms and tackling political corruption. The film attempts to weave a socially conscious narrative, tackling issues like electoral malpractice and the role of principled governance. However, these weighty themes often feel buried beneath predictable tropes and a lack of fresh ideas.
While Ram Nandan takes on his deranged nemesis, Bobbili Mopidevi (S.J. Suryah), who is unapologetically power-hungry and dismissive of the law, the film wades into moral grey zones. Both protagonist and antagonist bend the rules to their advantage, blurring the line between heroism and vigilantism.
Despite occasional moments of brilliance—such as the vibrant musical sequences and stylish visual touches—the overall execution feels lackluster. Game Changer delivers a familiar formula rather than the groundbreaking experience its title suggests.
The audience is, unsurprisingly, led to see one man as the heroic savior and the other as the embodiment of evil, leaving no space for complexity or shades of grey in the narrative.
Before Game Changer, produced by Dil Raju’s Sri Venkateswara Creations, delves into its central theme of an electoral officer confronting a power-hungry politician, it devotes over an hour to building the protagonist’s backstory. This extended setup takes the audience through familiar beats: the hero bravely fending off a gang of thugs on a speeding train in Uttar Pradesh, trading his police uniform for the polished demeanor of an unblemished IAS officer, and, through an elaborate flashback, portraying a college student grappling with anger management issues and a heartbreak that ends abruptly.
Ram Nandan is presented as a near-mythical figure, accomplishing seemingly impossible feats without breaking a sweat. Whether it’s surviving grueling fights or effortlessly transitioning between roles, he emerges unscathed, with his appearance as flawless as his actions are exaggerated. This portrayal underscores the film’s intent to establish him not just as a bureaucrat, but as a larger-than-life hero whose fists speak louder than any pen ever could.
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Deepika (Kiara Advani), the woman Ram Nandan loves, is treated more as a narrative accessory than a fully realized character. She appears sporadically, usually during elaborate song-and-dance sequences or moments where the script demands a motivational push for the hero. After all, what is a hyper-masculine hero without a glamorous woman by his side or riding on the back of his motorcycle?
Yet, Deepika does have a minor role in shaping Ram Nandan’s journey. She encourages him to seek constructive solutions to problems instead of resorting to violence. “Channel your fury,” she advises, urging him to focus his anger productively. Ram Nandan takes her advice to heart, attempting to temper his impulsive aggression.
However, his challenges extend far beyond personal or romantic conflicts. Illegal sand miners, food adulterators, and fire safety violators all provoke his ire, and he deals with them with uncompromising force. These battles seem almost predestined, given his legacy: his father (also played by Ram Charan in a dual role) was an unyielding anti-corruption crusader who founded a political party with the aim of eradicating money-driven politics and championing the common people.
This legacy looms large over Ram Nandan’s life, culminating in a dramatic disruption of his wedding. As the ceremony unfolds, police arrive with an arrest warrant, accusing him of assaulting a minister. Ram Nandan is promptly taken into custody, leaving the audience to witness his journey through both personal and political turmoil.
Handcuffed to a police van—though generously allowed one free arm—and dressed impeccably in his white wedding attire, Ram Nandan fights off a band of murderous goons. Against all odds, fortune tilts in his favor, allowing him to turn the tables in a dramatic and improbable clash.
While Game Changer delivers its fair share of high-octane action, it often defies logic. The plot meanders erratically, much like Ram Nandan’s sidekick, played by comedian Sunil, whose peculiar gait and inability to meet anyone’s gaze are meant to amuse. However, the humor he brings feels forced, and the gags he anchors fail to land effectively. Despite this, the film keeps up its relentless effort to entertain, even venturing into the antagonist’s camp for comic relief.
Jayaram appears as Mopidevi’s older brother, a character portrayed in an exaggeratedly clownish manner. He willingly steps aside, letting his younger brother inherit the tarnished political legacy of their adoptive father, Chief Minister Bobbili Satyamurthy (Srikanth).
In the film’s opening sequence, Satyamurthy, initially on the brink of death in a hospital ICU, makes an unlikely recovery. Upon his return, he declares a bold, last-year-in-office proclamation: no one in his party or government will be allowed to profit at the people’s expense. This decree sets the stage for a tale that mixes action, drama, and scattered attempts at humor, though often at the expense of coherence.
The reformed politician’s grand declarations and actions ultimately lead nowhere, mirroring the broader trajectory of the film itself. Game Changer relies on erratic twists and contrived plot devices, all engineered to ensure that Ram Nandan—who proudly proclaims his unpredictability—remains a step ahead of the power-hungry minister Mopidevi at all times.
One standout scene features a fiery verbal showdown in Ram Nandan’s office, where the district collector and the minister engage in a heated exchange, each asserting their authority. “You work for money, I work for the Constitution,” Ram Nandan roars, leaving Mopidevi momentarily speechless.
The film frequently prioritizes spectacle over substance, bypassing plausibility to offer simplistic resolutions to intricate problems. While the second half is noticeably more engaging than the chaotic first, the two halves, when viewed as a whole, fail to deliver a cohesive or compelling narrative.
There’s no denying that Game Changer has elements that will resonate with its intended audience. However, for those outside this specific demographic, the film offers little to draw them in. It’s a movie best left to cater to viewers who appreciate its brand of larger-than-life, action-packed storytelling, while others may find it easier to give it a pass.
