Hombale Films Had a Reputation Until They Collaborated With Prabhas
“Salaar: Part 1 — Ceasefire” makes the “KGF” films seem like masterpieces in comparison and goes head-to-head with “Kabzaa.” Director Prashanth Neel resembles the person in the theater who dims their phone screen to avoid disturbing others but forgets to put it on silent. We should give Prashanth Neel more opportunities to direct, as his eagerness to learn is evident.
He seized the opportunity provided by Hombale Films to create a similar movie, despite not being satisfied with “Ugramm” due to budget constraints. I wish him luck for the sequel and his future projects, as he still seems to be in a learning phase.
Prabhas took on this project to test his luck in the industry, and I can’t fault him for accepting this role. Unfortunately, his fate wasn’t great this time. Hombale Films, once reputable, has taken a hit with their collaboration with Prabhas.
For many,
Prabhas’ Face= Cinema
Prabhas’ Hands = Cinema
Prabhas’ Shadow = Cinema
Prabhas, the entire man himself = Cinema
but I don’t subscribe to this view. Perhaps the filmmakers hesitated to give Prabhas more lines or feared his acting might not stand out in a dark, dialogue-sparse film. It’s almost laughable to have a lead actor with so few dialogues.
The staging of specific scenes and slick editing created anticipation for the action, but these elements could have been more innovative.
The concept of the tribe and the Nibandhan rules seemed borrowed from “John Wick” and its High Table. Including zombies in the second half felt out of place and inappropriate for the film’s mood, reminiscent of “The Walking Dead” or “Train to Busan.” It was a jarring and unnecessary addition.
The film failed to leave a lasting impression on me, feeling dragged out and uninspired.
Prashanth Neel’s penchant for mythological-sounding names doesn’t compensate for the lackluster storytelling. The impact intended by the scene where an old lady touches Prabhas’ hand to check if he is real needs to be improved as it comes across as forced and unconvincing.
Prabhas’ character lacks autonomy, seemingly controlled by others, as the film progresses. This aspect of the story felt underdeveloped and needed to be more engaging. The portrayal of Khansaar city and its exaggerated importance felt overdone and unrealistic. The fight sequences were formulaic, with Prabhas often standing still while chaos ensued around him.
I was majorly disappointed by “Salaar” as its direction and storytelling felt forced and lacked the depth and justification seen in “KGF.” I had high anticipation for the movie and was looking forward to seeing Prabhas in a better project.
The performances were lackluster, the cinematography excessively dark, and the editing disjointed. The screenplay lacked memorable moments, and the action scenes relied too heavily on outdated techniques like slow motion.
The background score could have been better executed, and at times, it was overly loud and distracting, reminiscent of the sound effects used in Ekta Kapoor daily soap operas.
The audience’s reaction to a scene involving chanting women in red was more amusement than engagement, and it failed to resonate. Prashanth Neel’s recurring theme of involving children in violence from a young age in his films is concerning and feels unnecessary.
The film lost its way and had potential, especially compared to SRK’s “Dunki.”
If it had been released alongside “Animal,” I believe “Animal” would have overshadowed it. It’s interesting to note that “Dunki,” which is a Hindi-language drama film, is still performing better than “Salaar,” despite the latter being released in multiple languages
I wonder why Prithviraj chose to act in this film instead of directing it, as his directorial skills are commendable.
Author : Hawrry Bhattarai
