Daaku Maharaaj (Telugu)
The trailer of Daaku Maharaaj, directed by Bobby Kolli and starring Nandamuri Balakrishna, was novel enough to pique interest. While big-name actors often shy away from experimenting with their roles, it was refreshing to see Balakrishna in a new avatar as a dacoit. However, the curiosity was short-lived, as the film soon revealed that this novelty was its only engaging aspect.
Daaku Maharaaj features an ensemble cast, including Balakrishna, Pragya Jaiswal, Shraddha Srinath, Bobby Deol, Urvashi Rautela, and Manoj Bajpayee. The story begins in Madanapalle, Andhra Pradesh, where a young girl named Vaishnavi and her family find themselves in trouble after reporting the illegal poaching activities of a local MLA. Seetharam (played by Balakrishna), an inmate in a Bhopal prison, escapes and joins the family as their driver under the alias ‘Nanaji’. His mission is to protect Vaishnavi and her family from the threats looming over them. Why does Seetharam take this upon himself? What connection does he have with the family? These questions form the crux of the story.
Director Bobby opts for a clichéd narrative, with the first half full of predictable scenes that evoke memories of countless other films. There is no inventiveness in introducing Balakrishna’s character, nor does the writing attempt anything fresh. Despite the non-linear editing, the repetitive fight sequences and Balakrishna’s uninspiring dialogues—like “Some might do Masters in Education; I have done Masters in Killing”—quickly become tiresome. With the family constantly under threat, the film devolves into a series of increasingly violent confrontations.
The interval block offers a fleeting sense of relief, with a promised backstory for Seetharam. We learn that Seetharam was a dacoit in Madhya Pradesh, known as Daaku Maharaaj, the king of dacoits in the Chambal region. The lengthy flashback delves into his transformation into Daaku Maharaaj and his conflict with the oppressive Thakur family, who rule over the region with an iron fist.
However, the story becomes convoluted when Seetharam’s old enemies reappear to torment Vaishnavi’s family. Balwanth Singh (Bobby Deol) and his brothers enslave locals to work in their mining quarries, where they endure inhumane conditions in exchange for access to drinking water—a scarce resource in Chambal. The plot becomes laughable when it is revealed that the Thakur brothers are fighting the state by halting the construction of a dam and enslaving people simply to smuggle cocaine hidden in marble. The over-the-top complexity is both baffling and unnecessary, and many illogical developments stretch the film’s believability to its limits.
Bobby’s laziness is evident throughout the film. Why is Thrimurthula Naidu (Manoj Bajpayee) always shown in a shed surrounded by slaughtered pigs dangling from the roof? Is it because films like Master showed the villain in a similar setting? At least in Master, it was a slaughterhouse with a cold storage facility. How will one preserve pig meat in an open shed? Some scenes echo films like Jailer and Vikram, among others.
The director also appears out of touch when addressing caste dynamics. On one hand, the film celebrates the denotified tribes’ resistance against the oppressive Thakurs. On the other, it stereotypes a Scheduled Tribe character as a ruthless villain running a meat-selling business, perpetuating outdated tropes.
The film’s misogyny is glaring. Many were already offended by the vulgar dance moves of Balakrishna and Urvashi Rautela in the song ‘Dabbidi Dibbidi’, released prior to the film. Unfortunately, the film doubles down on this approach, with Urvashi’s character existing solely to be objectified.
Pragya Jaiswal is once again paired with Balakrishna but has little to do, though she performs adequately. Shraddha Srinath’s character has potential, but her performance fails to leave a lasting impression. Bobby Deol looks menacing but is let down by poor writing.
Thaman’s bombastic score attempts to elevate the film, but even his music cannot salvage a story devoid of substance.
Disclaimer: This review was not paid for or commissioned by anyone associated with the film. Neither TNM nor any of its reviewers have any sort of business relationship with the film’s producers or any other members of its cast and crew.