Salaar review: A dark spectacle, with Prabhas leading the charge

Just as he does in his other successful films, including KGF, Neel once again adheres to his signature cinematic style characterized by a pervasive dark tone. This uniformity stems from the director’s personal battle with Obsessive-Compulsive Disorder (OCD). The mental disorder, marked by an intense fixation on certain things, subtly influences the director’s creative decisions, resulting in a consistent thematic thread throughout his filmography, he revealed in a recent interview with director Rajamouli.

Subdued bloodletting

While some may view this consistent approach as a minor risk, it undoubtedly contributes to the director’s distinctive cinematic vocabulary, and establishes a connection between his three major works. Unified by this common visual language, Neel’s films carry a sense of continuity and familiarity. For those attuned to the nuances of his filmmaking, the dark shades become a recognizable trademark; it shapes the emotional landscapes of his films. To Neel, dark shade means nostalgia.

The backdrop, in Salaar, remains the same as Neel’s previous films: massive action sequences, with characters getting into intense fights. While Ugramm delved into the realm of the Nera Empire, a crime syndicate at its core, the setting in KGF films shifted to the Goldfield, specifically the Kolar gold mines. In Salaar, the story unfolds in the 1,000-year-old imaginary, tyrannical and violent land, Khansaar, inhabited by three tribes. What sets Salaar apart is Neel’s clever use of creative freedom. The film doesn’t adhere to strict logic, and that’s intentional. Unlike some recent Hindi (Animal) and Telugu movies, the violence here is handled with care, making it a bit more bearable for the audience.

Salaar kicks off with the tale of Devaratha (Prabhas), a strong and invincible character, and his deep bond with his mother (Easwari Rao) as well as his friendship with Varadharaja Mannaar (Prithviraj Sukumaran), an old friend. Varadharaja is the son of Raja Mannar (Jagapathi Babu), the ruler of present-day Khansaar. This lays the groundwork for Devaratha’s entrance into the principality of Khansaar, where a bloody battle for succession between the ruling Mannar tribe and the Shouraangya and Ghaniyaar tribes is under way: they are vying for Varadharaja’s father’s throne.

Even though Varadharaja and Devaratha haven't met in years, as Khansaar faces internal turmoil and the threat of a palace coup, Varadha seeks help from his formidable friend. His enemies are no match for Devaratha, a one-man army ready to take on any challenge. As the danger escalates, Devaratha makes a dramatic entry into the tumultuous world of Khansaar.

Subsequently, the film delves into Khansaar’s politics, wars, and conspiracies. Neel creatively uses the freedom he grants himself to explore these elements. His expertise in screenplay, music, and cinematography is once again on display. He adeptly manages a diverse set of characters, giving each a meaningful role in driving the plot forward. What’s impressive is Neel’s portrayal of history, spanning from Genghis Khan to 2017, seamlessly blending imagination with historical accuracy.

A director to watch

In the film, the significance of the number three is evident throughout. Neel, with a successful track record of three films, collaborates once again with cinematographer Bhuvan Gowda and music director Ravi Basrur, who contributed to his previous successes. Notably, this also marks Neel’s third collaboration with the production company, Hombale Films. Shifting focus to Prabhas, his cinematic journey is often divided into the era before and after Baahubali. Pre-Baahubali, Prabhas enjoyed a string of successful films, such as Varsham (2004) and Chatrapathi (2005). However, the post-Baahubali phase, which includes Saaho (2019), Radhe Shyam (2022), and Adipurush (2023), proved disappointing, particularly Radhe Shyam.

Neel’s penchant for crime syndicate backdrops continues and is evident in each movie from KGF to this one, which echoes his inclination for showcasing distinct businesses in specific locales. The film’s standout elements are its remarkable photography and music, which seamlessly transport the audience into a mesmerizing new world. Prabhas, after three consecutive flops, delivers a commendable performance. His character is elevated by strategic use of minimal dialogues, allowing his expressions to take center stage. Prithviraj Sukumar’s fitting portrayal adds depth, and the careful casting of other actors enhances the film’s overall impact. Neel’s talent shines throughout the film, eliciting cheers and whistles in theatres.

Salaar is poised to resonate strongly with the younger audience. With an impressive Rs 50 crore advance booking on its first day, it appears destined for a big splash. Neel has come a long way, from seeking commercial success to becoming a director with grit and gravitas. A hint has been dropped in Salaar about its sequel, Shouryanga Parvam; the second instalment will be about Devaratha and Vardharaja finding their true identity. Needless to say, it has added an extra layer of anticipation for fans. Salaar has cemented Neel’s reputation as a director to watch in the industry.