Officer Movie Review: This Nagarjuna Film Is Better Than Ram Gopal Varma's Recent Films

Officer Movie Review: This Nagarjuna Film Is Better Than Ram Gopal Varma's Recent Films

Officer Movie Review: Nagarjuna and RGV come together for Officer. Find out if the film is worth the watch
Officer Movie Review: This Nagarjuna Film Is Better Than Ram Gopal Varma's Recent Films


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Movie NameOfficer
DirectorRam Gopal Varma
ActorAkkineni Nagarjuna, Ajay

It’s in the effortless casual arrogant way that Nagarjuna strides across  the screen that we  get to feel the  nervous energy of  a restless incorruptible larger-than-life cop who  must somehow stop a corrupt senior colleague from wreaking gangsterism in Mumbai.

Yes, RGV is back to his patented  haunt: the underworld. Except that this  one is less brutal gentler calmer  than his other recent  crime thrillers where the  junior artistes look as if they haven’t bathed for a  month. Here the scum-gang is tempered and  toned-down. But  the background music  pounds so hard you fear for your  temple. But let’s count the blessings. There are  no  gruesome  mob-mayhem sequences  in Officer. For the first time since Satya Ramu  attempts  to invest emotions  into his characters. Nagarjuna plays a single father . His scenes  with his  screen daughter (Baby Kavya) should have  conveyed  more depth. Lamentably, Ramu seems  ill-equipped to handle tenderness. Even the soft-corner that our hero has  a for female colleague(Myra Sareen) appears  fudged. The narrative has no time to develop feelings, as  it  quickly moves  to  the next shoot-out. The violence in Officer is far more controlled clenched than what we’ve seen in Varma’s other post-Satya  films. One shoot out where the antagonist pretending to be leading a  gang-raid shoots down his  own colleague, is  chilling.

Ironically  the arch-villain in  Officer is a senior cop Pasari (played  by Anwar Khan). The systematic breakdown of the law and its arrogant subversion and manipulation by this  devious villain is  recorded with a chilling directness often marred by camera angles which  favour inanimate  objects over the  human characters. Violence  is always shown to be shockingly casual in Varma’s crime world. Here  a shoot-out in an amusement  park shows victims being mowed down as Nag’s  Shivaji runs helter-skelter with his frightened  girl. The  daughter  is  often put into hugely hazardous situations. The  end-violence on a building rooftop has the  petrified girl  watching her father and  the villain fighting to a bloodied end with hammers, shovels, bricks and  anything  they can lay their hands on. Perhaps this is  Ramu’s way of telling us that  impressionable minds cannot be exempted from the  vitiated atmosphere we  live in. The  statement on the  police-underworld nexus  could have  been tighter edited and  allowed  to breathe rather than pant and heave. A  birthday song featuring Nag and  his colleagues  finds the camera acting more drunk than the  characters.

With alcoves of arresting action occurring intermittently, Officer becomes an aspirational crime drama. More  commendable for eliminating Varma’s  trademark  gimmicks than for replacing those  gimmicks with genuine  emotions.