What went wrong with “Badrinath”? Well, to list out the failures of Badrinath, one would have to analyse the script in full and see where the writer and director go wrong with the story and their screenplay. Lets begin with the story:
The story of the film revolves around the shrine of Badrinath for which Badri (Allu Arjun) is the Kshetra Palak. Presiding over the temple and the university of Takshasila is Bhishma Narayan (Prakash Raj) who handpicked Badri to be his disciple and be his successor, for which he wants Badari to be a Brahmachari (remain unmarried).
But fate decides otherwise as Alakananda (Tamanna) comes alongwith her ailing grandfather to the temple. Predictably, Alakananda falls in love with Badri after he counsels her to believe in God and thrashes some terroists who overtake the neighboring temple of Amarnath.
Now what will Badri do? Will he bow to the diktats of his master who made him a warrior or will he go with the girl who loves him to the core? And that is where Badrinath as a movie fails. It does not show the hero taking his decisions. It rather lets the hero to be guided rather than taking the lead role and jump into action. First the hero is guided or rather say, ordered by his master and later his actions are formulated by the wishes of the girl in danger. He even does not know whether he is in love or not.
Heroism of any character depends upon the decisions he or she takes in situations and the proactive nature of those decisions makes those characters endearing to the audience. The other To be exact in pin-pointing the major flaw of Badrinath, I would just say that the hero in this film is not heroic no matter how good he dances or how well he has beefed up his physic and acquired the mastery of martial arts in a far off country.
The other major drawback of this film is the characterisation of the heroine. She is seen as an atheist yet strong girl with her own set of convictions. She is portrayed as a tough as nails girl who does not even cares her dangerous paternal aunt. Such an aura is built around the heroine in the first few scenes and all of a sudden she becomes any normal innocent girl (or routine Tollywood heroine). First impression often makes the best impression and the image of the heroine speaking in a brattish tone lingers with audience even after the conclusion of the film. If there was a transition planned in her character in a believable way, there would have been some pep in the proceedings. If we continue to discuss there would be many other points which could be cited which have played spoilsport in making this movie a cumbersome experience.
Like all things said and done, the actors have not let the movie down as everyone did their best effort, though one might be inclined to say that the movie should have been named as “Alakananda” rather than “Badrinath.” Tamanna’s is the lingering image of “Badrinath” rather than Allu Arjun. The high production values and the pains of techinicians like, MM Keeravani, Ravi Varman, Peter Hynes and Anand Sai seem to have gone in vain as the most important captain of the ship, VV Vinayak did not wield his magic wand as he should have. Added to the woes, the censor also played “WHITE” by imposing some cuts on the violence.