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Review: ‘Baby’ (2023), starring Anand Devarakonda, Vaishnavi Chaitanya and Viraj Ashwin

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Anand Devarakonda , baby , drama , India , Kirrak Seetha , Kusuma Degalamari , Lirisha Kunapareddy , movies , Nagendra Babu , Prabhavati Varma , reviews , Sai Rajesh Neelam , Vaishnavi Chaitanya , Viraj Ashwin

July 15, 2023

by Carla Hay

“Baby” (2023)

Directed by Sai Rajesh Neelam

Telugu with subtitles

Culture Representation:  Taking place mostly in unnamed cities in India, the dramatic film “Baby” features a mostly Indian cast of characters (with a few white people) representing the working-class, middle-class and wealthy.

Culture Clash:  Working-class teenage sweethearts have their relationship tested when she goes away to college and is courted by a wealthy suitor, who is a fellow student.

Culture Audience:  “Baby” will appeal primarily to people who don’t mind watching a movie that’s a tacky soap opera.

“Baby” is an awful and bloated melodrama on every single level. This pathetic excuse for a romantic film has misogyny and abuse against women as acceptable ways for men to treat women as people to “own” and manipulate, not as people to truly love. The movie is on an often-boring loop of makeups and breakups that drag on for far too long in this nearly three-hour film.

Written and directed by Sai Rajesh Neelam, “Baby” takes place over a period of about five to eight years, in unnamed cities in India. The movie opens by showing a man in his 20s named Anand (played by Anand Devarakonda), waking up and vomiting on a street, after he passed out from ingesting unknown drugs. He’s dirty and disheveled. Anand works as a mini-cab driver, and he has a reputation for frequently being a drug abuser who often passes out in public.

Anand has woken up from this stupor after dreaming of his teenage sweetheart Vaishnavi, nicknamed Vaishu (played by Vaishnavi Chaitanya), whom he liked to affectionately call “baby.” The rest of the movie then goes into flashback mode until the last 15 minutes, to show what happened during the relationship of Anand and Vaishnavi, who both grew up in the same working-class neighborhood but didn’t start dating each other until their last year in high school.

“Baby” is a very corny movie in too many ways to count. Vaishnavi first gets Anand’s attention by throwing a pebble at him from her window while he was outside on the street. They make googly eyes at each other and do some mild flirting with each other. Vaishnavi is a stereotypical virginal “good girl” who is very sheltered, while Anand has had a bit of a rougher life. The turning point in their relationship happens after a disturbing abuse incident that happened to Vaishnavi at their school.

Anand and Vaishnavi have the same mathematics class together. One day, their male teacher gets angry at Vaishnavi for not knowing the answer to a math problem. The teacher starts yelling at Vaishnavi and then slapping her hands very hard with a ruler. Vaishnavi and the other students do nothing to stop this abuse and don’t report this crime, because they’re in a culture where teachers are apparently allowed to abuse their students in this way.

After the class ends, a humiliated Vaishnavi is walking outside with her best friend Kusuma (played by Kusuma Degalamari), when Anand joins them. Anand picks up one of Vaishnavi’s bruised hands and asks her, “Will you let me love you?” She shyly says yes. And so begins the up-and-down romance of Anand and Vaishnavi.

After graduating from high school, Vaishnavi plans to go to college, while Anand plans to stay in their hometown and work full-time as a mini-cab driver. He owns his own mini-cab and has been doing this work part-time while in high school. The college that Vaishnavi is going to is far from her hometown but not too far away for Anand to visit several times a month. Vaishnavi does not have a driver’s license.

Anand is very insecure about whether or not their relationship can last when it’s a long-distance relationship. Vaishnavi assures him that their love can withstand this test. Anand is also insecure about his family background and his low income. Vaishnavi comes from a loving home with two married parents (played by Nagendra Babu and Lirisha Kunapareddy), who don’t have names in the movie. Anand describes his home life to Vaishnavi this way: “My father died when I was young. My mother is dumb. I have no money.”

Anand’s mother (played by Prabhavati Varma), who doesn’t have a name in the movie, actually isn’t “dumb.” As later shown in “Baby,” she’s a concerned and compassionate mother who’s a little overprotective, but she means well. In a scene that happens in the movie, Anand’s mother finds out that Anand is having financial problems, so she generously gives him some cash, even though he didn’t ask for it. In response, Anand shouts at her that he doesn’t need her help, and throws the wad of cash on the ground.

Anand’s disdainful attitude toward his mother is one of many examples of how all the principal male characters in this movie are misogynistic. Vaishnavi becomes part of a love triangle, but what’s shown in this movie is not real love, even though the filmmakers are trying to make “Baby” look like an epic romantic story. What this movie is all about is Vaishnavi being treated as a pawn between two men in a battle of their egos.

The trouble in Vaishnavi and Anand’s relationship doesn’t happen right away. At first, Vaishnavi and Anand adjust to her being away at college, because she’s followed Anand’s orders not to drink alcohol, especially when she’s at a nightclub or bar. Anand warns Vaishnavi that if she gets tipsy or drunk, men will take advantage of her and she might get raped. Although it’s a valid concern, it’s very domineering and sexist how Anand dictates to Vaishnavi what she can and can’t do to be a “proper lady.”

As soon as Vaishnavi is told that she shouldn’t get drunk in nightclubs, you just know it’s eventually going to happen. During her first day at college, a popular student named Seetha (played by Kirrak Seetha) introduces herself to Vaishnavi and tells her that they will be friends. Seetha, who hangs out with a crowd of other student partiers, is determined to “loosen up” Vaishnavi, because she thinks Vaishnavi is too prim and uptight.

Seetha and her friends like to get drunk, smoke (tobacco and marijuana) and do other drugs. Vaishnavi politely declines when she’s offered any drugs, but she finally relents (after much pestering from Seetha) and smokes tobacco for the first time through a hookah. Eventually, Vaishnavi starts drinking alcohol too.

At Seetha’s insistence, Vaishnavi lets Seetha pay for Vaishnavi to get a full “glamorous” makeover. After the makeover, Vaishnavi starts wearing makeup and wearing her long hair unrestrained, after previously wearing her hair pinned-back or in braids. Vaishnavi’s wardrobe also changes from being plain and modest to more daring and revealing.

Anand dislikes Vaishnavi’s makeover. He gets so angry about it, they have an argument where he pushes her hard and calls her a “whore.” Anand is later apologetic, and Vaishnavi forgives him. But it won’t be the last time that Anand has an abusive outburst against Vaishnavi. She’s reluctant to break up with him because Vaishnavi thinks Anand is her “one true love.”

Vaishnavi’s outward transformation is immediately noticed by a rich and arrogant student at the school named Viraj Ashwin (played by Viraj Ashwin), who was already attracted to Vaishnavi before her makeover. After her makeover, he becomes even more attracted to her. Viraj begins aggressively courting Vaishnavi, even though he knows that Anand is her hometown boyfriend. Viraj is the type of person who thinks he can buy someone’s love.

The rest of “Baby” has many scenes, dialogue and acting that are absolutely cringeworthy. Shortly after Vaishnavi began attending college, Anand gave an Android phone to Vaishnavi as a gift, so that they can keep in touch. He also gave himself a matching Android phone. Vaishnavi is grateful but also annoyed that Anand got himself a matching phone. She tells him that the gift isn’t as special because he bought himself a phone too.

Meanwhile, Viraj notices that Vaishnavi is using an Android phone that she tells him was given to her by Anand. It isn’t long before Viraj constantly tells Vaishnavi that she should have an iPhone. Viraj says to Vaishnavi: “Beautiful girls should have beautiful phones.” Viraj compares an iPhone to beauty so much in this horrible movie, it starts to look like shameless iPhone product placement.

And sure enough, Viraj eventually gives an iPhone to Vaishnavi, who starts using the iPhone (because it has more features) than the Android phone that Anand gave to her. Anand inevitably finds out and get jealous. More arguments ensue between Anand and Vaishnavi. Suddenly, Viraj is starting to look attractive to Vaishnavi, even though she’s not in love with Viraj.

“Baby” has some very weird and unbelievable moments that make no sense at all. For example, Viraj throws a big party at a nightclub, where he announces in front of everyone that he’s in love with Vaishnavi, even though he and Vaishnavi barely know each other, and they’ve never been on any official “dates.” At the same party, there’s also a scene where drunk Vaishnavi kisses Viraj out in the open at a table near the dance floor, where dozens of people can see them, but then she makes Vaishnavi promise not to tell anyone that they kissed.

“Baby” continues to sink into a tawdry cesspool of bad performances and even worse storylines while showing a lot of abuse and mistrust masquerading as “love.” There’s a subplot about sexual blackmail that is absolutely pathetic. Considering all the misogyny in this junkpile movie, it’s easy to know who is the target of this blackmail. People who think “Baby” is a good movie need to check their attitudes about women and girls, because those attitudes are probably sexist and outdated.

Mass Movie Makers released “Baby” in select U.S. cinemas and in India on July 14, 2023.

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‘Baby’ movie review: This Akshay Kumar film is as simplistic as its title

Baby movie review: this is akshay’s most credible performance in a long time, and reminds us the actor he can be..

Star Cast: Akshay Kumar, Danny Denzongpa, Rana Daggubati, Anupam Kher, Kay Kay, Taapsee Pannu, Sushant Singh, Mikaal Zulfikar

Director: Neeraj Pandey

‘Baby’ is a perfect vehicle for the times we live in: it gives us a home-spun hero who allows himself to be hurt but is invincible, and an enemy who is the easiest to demonise. The film is as simplistic as its title – Us vs Them, and no prizes for guessing who will win. In a messy world, where each action can have an equal and opposite reaction, what is the point of complexity?

(Read: Pakistan bans Akshay Kumar’s ‘Baby’ )

We are given a luxuriously-bearded mullah (based, clearly, upon a couple of real-life types) whose eyeballs have flames in them, and a crowd of followers who look as if they are ready for ‘jihad’. They raise blood-curdling slogans, and talk nasty about `Indiya’. The retaliatory measures undertaken by our hero are justified right in the beginning. Can’t have hate-spewing terrorists who hide out in countries-ringed-by-deserts-and-sand-dunes threatening our sovereign nation, can we?

So we are meant to cheer when the skilled counter-espionage agent Ajay ( Akshay Kumar ) breaks bones and smashes faces, while a gruesome interrogation sets the scene. If they can bash our guys, we are allowed to bash right back, no questions asked. Ajay and his band of merry men, the impossibly buff Daggubati, and the sulky computer expert Anupam Kher , cause some amusement as they race around Turkey and Nepal and the Middle East, tracking the baddies. But the whole is familiar and much of it is tedious.

(Also read: Get over ‘Heyy Babyy!’, Akshay Kumar arrives with ‘Baby’ )

This is Akshay’s most credible performance in a long time, and reminds us the actor he can be, when he is not up-ending monkeys and dogs in films pretending to be comedies.The supporting cast is handed out a few diverting tics, which includes a nice little turn by Ms Pannu as the girl who can give as good as she gets.

But the niggling discomfort caused by the pandering to stereotypes ( and the requisite nod to tokenism) colours our viewing. There’s also the fact that though this film looks always to be on the move, it frequently stalls. The result is a sort of frantic business which flatters to deceive : ‘Baby’, fronted by its fleet-footed hero with his brisk moustache and its background-music-overlaid action, feels longer than it should.

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Baby Movie Review: Baby Movie

Baby review 4.5/5 & rating. watch baby official trailer video, listen songs, movie news updates, movie review and checkout public movie reviews soon., baby review {4.5/5} & review rating.

Rarely you come across an Indian movie that doesn't hit a single false note. BABY is one such film. Writer-Director Neeraj Pandey has made a brilliant film that is not only technically at par with the best in the world, but it's also a dispassionate non-judgmental take on terrorism that's completely devoid of jingoism and is extremely gripping. Full marks to Producer Bhushan Kumar for believing in such a landmark film, backed by exceptional marketing especially when it's devoid of songs. Firoze Ali Khan (Danny) heads a special operations wing of commandoes called Baby. In a conversation with a senior minister in the beginning of the film, he states that the Government ought to win the confidence of the Muslim community in India, for Pakistan is taking advantage of the community's sense of alienation within India. In another scene Ajay Singh Rajput (Akshay Kumar) tells an ISI agent Taufeeq (Mujeeb Khan) how he defended a Muslim family during the Gujarat riots and why he puts 'Indian' in the Religion bracket in all forms that he fills. Somehow this sets the tone for the film that terrorists don't have a religion and no particular community ought to be associated with terrorism. The screenplay is the hero of BABY. It flows lucidly, taking you on an engrossing journey of thrills, intrigue and surprises. Dialogues are peppered with bullets of dry humor that keep you entertained throughout. The verbal-expletive-laden warfare between Shuklaji (Anupam Kher) and Ajay is a case in point in this regard. Or when Ajay matter-of-factly tells Priya (Taapsee) as they're on the flight to Kathmandu to "stop being my wife" when she informs him about his snoring. The precarious uncertainty in the life of an Officer involved in covert operations has been portrayed in a subtle but telling manner. Ajay's wife (MadhurimaTuli) isn't aware of her husband's job profile but does tell him now and then, "Bas marna mat." The scene where Ajay slaps the personal assistant of a minister (on his frivolous remark on the death of his colleagues) will result in an applause from the audience in the theaters. The narrative of BABY flows like a well-made Hollywood film. Actors filter in only where required and they're not repeated just because it makes a commercial sense from a typical Bollywood perspective. Taapsee is part of one operation. Anupam Kher and Rana Dagubatti join the team in the scorching climax sequence shot in Abu Dhabi. Sudeep Chatterji's cinematography deserves a special mention. He has done an exceptional job especially in the chase sequences in Istanbul and the desert escapades in Abu Dhabi. Akshay Kumar has done an incredibly good job in BABY. He's razor sharp and there's never a dull moment whenever he's on screen. In a scene in an Airport washroom when he bandages himself despite excruciating pain is superbly done. He's exceptional during all his action scenes as well. The entire supporting cast is excellent. Danny is a picture of precision in giving the right expressions. He doesn't bullshit nor lets anyone else do the same. Anupam Kher weaves in magic in a cameo. He's entertaining and he gets the job done. Kay Kay as the dreaded terrorist Bilal makes his striking presence felt. Sushant Singh is effective in bringing in humour in a least expected situation. Rana Dagubatti as the tough officer Jai is competent. Taapsee is a sharp Commando. She shall be proud of this film. Rasheed Naaz as Maulana Mohammad Rahman has an interesting appearance and an even more interesting way of dialogue delivery. Mikal Zulfiqar, another Pakistani actor makes his presence felt in a cameo. Sanjoy Chowdhury's background score is the heartbeat of BABY as it instills the necessary emotions at opportune moments in the course of the narrative. Shree Narayan Singh's editing is exceptional. Even though the duration of the film is over two and a half hours, the taut pace keeps you hooked. The last 45 minutes of the film are simply extraordinary and fast paced. On the whole, BABY is one of the finest films ever made in the history of Indian cinema. Not only because of its excellent cinematic credentials but also because of the balanced 'Thought' behind the film. Neeraj Pandey once again proves that he's a genius. This time he proves, it's possible to better Perfection. We say, hey baby, don't think, just go for BABY. Cinema at its very best!

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Release Date : July 14, 2023

123telugu.com Rating : 3.25/5

Starring: Anand Deverakonda, Vaishnavi Chaitanya, Viraj Ashwin, Naga Babu, Lirisha, Kusuma, Sathvik Anand, Babloo, Seetha, Mounika, Keerthana, and others

Director: Sai Rajesh

Producer: SKN

Music Director: Vijay Bulganin

Cinematographer: M N Balreddy

Editor: Viplav Nyshadam

Related Links : Trailer

Baby is a film that has earned a good buzz due to its chartbuster songs. Directed by Sai Rajesh, the film stars Anand Deverakonda, Vaishnavi Chaitanya, and Viraj Ashwin in the lead roles. The movie hit the screens today, and let’s see how it is.

Vaishnavi (Vaishnavi Chaitanya) and Anand (Anand Deverakonda), hailing from a slum, are high school lovebirds. Anand fails to make it to the college and becomes an auto driver, whereas Vaishnavi joins the college. Vaishnavi undergoes a massive transformation, and this is also the time she gets close to Viraj (Viraj Ashwin). Slowly problems start developing between Vaishnavi and Anand. An unexpected incident takes place, which changes the lives of Viraj, Anand, and Vaishnavi as a whole. What happened next? How did the incident affect the three? This forms part of the crux of the story.

Plus Points:

Baby is a take on modern-day relationships, and director Sai Rajesh sheds light on the chosen topic through three beautifully written characters which are diverse in their own way. By the end of the film, one would end up liking all the three lead characters due to the effective writing. The scene where Viraj and Anand meet for the first time is the biggest highlight.

The movie has a pretty good second half with a right blend of drama, emotions, and intense moments. Baby became even more captivating thanks to the wonderful dialogues that will strike a chord with the target audiences. There are a good amount of whistle-worthy moments, and youth can relate themselves to many scenes. A few scenes are intentionally placed to impress the youngsters, and they land up well.

Anand Deverakonda amazes big time with his stupendous performance. We get to see the actor in Anand through Baby, and his full potential has been tapped by the director. It is a bit challenging role, especially for a budding artist, but Anand killed it with his earnest performance.

Vaishnavi Chaitanya is a revelation in this romantic drama, and the young actress’s performance speaks volumes about her talent. Her character arc has been designed quite well. Vaishnavi performed pretty good in the emotional scenes too. Her phone call scene with Anand Deverakonda was terrific. Viraj Ashwin gets a solid role, and he performs to the tee. This is perhaps the best role done by Viraj so far, and he aced it to perfection.

When romantic dramas get a good album, the result is Baby. Every song composed by music composer Vijay Bulganin is too good, and also the effective background score enhances the impact in many sequences.

Minus Points:

The movie is quite lengthy, as it has a runtime of close to three hours. The makers could have trimmed down a few sequences, especially in the first half, for a better experience. The contemporary nature of the film might not go well with a few.

The first hour is slow paced, and the movie gets more interesting from the pre-interval portions. Though there are good moments and dialogues, they are few and far between. The pacing reduces the impact to an extent. At times, the first half gives us a feeling that it is a bit stretched.

Technical Aspects:

As mentioned earlier, music by Vijay is a major asset for Baby, which takes the film to the next level altogether. The cinematography by Balreddy is exquisite, and the visuals are easy on the eye. Particularly the songs are shot in an aesthetic manner. The editing is sloppy in the first half, but it is alright in the latter hour. The production values are first-rate.

Coming to the writer and director, Sai Rajesh, he did an impressive job with Baby. While the first hour was not that great, he makes it up with a very good second half that is a concoction of intense emotional sequences and solid dialogues. Sai Rajesh extracted the best out of his actors, and he used the music perfectly. His dialogues are fantastic and have inner depth. Had the first half been a bit racier, the movie’s range would have enhanced further.

On the whole, Baby sheds light on modern-day relationships in a neat manner, and the climax is unconventional. The performances of Anand Deverakonda, Vaishnavi Chaitanya, and Viraj Ashwin are simply superb. The second half has its heart in the right place, but the impact gets slightly reduced due to the slow-paced first half, which could have been still better. Also, the makers could have taken care of lengthy runtime. Nonetheless, Baby is a good watch this weekend. Go for it.

123telugu.com Rating: 3.25/5

Reviewed by 123telugu Team

Click Here For Telugu Review

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Frequently Asked Questions (FAQs) About Baby

In this Baby film, Akshay Kumar , Taapsee Pannu played the primary leads.

The Baby was released in theaters on 23 Jan 2015.

The Baby was directed by Neeraj Pandey

Movies like Article 370 , Laapataa Ladies , Welcome To The Jungle and others in a similar vein had the same genre but quite different stories.

The movie Baby belonged to the Action,Thriller, genre.

Baby User Review

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Roney 3041 Days Ago

Best movie h ab tak ki

jack 3057 Days Ago

Sahil ulfat 3368 days ago, shivanshu raj 3369 days ago.

Nice movies

RAVI SHEWAlE 3373 Days Ago

BEst movie for the akshay Sir is perfect role in the move watch these movie...

MoviezAdda 3375 Days Ago

Expectations: Director Neeraj Pandey debuted with a relatively smaller film 'A Wenesday' and astonished the cinema lovers by its outstanding theme, powerful performances and brilliant direction. With every passing year the movie kept growing on and..

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Twitter reactions - baby.

Undoubtedly the piece de resistance of #baby is @akshaykumar 's assured and immensely believable portrayal!! — Karan Johar (@karanjohar) January 25, 2015

Super flick. #BABY will leave u cheering in the end.That end title song being totally unnecessary coz the film doesn't need an item at all:) — Malishka (@mymalishka) January 24, 2015

Dude this #Baby film's beginning so far is blowing my mind!! Pak obviously won't like this. — Malishka (@mymalishka) January 24, 2015

So apparently, the climax of #Baby is stunning enough to make your jaw drop and eyes pop! Supposed to be among the best in a while! — Akshaye Rathi (@akshayerathi) January 21, 2015

BABY is a Masterpiece @hellogunj @akshaykumar Not a single second wasted, correct message , exposed the truth. AWESOME — Ashish Vashist #HDL (@ashishvashist) January 25, 2015

• What is the release date of 'Baby'? Release date of Akshay Kumar and Sushant Singh starrer 'Baby' is 2015-01-23.
• Who are the actors in 'Baby'? 'Baby' star cast includes Akshay Kumar, Sushant Singh, Taapsee Pannu and Rana Daggubati.
• Who is the director of 'Baby'? 'Baby' is directed by Neeraj Pandey.
• What is Genre of 'Baby'? 'Baby' belongs to 'Action, Thriller' genre.
• In Which Languages is 'Baby' releasing? 'Baby' is releasing in Hindi.

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'Baby' Movie Review Roundup: A Must Watch Film

Critics have praised the director and actors performance. neeraj has delivered another hit film with "baby" after "a wednesday" and "special 26"..

Neeraj Pandey has once again impressed critics with his upcoming film "Baby" starring Akshay Kumar, Rana Daggubati and Anupam Kher in lead roles.

Critics have praised the director and actors' performance. Neeraj has delivered another hit film with "Baby" after "A Wednesday" and "Special 26".

Even Bollywood celebrities have showered praises on the director and actors.

The film produced by Cape of Good Films and Crouching Tiger also features Danny Denzongpa, Taapsee Pannu, Mikaal Zulfiqar and Madhurima Tuli in important roles.

Check out celebs and critics reviews below:

Vivek Agnihotri : #Baby is @akshaykumar most controlled, matured and nuanced performance. Go for it.

Milap Zaveri : Have woken up with the hangover of #Baby Book your tickets for Tom right now to see the BEST indian thriller in years!

Taran Adarsh:  Watched #Baby. O-U-T-S-T-A-N-D-I-N-G. Neeraj Pandey proves his prowess yet again. Brilliant cinema!

Srijana Mitra Das of The Times of India  said : "Balancing characters, conspiracies and cities, director Neeraj Pandey admirably keeps Baby rich, yet tight, researched, non-sentimental and steely-eyed. Neeraj's craft has grown - he's taken trademark touches from films like Special 26 and A Wednesday, setting them here on a grand scale, with a breath-taking climax."

Bollywood Hungama  in its review said:  "On the whole, BABY is one of the finest films ever made in the history of Indian cinema. Not only because of its excellent cinematic credentials but also because of the balanced 'Thought' behind the film. Neeraj Pandey once again proves that he's a genius. This time he proves, it's possible to better Perfection. We say, hey baby, don't think, just go for BABY. Cinema at its very best!"

Shubha Shetty-Saha of Mid-Day  said : "Two minor complaints. Wish they had gone easy on the background score. Also, a glaring loophole involving a laptop belonging to a terrorist. Please watch this movie."

Mihir Fadnavis of Firstpost said : "Pandey is a smart, commercial filmmaker though, because Baby  basically exists for the singular purpose of filling three hours of your life with slickly-crafted and frequently outlandish thrills."

Rohit Vats of Hindustan Times  said : "The climax is strikingly similar to Argo, but with a little lesser planning and tension. Baby is not overtly dramatic and that saves the day towards the ending. The tempo is just perfect and the pace suits the situation."

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Baby Movie Review: An odious, operatic tragedy of errors

Rating: ( 3 / 5).

Is there any genre more inconsistent in its treatment than romantic films? On one hand, we have films that are all froth and fluff, unrealistic from the get-go. On the other end, you have your pain-ridden odysseys acting as a gateway for catharsis. One is sheer escapism, the other a polarising poke into the pus-filled warts of human experience. There is an uneasiness so distinct after watching  Baby , a lot of the appreciation I have for this film comes from the very uneasiness it effectively evoked in me. But how can one appreciate something that makes you feel uneasy? Maybe it is some degree of novelty, combined with a congruence to a certain strain of reality. Maybe the existence of 'feel good' cinema conversely implies the existence of 'feel bad' cinema, for  Baby , easily earns itself a distinction in the latter category. Director - Sai Rajesh Cast - Vaishavi Chaitanya, Anand Deverakonda, Viraj Ashwin, Harsha Chemudu, Nagababu Konidela

For a film that deals with something so intimate and humble in scale — first love, growing up, infidelity, heartbreak and regrets — Director Sai Rajesh mounts it with an assured grandeur. The music of the film, composed by Vijai Bulganin, helps immensely, elevating the story even when the actors are struggling to find their feet. Not so long ago, this exact feat was achieved by composer duo Ajay-Atul for Sairat , a Marathi adaptation of Romeo and Juliet . But Baby is far pricklier in comparison. The movie has three leads and the makers intentionally name characters after their real names. Vaishnavi Chaitanya plays Vaishnavi, Anand Deverakonda is Anand and Viraj Ashwin’s character is called…you get the drift. If Jeo Baby’s The Great Indian Kitchen wanted to convey to its viewers that they are narrating the tale of *every* Indian family by not naming their characters, Baby takes a different route to arrive at the same location.   What gives Baby its edge is the way it presents two varying arguments about the film’s central love story at the same time. Sure, this is the story of many, if not every couple but, more often than not, these couples also believe they are exceptional, their love story is but the greatest in the world. Sample this song from Baby whose lyrics say, “ Mana katha lanti maro katha, charithalo undadhantane… ” (There is no story as unique as ours, history will stand proof to it). There is an echo to this display of exceptionalism on a more personal level when Vaishnavi declares, “ andaru veru, nenu veru ” (I am not like everybody else), which is followed by Anand rudely replying “ andaru porilu veru kaadhu, andaru okkate. ” (all girls are the same).  The exceptionalism of the characters is balanced by an inquiry on identity. As Vaishnavi leaves her ghetto to a swanky private engineering college, we see her self-esteem crack as she gets ridiculed about her dark skin and her economic background. We see her family, a cranky, insecure mother and a well-meaning but emotionally absent father play a role in this. This sets the tone for the rest of her arc. Staying committed to its “feel bad” vibe, Vaishnavi’s story is essentially an unbe'coming' of age one. Baby’s twin themes of exceptionalism and identity meet at the moment when Anand, after hurling abuses at Vaishnavi, declares that her identity only comes from him loving her. That she is who she is, because he chose to love her out of all the other people he could have loved. Vaishnavi, responds a little while later, that he gets his arrogance because she loved him first. She follows this up with a “ nuvvu mundhu preminche unte nen ninnu nelanu naakinche danini. ” What a beautiful insult. 

As much as Baby is about Vaishnavi, the film also belongs to Anand and his bookended grief, as its plays out like a flashback, a lengthy follow-up to the “ modhati premaku maranam ledhu ” (first love is immortal) hypothesis.  Anand is introduced with a shot of his feet as a fly lingers around. He is drunk, visibly overwhelmed with memories. We first see Vaishnavi dancing away outside her basthi’s Ganesh pandal. Their high school love is all innocence, aptly punctuated by children singing the chorus of  'O Rendu Prema Meghalila' . But alas, their innocence is only built to have it every last bit of it destroyed. Vaishnavi is the first to fall for Anand, he reciprocates it later. Vaishnavi, receiving a soap dabba as a gift, declares how she loves receiving gifts. These seemingly cute details are foreshadowed, weaponised even, for regrettable consequences and cruel pay-offs. 

Baby is well aware of its own foreboding, so much so that Vaishnavi and Anand find themselves talking about feeling, and later failing to see bad omens come in their way. If Anand and Vaishnavi form the film’s more obvious love story, Baby ’s tryst with tragedy is the film’s second, hidden love story. Viraj is the face and form of this story’s ugliness. Echoes of identity and exceptionalism find themselves in his story as well. Viraj is a rich guy who drives a Cooper to his college. Why would he like Vaishnavi, a basthi girl? But look at his introduction scene plays. Every girl is impressed by his looks, his wealth. Vaishnavi is not only different than all the other girls, but she is also indifferent to who he is on the outside. Much like Anand, this is the girl he chooses, to bequeath her a new identity, to be her only identity. 

While Baby also portrays love as something special, something irreplaceable and magical in theory, the film succeeds in its ugly depiction of narcissism, pettiness and violence. The film is generating enough hate as I type this sentence, but there is a good reason for that. Not a single main character is good or right. Vaishnavi is undone by her fear, Anand is destroyed by his insecurity and Viraj, well, Viraj is the most nightmarish version of the nice guy/boy bestie trope. Imagine Revi from Love Today , but crazy manipulative instead of just stupid. There is also a laughably bad and infantilized class divide angle in the form of a character named Seetha thrown in. While it does not work on its own, it does its bit in pushing the story forward. 

The film’s biggest shortcoming is in its direction. Its 177-minute-long runtime, consisting of scene after scene of theatre-style staging where the camera never moves and the dialogues never end does prove to be taxing to the viewer. For a story so haunting, its filmmaking is flat and tepid, wasting an opportunity to go from interesting to…well, exceptional. For now, and for a while, I shall continue to remain how the characters have been throughout the film. Confused. Like everybody else.

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• తెలుగు

'Baby' Review: Lengthy Lousy Lusty

Film: Baby Rating: 2.25/5 Cast: Anand Devarakonda, Viraj Ashwin, Vaishnavi Chaitanya, Naga Babu, Lirisha etc Cinematography: MN Balreddy Editor: Viplav Nyshadam Music: Vijay Bulganin Producer: SKN Written and Directed By: Sai Rajesh Release Date: 14 July 2023

Anand Devarakonda, after a series of flops, came up with this film featuring Vaishnavi in her debut as a full-length heroine. Viraj Ashwin played the second lead, and the film was directed by Sai Rajesh. The trailer appealed to a specific audience, giving the impression of a poetic love story.

Let's delve into the plot and find out what it offers.

Story: Vaishnavi (Vaishnavi Chaitanya) has been in love with Anand (Anand Devarakonda) since their high school days. While Vaishnavi joins an Engineering College, Anand, who fails his 10th standard, becomes an auto driver over time.

Viraj (Viraj Ashwin), a wealthy young man in the college, falls in love with Vaishnavi and proposes to her. Although Vaishnavi develops feelings for Viraj, she remains loyal to Anand.

However, a series of events eventually push Vaishnavi to accept Viraj's kiss-proposal, leading her into trouble. What happens next? Who is the actual culprit, and who are the victims? How does her kiss affect the lives of each one?

The rest of the story answers these questions.

Artiste's Performance: Anand Devarakonda delivered a commendable performance, excelling in several scenes. He portrayed a character with strong values and morals, while also portraying a victim of love.

Vaishnavi showcased her talent by playing a girl-next-door from a below middle-class family, as well as an urban girl with a makeover. She portrayed a graceful lover and a confused teenager, displaying versatility in her acting.

Viraj performed well in his role, although there weren't many opportunities for him to showcase his diverse acting skills. His character lacked surprises or additional shades.

Naga Babu's portrayal was adequate but didn't offer anything noteworthy. Viva Harsha's role was like an extra actor with a few scenes and a couple of dialogues.

Technical Expertise: The cinematography was good, and the background score adequately supported the film. The songs were situation-based and pleasing to ears.

The editing was not sharp, causing scenes to drag on. On a whole the making standards are good. 

Highlights: Anand Devarakonda Vaishnavi Music

Drawbacks: Run-time Vulgarity

Analysis: Sai Rajesh, known for directing films with a blend of comedy and spoof value like "Hrudaya Kaleyam" and "Kobbari Matta," attempted to break away from that image with this film. He aimed to create an intense cult love story, but unfortunately, the result was a lethargically made, overly lengthy film with confusing characters.

While the director intended to present characters with real-life emotions, it became burdensome for the audience to bear the confusion and indecisiveness shown on screen.

The characterization of the female lead began subtly as a girl next door but later transformed into an urban girl who behaved contrary to her initial character. Despite the director's attempt to attribute her actions to alcohol, the overall narrative shifted toward hating the main lead rather than empathizing with her. Additionally, the heroine, who crossed several boundaries with her new friends, is surprisingly unaware of what 'dating' means, creating further confusion in her characterization.

Furthermore, the main lead's character felt contrived, with an excessive focus on idealistic traits. Instead of sympathizing with him, the audience sometimes trolled the character with loud laughs and shouts, revealing a mismatch between the director's imagination and the contemporary audience's mindset.

While the director may have aimed for a film akin to Balu Mahendra's "Vasantha Kokila" with a shattered hero at the end, the result felt forced and excessively long.

It is essential to maintain the right balance and not drag the narrative beyond what is necessary to achieve the desired effect. In this film, the story was dragged out too long, making it unbearable for the audience. The first half was slow but steady, while the interval part was intriguing. The second half followed predictable patterns, and the climax was never ending and pale.

The film runs like a moral story. It is a lesson for young girls of college age not to get trapped into the urban evils like pubs, alcohol and smoke and spoil personal lives. But the way it was dealt was vulgar. 

In spite of that moral theme, the film included objectionable cuss words like L@#j# (multiple times), G#dd#, De#g# Thaagi, Lan$ak#d#ka, Kud$si##tav. The filmmakers may have intentionally included these words, knowing that they would be muted by the Censor Board, but still understood by the audience in context. However, this choice speaks more about the director's vulgar taste than anything else. The words are not getting muted in American prints causing a lot of embarrassment and inconvenience to the NRI audience.

There is also a dialogue- "Nuvvu theravaalsindi kallu kaadu- kaallu" which is vulgar. 

There is a dialogue suggesting that men must spend the rest of their lives consuming alcohol sitting in a corner if their love fails. This outdated filmy thought process reflects the director's perspective.

The film appears loosely inspired by "RX100," where the heroine herself is the villain. In this case, the heroine is a villain but primarily driven by circumstances rather than her character.

The film emphasized more lust than love. All the main characters are victims at the end as per the story and of course the audience too are the victims of the length!

Bottom Line: Shabby

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Tags: Baby Baby Movie Review Baby Review Baby Telugu Movie Review Baby Rating Baby Movie Rating Baby Telugu Movie Rating

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J Baby OTT Release Date & Platform Revealed

By Rohan Verma

Directed by debutant Suresh Mari, J Baby is now available on OTT platforms for Indian and overseas audiences. Those who missed the film’s theatrical release can now enjoy it from home.

Released on March 8, coinciding with Women’s Day, J Baby garnered positive reviews from critics. The cast features Urvasi, Attakathi Dinesh, Lollu Sabha Maaran, and others in prominent roles. Based on an actual incident, the film primarily focuses on the mother-child relationship. It follows the story of Dinesh and Maran, who have an estranged relationship with their mother (Urvasi). Following an argument, their mother leaves without informing them, leading to a search that ends in Kolkata.

Reviewing J Baby, the Times of India writes, “J Baby chooses to tell its story in a non-linear manner. Therefore, in the first half, the bond between the brothers is highlighted, while Urvashi largely remains in the background. It’s only in the second half that we really get a sense of who she is. There’s certainly a lack of coherence in the way the stories of the mother and the sons have chosen to be told.”

In conclusion, the website adds,” At the end of the day, J Baby is proof that good acting performances as well as inconsistent and momentarily engaging scenes aren’t enough to save a film.”

Where is Urvasi’s J Baby coming out for OTT?

Amma enga irukanga? Watch #Jbaby Only On #Tenkotta Grab a whopping 50% OFF on our Annual Subscription! Sign Up Now – https://t.co/biSEeN8x9w #JBabyonTentkotta #10yearsoftentkotta #tentkottafamily #happytentkottaing pic.twitter.com/9v2jDyJQ9B — Tentkotta (@Tentkotta) April 13, 2024

For eager viewers, J Baby is currently available to stream on Prime Video in Tamil with English subtitles. Additionally, for non-Indian audiences, it can also be streamed on the overseas platform Tentkotta . According to IMDb , the movie has a total runtime of 2 hours and 25 minutes.

Director Suresh Mari emphasized the importance of the mother-and-son relationship, a central point in the film. He also highlighted his favorite scene, saying , “There is a point where they would have to sell the house and then the sequence where her sons go in search of her. These are some of my favorite scenes from the film.”

Watch J Baby, now streaming on Prime Video and Tentkotta.

Rohan Verma, widely known as Wrestling Hindi News, is a multifaceted content creator with a thriving YouTube channel boasting over 100,000 subscribers. While his digital presence is synonymous with the pulse of the wrestling world, Rohan is more than just a sports journalist; he's a versatile content writer and author with a distinct flair.

Beyond the adrenaline of the wrestling ring, Rohan Verma has a deep-seated passion for the Indian movie and TV industry. His unique perspective and keen insights into the intricacies of the entertainment world make him a notable voice in the realm of pop culture.

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'Amar Singh Chamkila' Review: Diljit Dosanjh is electric in Imtiaz Ali's worthy film

'amar singh chamkila' movie review: the film is worth watching simply for its music and diljit dosanjh's performance as the legendary punjabi singer. the film succeeds not only for its strong script, but also for the music and performances..

Listen to Story

• 'Amar Singh Chamkila' released on Netflix on April 12
• Diljit Dosanjh is spectacular as Amar Singh Chamkila
• The movie is directed by Imtiaz Ali

Cast & Crew

Diljit Dosanjh

Release Date: 12 Apr, 2024

Imtiaz Ali's 'Amar Singh Chamkila' begins from the end. From when all appears over. Diljit Dosanjh plays the titular role of the enigmatic Punjabi folk singer, Chamkila, whose flourishing career is ended by his brutal murder.

Amid the tragedy, there is a shift in tone as we join the conversation between the police officer investigating his murder and the man who has lost his 'Ustaad'. Chamkila and his wife, Amarjot Kaur, wrapped in white sheets, is a pitiful sight with their blood staining the Punjabi music industry.

The film is an extraordinary record of a man who simultaneously became a great star and was destroyed by his fearlessness . What is most striking about it is that we can almost always see his rise to stardom and his looming downfall, happening at once. There is hardly a time when Chamkila doesn't possess his special charisma, not even when he faces death threats from music rivals and Khalistani terrorists.

WATCH AMAR SINGH CHAMKILA TRAILER HERE

This movie does not intend to be a documentary about Chamkila's double-entendre songs which made him and his listeners 'ganda banda' (a dirty man) by the self-proclaimed watchdogs of society. But, it is also a commentary on the society and the times that Chamkila inhabited. Imtiaz, along with script developers, Nidhi Sethia and Richa Nanda, have shown the impact of the insurgency in Punjab in the 1980s on Chamkila's life and career.

'Amar Singh Chamkila' flips back and forth through time and uses archival footage from varied sources, including Chamkila and Amarjot's housefull akhaadas (stage shows) in Punjab, amplifying the emotional connect with them. Some scenes are caricaturish, and it is hard to comprehend why. They don't work, but their presence on the screen is, thankfully, short.

Where the film succeeds, it's not only for its strong script but also for its music and performances.

'Amar Singh Chamkila' is worth watching simply for its music and Diljit Dosanjh performing it. That it looks deeper and gives us a sense of the man himself is what makes it special. Imtiaz Ali brings quick sympathy to Chamkila as a performer and as a man. 4 out of 5 stars for Amar Singh Chamkila Published By: Arushi Jain Published On: Apr 12, 2024 ALSO READ | Diljit Dosanjh says parents sent him away from village at 11: 'Nobody asked me'

IN THIS STORY

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• David Zellner
• Nathan Zellner
• Jesse Eisenberg
• Riley Keough
• Christophe Zajac-Denek
• 6 User reviews
• 43 Critic reviews
• 64 Metascore
• 1 nomination

• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia No dialogue is spoken by the actors, they only speak in grunts and other guttural noises.
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Technical specs

• Runtime 1 hour 29 minutes

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