The film ‘They Call Him OG’ introduces its protagonist with a dramatic line: “When a cyclone strikes, bow down to the tide. When OG arrives, run and hide.” While perhaps not the most original dialogue in Telugu cinema, Pawan Kalyan’s delivery gives it significant impact. Director Sujeeth, a self-proclaimed admirer of the star, has imbued this film with numerous fan-pleasing moments, having been in production for four years. Interestingly, while cyclones are referenced, fire stands out as the primary visual metaphor, defining Ojas Gambheera, the ‘Original Gangster’ himself.
‘OG’ immediately grabs your attention with its polished visuals, an electrifying background score, and a fast-paced narrative designed to keep you glued to the screen. Director Sujeeth benefits from a stellar technical crew, including cinematographers Ravi K Chandran and Manoj Paramahamsa, production designer AS Prakash, editor Navin Nooli, and music composer S Thaman. Even Pawan Kalyan appears to be thoroughly enjoying his role in this action-packed spectacle.
Your appreciation for ‘OG’ largely hinges on how much you embrace its abundance of fan-centric moments. The narrative itself offers minimal dramatic depth, essentially rehashing a familiar gangster trope: an older protagonist emerges from hiding to safeguard his loved ones and his city from escalating threats. This overarching plot, prevalent in many contemporary Indian action films, lends a predictable quality to the story, even with its glossy presentation.
They Call Him OG (Telugu)
A unique origin story set in Japan injects a fresh element into ‘OG’, inspiring anime-style visuals and action choreography that cleverly blends elements of Aikido and other martial arts. This meticulous attention to detail even extends to the specific font styles used in the film’s credits.
Director Sujeeth, known for his prowess in crafting stylish action blockbusters like the Prabhas-led ‘Saaho’, once again leverages his expertise here. However, despite the flair, a more original plot with fewer holes would have significantly enhanced the experience. The film leans heavily into the invincible hero trope, with OG frequently appearing at the exact opportune moment to rescue his loved ones, often defying logic and stretching audience belief. Moments where he mysteriously foresees events or miraculously teleports between cities at precisely the right time severely test credibility.
For much of the runtime, OG remains largely indestructible. Even when he or his inner circle face danger, the storytelling misses opportunities to build genuine suspense. A subplot alluding to the 1993 Mumbai bomb blasts also falls flat, failing to generate any real tension. While personal loss is woven into the plot, its predictability makes the path to revenge all too clear.
Beyond the impressive action sequences, the underlying story often falters. The film primarily focuses on amplifying Pawan Kalyan’s star power, employing a visual aesthetic that shifts from somber greys and browns to occasional vibrant hues during romantic interludes. The action choreography heavily emphasizes visual panache, repeatedly utilizing fire and earthy colors as prominent stylistic metaphors.
Sujeeth intersperses the film with clever nods to both Japanese pop culture and iconic Indian cinema – from a container named Basanti (a ‘Sholay’ reference) and dialogue from Amitabh Bachchan’s ‘Shahenshah’ to stylistic homages to Mani Ratnam and Ram Gopal Varma, and a distinct John Wick-esque visual flair. There’s even a blink-and-you’ll-miss-it hint at a larger cinematic universe. Devoted Pawan Kalyan fans will also catch subtle references to his sole directorial effort, ‘Johnny’. While these Easter eggs provide fleeting moments of delight, they ultimately can’t mask the film’s extremely thin plot.
Remove the striking visuals and powerful music, and you’re left with very little to genuinely appreciate. There’s a fine line between using subtle visual cues, like red splashes on a brown background in an introductory action scene to imply brutality without explicit gore, and constructing an entire film that relies almost exclusively on style without substance. ‘OG’ unfortunately falls into the latter category.
Pawan Kalyan commands the screen, effectively carrying the film on his shoulders. Supporting actors like Prakash Raj, Sriya Reddy, and Arjun Das deliver commendable performances. Rahul Ravindran offers a pleasant surprise in his supporting role, and Priyanka Arul Mohan makes the most of her somewhat restricted character. Unfortunately, Emraan Hashmi seems disengaged and out of place, hampered by an underwritten role and a noticeably weak Telugu dubbing.
The film could have significantly benefited from more authentic, region-specific dialogue. While scenes set in Madurai and Japan successfully incorporate Tamil and Japanese with subtitles, a similar approach for Mumbai-based gangsters speaking Hindi would have been a welcome addition, especially given modern audiences’ familiarity with multilingual content on streaming platforms.
‘OG’ attempts to present a tale of a Samurai-esque hero safeguarding his community and city. However, in its execution, the film ultimately prioritizes dazzling style and dedicated fan service far above compelling storytelling or thematic depth.
(Note: ‘They Call Him OG’ is currently showing in cinemas.)