“When a cyclone strikes, bow down to the tide. When OG arrives, run and hide.” This line, uttered by a character with a vendetta, might not be the most groundbreaking dialogue in Telugu cinema, but the actor’s delivery gives it significant impact. Director Sujeeth’s “They Call Him OG” frequently invokes the imagery of cyclones, yet it’s fire that truly becomes the dominant visual theme, defining the enigmatic presence of Ojas Gambheera – the Original Gangster, played by Pawan Kalyan. After four years in production, the director’s clear admiration for his star is evident throughout, as the film is packed with moments designed to thrill his dedicated fanbase.
“OG” boasts a polished visual aesthetic, an electrifying background score, and a fast-paced narrative crafted to keep viewers glued to the screen. Director Sujeeth benefits from a highly skilled technical crew, including cinematographers Ravi K Chandran and Manoj Paramahamsa, production designer AS Prakash, editor Navin Nooli, and music composer S Thaman. Pawan Kalyan himself appears to thoroughly enjoy his role in this action-packed spectacle.
Ultimately, your enjoyment of “OG” will hinge on your appreciation for fan-oriented sequences. The narrative itself offers minimal dramatic substance or profound depth. It’s essentially a familiar gangster tale: a seasoned protagonist emerges from exile to safeguard his family and challenge the city’s lurking dangers. This overarching plot device has been a staple in numerous recent Indian action films, rendering “OG”‘s story somewhat predictable despite its slick presentation.
They Call Him OG (Telugu)
A unique origin story, partially set in Japan, injects a touch of freshness into “OG.” This allows for anime-esque visuals and action sequences drawing inspiration from martial arts like Aikido. The meticulous craftsmanship is evident, right down to the specific font styles used in certain credits.
Sujeeth capitalizes on his proficiency in directing sleek action epics, a talent previously showcased in the Prabhas-led “Saaho.” Although the core story isn’t groundbreaking, it would have greatly benefited from more narrative depth and a resolution to some glaring plot holes. The film largely leans into the archetypal, invincible hero, with OG consistently arriving precisely when needed, often through means that severely test the audience’s willingness to suspend disbelief. His uncanny knowledge of unfolding events, allowing him to dispense poetic justice before the interval, or his perfectly timed cross-city travels, all strain believability.
Throughout much of the film, OG remains an untouchable force. Even when he or his allies face peril, the story squanders these opportunities to generate genuine tension. A subplot briefly touching on the 1993 Mumbai bomb blasts similarly falls flat, adding no real suspense. While personal tragedy is woven into the narrative, its execution is entirely predictable, making the hero’s journey of vengeance painfully clear from the outset.
Stripped of its spectacular action, the underlying story struggles to establish a firm foundation. The entire film orbits around Pawan Kalyan’s charismatic presence, employing a visual palette that transitions from somber greys and browns to fleeting flashes of vibrant color during romantic interludes. The action choreography is deeply rooted in visual style, frequently using fire and earthy tones as powerful, recurring metaphors.
Director Sujeeth sprinkles “OG” with clever homages to both Japanese pop culture and various Indian cinematic touchstones. Viewers will catch references like a container dubbed Basanti (a nod to “Sholay”), dialogue echoing Amitabh Bachchan’s “Shahenshah,” influences from legendary filmmakers Mani Ratnam and Ram Gopal Varma, and a distinct “John Wick”-esque visual style. There’s even a fleeting hint at a broader cinematic universe. Devoted Pawan Kalyan fans will undoubtedly appreciate callbacks to his sole directorial effort, “Johnny.” While these Easter eggs provide momentary amusement, they ultimately fail to mask the film’s exceedingly thin narrative.
Peel away the film’s stunning visual style and powerful musical score, and you’re left with precious little to admire. It’s commendable when an introductory action sequence hints at brutality through splashes of red on an earthy backdrop, artfully avoiding explicit gore. However, it’s an entirely different matter when an entire feature-length film relies almost solely on this kind of superficial stylistic flourish.
Pawan Kalyan unequivocally commands the screen, supported by robust performances from Prakash Raj, Sriya Reddy, and Arjun Das. Rahul Ravindran delivers a surprising turn in his supporting role, and Priyanka Arul Mohan makes the most of her somewhat restricted part. Conversely, Emraan Hashmi seems disengaged and out of place, hampered by an underdeveloped character and uninspired Telugu dubbing.
The film would have gained significantly from incorporating more authentic, region-specific dialogue. While scenes in Madurai and Japan effectively utilize Tamil and Japanese with subtitles, a similar approach for Mumbai gangsters speaking Hindi would have been a welcome addition, particularly given modern audiences’ familiarity with multilingual content on streaming platforms.
Ultimately, “OG” attempts to portray a Samurai-esque hero dedicated to safeguarding his people and city. Yet, in its execution, the film prioritizes dazzling style and fervent fan service above genuine narrative substance.
(Catch “OG” in theaters now)