‘Garadi’ movie review: Yogaraj Bhat’s wrestling drama is outdated and bland

A still from ‘Garadi’
| Photo Credit: Saregama Kannada/YouTube

Director Yogaraj Bhat, known for collaborating with A-list actors, first worked with newcomers in Panchatantra (2019), a film based on the ‘The Tortoise and the Hare’ story. Despite its inconsistencies, Bhat’s writing packed a punch, as the movie, touted to be Kannada cinema’s first auto racing film, turned out to be a decent entertainer. 

Garadi is Bhat’s second film without stars, and he has moved away from his preferred romance genre. But unlike Panchatantra, this film — a wrestling drama in a rustic setting — has no aspects that will impress the loyal admirers of the filmmakers.

The film begins with the head of the Raane dynasty (essayed by P Ravi Shankar) wanting his sons to emerge as mud wrestling champions to carry the family’s legacy. They join veteran coach Rangappa (B C Patil) to master the sport. Away from the world of affluent people, two young brothers from a humble background dream of becoming champion wrestlers. But they are denied their right by those with money and power.

Circumstances land the elder one in jail, after which Rangappa, who swears by discipline, bans the younger one, Soori (Yashas Surya) from entering the akhada (wrestling ground). However, Soori watches his coach from the sidelines and practices to become a wrestler.

Garadi begins well, as Bhat keeps us interested in the world of wrestlers. Even if nothing is extraordinary, the film is watchable until the romantic track involving Soori and Pappi Sukanya, fondly called Kabbali (Sonal Monteiro) — a content creator on Instagram — derails the plot. 

From Gaalipata 2, the director’s previous work, it’s evident that Bhat has lost the confidence to portray intense, mature relationships, perhaps bogged down by the challenge of catering to a different generation. The trivial love story is pulled down further by underwhelming songs from Bhat’s long-time collaborator V. Harikrishna.

Once a sensitive filmmaker who wrote strong-willed female roles, the treatment of the heroine in Garadi is very uncharacteristic of the director. The heroine is mostly showcased as a cheerleader to boost the hero’s male saviour syndrome. A rape scene is staged crudely, and a ‘special’ number starring Nishvika Naidu has zero purpose. Apart from such aspects, even the uninventive cinematography from Niranjan Babu adds to the outdated nature of the movie.

In the second half, Garadi attempts to be an action thriller, but the twists are too weak, and the drama is dull. Even a cameo from superstar Darshan feels like an effort to repair a shoddy climax. Films like Dangal and Sultan are engaging sports dramas because they follow the lead character’s growth in a concrete manner.

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Soori’s rise to a champion wrestler also happens overnight, making it hard to relate to his greatness. In the end, the film does little to make us care for a dying sport.

In a career spanning more than 25 years, Bhat boasts a memorable body of work, mainly because of his ability to remain unique even in his not-so-convincing films. As for Garadi, only he can explain how and why he’s made his blandest film till date.

Garadi is currently running in theatres