In the Pushpa sequel (whose end isn’t its brightest spot), director Sukumar once again demonstrates his mastery in crafting drama and conflict. He takes something as seemingly innocuous as a ‘will he say sorry or not’ scenario and spins it into riveting cinema. Sukumar doesn’t just create laughs and thrills; he plunges deep into a character’s psyche, unraveling the very DNA of what an apology means for someone like Pushparaj. It’s delightful whenever mass cinema meets emotional intelligence.
Pushpa 2 delivers a breathless first half, and just when you think the film has barely begun, you hit the halfway mark at around an hour and a half. Most of the film brims with cleverness and energy, invoking the best elements of the first Pushpa film—whether it’s channeling Allu Arjun’s phenomenal performance (he’s outstanding once again), repurposing the iconic 'thaggedhe le' punchline, or reimagining Pushpa’s now-famous beard-stroking gesture. Even a character like Srivalli gets increased focus and a moment or two to truly shine (and no, I’m not talking about the songs).
However, it’s frustrating that a film with so much to offer repeatedly leans on the tired trope of Pushparaj saving women in distress. This idea was already explored in the first film, but the sequel doubles down. While there’s a larger story motivation for the final rescue, the narrative repeatedly subjects women in Pushpa’s world to sexual violence (with the film itself sexualising Srivalli every chance it gets). This lack of nuance in its portrayal of women feels like a glaring inconsistency in this otherwise smartly written film.
The joy of watching Pushparaj’s character is his unapologetic rejection of social pretenses. He’s a refreshing departure from the self-righteous, do-gooder hero archetype. Pushpa is a product of a corrupt world—a virus that mutates to outwit the system. He’s not above corruption, not above urinating in a swimming pool. Why, then, must he conform to the demands of a typical hero? “Save the girl from abusive men.” “Earn a surname for sentimental value.” Never mind that Srivalli has already delivered a rousing monologue that makes it unnecessary.
Yet, despite its issues, Pushpa 2 is a film I’d happily recommend. It’s brimming with wild energy, packed with fantastic dialogues (“What’s more nightmarish than the truth?”), and marked by poetic symmetry in its writing. The central conflict between Shekhawat and Pushpa is not just a clash of egos—it’s a study in contrasts. Shekhawat’s ego is rooted in authority, while Pushpa’s stems from a demand for equality. Even the final stretch, though it didn’t work for me (just like it didn’t in the first film), draws fascinating parallels between a wedding and a funeral, between joy and grief, highlighting life’s transient cycles where one constantly makes way for the other.
The film is long but rarely feels like it—until the final stretch. The Japan portion, in the beginning, feels unnecessary, and while women are central to the narrative, they are relegated to unsurprising roles, largely coming across as victims or crutches. However, for Sukumar’s conviction, cleverness, and his ability to infuse the film with infectious energy, Pushpa 2 deserves love.
Movie: Pushpa 2: The Rule
Cast: Allu Arjun, Rashmika Mandanna, Fahadh Faasil, Sreeleela, Rao Ramesh, Anasuya Bharadwaj
Ratings: 3.5/5 stars
(This story originally appeared on Cinema Express)