Also Read: Pawan Kalyan’s OG Sets New Record for Premiere Advance Sales in USA

Blood, Brotherhood, Legacy. Ever since the film world began its fascination with the lives of gangsters, these three words became like a bedrock of every iteration of the movies on mafia. They Call Him OG is yet another story that conveniently falls into this category. Director Sujeeth has woven a story, although not new, but one that is packaged well and shot stylishly. The film brims with raw action and high intensity that frequently unleash full-blown violence. But the gangster drama offers little novelty and is clichéd, when it comes to the all crucial story.

Ojas Gambheera aka OG (Pawan Kalyan) is the lone survivor of the legendary Samurai clan from Japan. Satyadada (Prakash Raj) adopts OG, and later shifts base to Bombay port in the 70s. But he constantly faces threats from Omi (Emraan Hashmi) and the Middle Eastern mafia. OG protects Satyadada’s family from the evils and emerges as Bombay’s most powerful gangster. But one incident forces him to impose self-exile; what will happen when he returns to reclaim the gangster throne?

The opening sequence in the film set in the Tokyo backdrop is an intriguing experience. From there, the narrative captivatingly moves to Bombay. Sujeeth uses the technique of flashbacks intercuts with the present to narrate the story and how key portions unfold in flashbacks. The canvas, setup and the world of OG have sophisticated design.

A self-proclaimed fan of Pawan Kalyan, Sujeeth glorifies the actor and presents him in a stylish way. Many scenes (especially in the second half) will tell you — be it his walk or the way he holds and triggers guns, montage shots or wide camera angles — the director engages in a lot of fan service. And OG offers plenty of fan moments starting from the title credits to the action episodes to the way the protagonist uses a katana sword. The usual suspension of disbelief kicks in sequences where the hero is attacked with daggers and batons by goons, who would otherwise, always kill with guns. But a couple action sequences stand out… like the interval action episode where Pawan sets out his revenge and the Katana fight scene during Pawan’s introduction sequence. By the end of first half, OG builds up well by bringing together various pieces of this seemingly intricate puzzle to a common point — the need for vengeance and reclaim power.

But then things nose dive. OG suffers from dull storytelling and a convoluted screenplay, especially in the second half, after the protagonist’s return to Mumbai. Introduction of multiple characters complicates the narrative. The layered narrative and subplots only make it uneccesarily complex. Sujeeth’s choice of a non-linear narrative the constantly jumps back and forth with flashback intercuts makes things a little too obscure.

The momentum takes a dip in the second half, and during the pre-climax scenes. Prolonged emotional scenes and repetitive background music contribute to this feeling of ennui. Although the core conflict and mafia politics keep the viewer on the edge-of-the-seat, the family drama subplot dilutes the intensity. The romantic angle (between Pawan and Priyanka Mohan) isn’t emotive enough. Again, the focus is on elevating Pawan with a pulsating background score from Thaman. In fact, almost every scene of Pawan is written in such a way that it elevates his star aura. This is where the director loses grip on an intense narrative. The face-off scenes between Pawan Kalyan and Emraan Hashmi are exhilarating. While the dialogues aren’t memorable, the intensity that surrounds their ultimate showdown is exciting. OG, unmistakably, is a film designed predominantly for Pawan fans.

When it comes to performances, Pawan Kalyan takes top honours. His gangster act is bang on. His swag, body language and style perfectly complement the part. Sujeeth presents the actor in the exact way that the fans imagine him to be. Pawan strikes a perfect balance between being a dreaded gangster and a caring family man.

Emraan Hashmi is the surprise package! With his stylish demeanour, the seasoned performer brings freshness to the character. While Prakash Raj and Priyanka Mohan are adequate in their jobs, Sriya Reddy excels in her role — she looks natural and authentic delivering an impactful performance.

Thaman’s score makes the narrative seem better than it actually is. This is perhaps his best score so far. They Call Him OG track literally brings the house down, and the pulsating background score is one the assets for the film. Ravi K Chandran and Manoj Paramahamsa’s camera follows the characters into the cramped spaces through every nook and corner. As the gangsters’ battle for survival and supremacy, their photography neatly captures their restless pursuit.

On the whole, They Call Him OG is a stylishly shot gangster drama that presents Pawan Kalyan in a vintage avatar. But the film suffers from a weak storyline and an underwhelming second half.

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