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‘Baby’ movie review: Anand Deverakonda, Vaishnavi Chaitanya star in an exceptionally long, silly romantic feature

Helmed by sai rajesh, anand deverakonda’s latest reads like a moral story with the protagonist actually spelling out the moral three-fourths into the movie.

July 14, 2023 05:39 pm | Updated 07:12 pm IST

A still from ‘Baby’

While that was two hours and 45 minutes of my life I will never get back, Baby , unlike most of its contemporaries inches towards being tonally neutral and sensitive when it comes to portraying its female characters.

Anand (Anand Deverakonda) and Vaishnavi (Vaishnavi Chaitanya) are neighbours and high-school sweethearts who grow up in a basti experiencing a meagre way of life. Vaishnavi’s parents are eager to see her make it out of poverty and encourage her to enrol in an engineering college in the city. Meanwhile, Anand stays back and chooses to make a living as an auto driver. 

Baby (Telugu)

Vaishnavi takes to the charms of the city quite quickly and attempts to work her way up the social hierarchy, with the help of a few friends who encourage her to alter her appearance by whitening her skin, wearing branded clothes and dying her hair. This new lifestyle throws a wrench in her love life as Anand is convinced that Vaishnavi is not being true to herself, and in the heat of the moment calls her names. 

At the same time, Vaishnavi is introduced to Viraj (Viraj Ashwin), the college heartthrob who does not shy away from flashing his expensive cars for clout. Their friendship quickly turns tumultuous when Viraj professes his love for her. 

The next one-hour 40-odd minutes of the movie is spent in Vaishnavi trying to manage the weird love triangle she has brought to life with her choices. The critique of greed and materialism that the film tried to build in the first half goes for a toss with a messy sexual agreement between two characters, an unintentionally funny confrontation by the trio, a failed suicide attempt, and the death of a parent. The sequence of the events ends up working as a catalyst for the audience to lose interest in the characters, and their emotions and aspirations; the length of the movie does not help.

However, it is endearing to watch flawed characters on screen that are not siloed into good or bad.

Vaishnavi Chaitanya does the heavy lifting for most of the film and convinces the audience to root for her even during her missteps, but Anand Deverakonda falters while playing the miserable lover. The supporting characters are not given their due as their behaviour tends to arbitrarily change to the whims of the director to advance the narrative.

Eventually, Baby runs like a moral story with the protagonist actually spelling out the moral three-fourths into the movie.

Baby is currently running in theatres  

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Release Date : July 14, 2023

123telugu.com Rating : 3.25/5

Starring: Anand Deverakonda, Vaishnavi Chaitanya, Viraj Ashwin, Naga Babu, Lirisha, Kusuma, Sathvik Anand, Babloo, Seetha, Mounika, Keerthana, and others

Director: Sai Rajesh

Producer: SKN

Music Director: Vijay Bulganin

Cinematographer: M N Balreddy

Editor: Viplav Nyshadam

Related Links : Trailer

Baby is a film that has earned a good buzz due to its chartbuster songs. Directed by Sai Rajesh, the film stars Anand Deverakonda, Vaishnavi Chaitanya, and Viraj Ashwin in the lead roles. The movie hit the screens today, and let’s see how it is.

Vaishnavi (Vaishnavi Chaitanya) and Anand (Anand Deverakonda), hailing from a slum, are high school lovebirds. Anand fails to make it to the college and becomes an auto driver, whereas Vaishnavi joins the college. Vaishnavi undergoes a massive transformation, and this is also the time she gets close to Viraj (Viraj Ashwin). Slowly problems start developing between Vaishnavi and Anand. An unexpected incident takes place, which changes the lives of Viraj, Anand, and Vaishnavi as a whole. What happened next? How did the incident affect the three? This forms part of the crux of the story.

Plus Points:

Baby is a take on modern-day relationships, and director Sai Rajesh sheds light on the chosen topic through three beautifully written characters which are diverse in their own way. By the end of the film, one would end up liking all the three lead characters due to the effective writing. The scene where Viraj and Anand meet for the first time is the biggest highlight.

The movie has a pretty good second half with a right blend of drama, emotions, and intense moments. Baby became even more captivating thanks to the wonderful dialogues that will strike a chord with the target audiences. There are a good amount of whistle-worthy moments, and youth can relate themselves to many scenes. A few scenes are intentionally placed to impress the youngsters, and they land up well.

Anand Deverakonda amazes big time with his stupendous performance. We get to see the actor in Anand through Baby, and his full potential has been tapped by the director. It is a bit challenging role, especially for a budding artist, but Anand killed it with his earnest performance.

Vaishnavi Chaitanya is a revelation in this romantic drama, and the young actress’s performance speaks volumes about her talent. Her character arc has been designed quite well. Vaishnavi performed pretty good in the emotional scenes too. Her phone call scene with Anand Deverakonda was terrific. Viraj Ashwin gets a solid role, and he performs to the tee. This is perhaps the best role done by Viraj so far, and he aced it to perfection.

When romantic dramas get a good album, the result is Baby. Every song composed by music composer Vijay Bulganin is too good, and also the effective background score enhances the impact in many sequences.

Minus Points:

The movie is quite lengthy, as it has a runtime of close to three hours. The makers could have trimmed down a few sequences, especially in the first half, for a better experience. The contemporary nature of the film might not go well with a few.

The first hour is slow paced, and the movie gets more interesting from the pre-interval portions. Though there are good moments and dialogues, they are few and far between. The pacing reduces the impact to an extent. At times, the first half gives us a feeling that it is a bit stretched.

Technical Aspects:

As mentioned earlier, music by Vijay is a major asset for Baby, which takes the film to the next level altogether. The cinematography by Balreddy is exquisite, and the visuals are easy on the eye. Particularly the songs are shot in an aesthetic manner. The editing is sloppy in the first half, but it is alright in the latter hour. The production values are first-rate.

Coming to the writer and director, Sai Rajesh, he did an impressive job with Baby. While the first hour was not that great, he makes it up with a very good second half that is a concoction of intense emotional sequences and solid dialogues. Sai Rajesh extracted the best out of his actors, and he used the music perfectly. His dialogues are fantastic and have inner depth. Had the first half been a bit racier, the movie’s range would have enhanced further.

On the whole, Baby sheds light on modern-day relationships in a neat manner, and the climax is unconventional. The performances of Anand Deverakonda, Vaishnavi Chaitanya, and Viraj Ashwin are simply superb. The second half has its heart in the right place, but the impact gets slightly reduced due to the slow-paced first half, which could have been still better. Also, the makers could have taken care of lengthy runtime. Nonetheless, Baby is a good watch this weekend. Go for it.

123telugu.com Rating: 3.25/5

Reviewed by 123telugu Team

Click Here For Telugu Review

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Baby Movie Review

Article by Nanda Gopal Published by GulteDesk --> Published on: 9:12 am, 14 July 2023

2 Hr 28 Mins   |   Love   |   14-07-2023

Cast - Anand Deverakonda, Vaishnavi Chaitanya, Viraj Ashwin, Naga Babu and others

Director - Sai Rajesh

Producer - SKN

Banner - Mass Movie Makers

Music - Vijay Bulganin

Anand Deverakonda, the younger brother of Vijay Deverakonda, returns with Baby where he collaborated with Colour Photo writer-producer Sai Razesh. Anand isn’t successful yet like his brother. So, Anand is in search of success and cementing his position. Baby looks promising for him. Thanks to its musical-hit songs and good round of promotions, the film garnered good buzz. Will Anand and the makers succeed with Baby? Let’s find out.

Hailing from the same basti, Anand and Vaishnavi are childhood sweethearts who go to the same school. Vaishnavi loves Anand madly and he too falls for her. After school, Anand becomes an auto-driver and Vaishnavi joins engineering college where she enters a new world. She gets new friends and she meets a good-looking rich guy named Viraj. What happens when situations create a gap between Anand and Vaishnavi? The rest of the story is how Vaishnavi deals with Anand and Viraj.

Performances

Anand Deverakonda is alright as the protagonist who loves his girl unconditionally. His character goes through a lot of emotions. There are moments where Anand reminds us of brother Vijay Deverakonda, particularly the dialogue, ‘Na Pilla Bey’ which became popular with Vijay’s Arjun Reddy. Anand is still evolving as an actor.

Vaishnavi Chaitanya is the show-stealer. She carries off the film single-handedly from the start to end. As a Basti girl and as a modern girl, Vaishnavi shows she’s the best of both the worlds. She is a perfect cast for the role and she won the hearts. Kudos to the makers for their gutsy decision to rope in her for the role.

Viraj Ashwin is decent. His character lacks consistency. It is also not clear what exactly he wants and whether he loves Vaishnavi sincerely or not. Naga Babu’s role has no significance in the first beginning, but as the film progresses, his character gains weight in the story. Anand’s bonding with his own mother was irritating initially, whereas it tries to stir emotion towards the end. All the friends of the lead actors do a decent performance. Viva Harsha’s role has importance as the character reveals a crucial twist of the film.

Technicalities

On the surface, Baby has a very thin point. This becomes challenging in writing and narrating. Story requires more depth which is lacking. Yet, director Sai Rajesh scored points with his craft. Visuals and music make the film appeal. Music composer Vijay Bulganin is the winner as he delivered nice songs and a compelling background score. Two songs in the film are good. The film has slow narration. Editing is fine, but the film needed more crispness.

Vaishnavi Contemporary Concept Songs & Background Score

Thumbs Down

Thin Story Slow-paced Narration Improper Message

Baby is all about Vaishnavi and her life involving two guys – one childhood lover Anand and other college friend Viraj. How Vaishnavi tackles both forms the crux of the story. The film begins by showing Anand devastated and seen in a regretful mood. This raises curiosity and the story quickly takes us into the past. Director doesn’t waste much time in taking audiences into the story. The mood is set right and all the characters are well-established. The film just revolves around the lead characters. The scenes of phone, gifts and shopping, pub scenes connect to youth. The film is aimed for college-goers and youth who connect to the film. There are scenes which many guys relate to. The references about Pawan Kalyan, Trivikram Srinivas bring cheers to fans.

The success of Baby lies with the choosing Vaishnavi as the film’s heroine. It is her show completely. How she slipped into situations and how she tries her best to cover-up her mistakes but ends up making bigger mistakes that make for an engaging watch. The makers choose the topic that is very much relevant to the present generation and relatable to youths.

Vaishnavi is portrayed as a smart girl who doesn’t pay heed to parents or her love Anand. But she falls prey to a college ‘friend’ Sita who misguides her. This portion is alright. The transformation of Vaishnavi isn’t completely convincing. She puffs hookah, cigarette, gulps alcohol shots without much hesitation. Here the director tells us that Vaishnavi, a basti girl, attempts to change the way she looks and is perceived by others around her. This sets the tone for the film. The first half is engaging.

There are cuss words liberally used. Whilst these cuss words are muted, censored in India, they are used as it is in the US and overseas content. The latter-half has bold content as well. Director Sai Rajesh has handled some scenes with a lot of maturity which is laudable. But some scenes are dragged beyond the point.

Baby has a core problem. Writer-director Sai Rajesh tries to strike a fine balance. He tries to portray that everyone is good, but it is just situations that make one change and transform resulting in cheating. He tries to justify the wrongdoings too. But he fails to create enough sympathy or hatred for the principal characters. Unlike Arjun Reddy or 7/G Brindavan Colony or RX 100, Baby doesn’t hit hard or convey straight to the point. In fact, it just oscillates and beats around the bush.

The film deals with the new-age concept of a girl falling for attractions and end-up cheating an honest lover.

During an important scene, Vaishnavi wears Anand’s saree on his birthday and goes in his auto. The writing here is superior. In another scene in auto in the pre-climax where all the three lead characters encounter one another. This is well conceived. The climax is dragged and stretched beyond a point. And the end may not be convincing for many. The message of the film is not clear.

There is enough scope for humour. But the director stays true to the honesty. It has an intense love story. The film goes on at a serious tempo at max, till the end. To sum up, Baby is ambitious and as an idea it was good. Whereas, it suffers in its narration. The first half works and the second-half has bold moments. It manages to hold interest as it progresses. The film neither leaves you completely satisfied nor it disappoints. It just strikes midway between both.

Despite all its shortcomings, the film caters to youth with relevant scenes. Thanks to good buzz owing to hit songs and promotions, Baby got a good opening. We have to see how the movie is received in the coming days.

Verdict: Bold Baby !

Rating: 2.5/5

Tags Baby Movie Reviews

Click Here for Recommended Movies on OTT (List Updates Daily)

Baby Review – Imperfectly Perfect Baby

OUR RATING 2.75/5

CENSOR U/A, 2h 57m

Anand (Anand Deverakonda) and Vaishnavi (Vaishnavi Chaitanya) study in the same school and are from poor backgrounds. Vaishnavi loves Anand, and he reciprocates eventually. The two continue to stay in love ever since.

A few years later, Vaishnavi joins an Engineering college, and Anand becomes an auto driver. How does life change Vaishnavi? Who is Viraj, and what is his love story with Vaishnavi? The movie’s premise is the culmination of this triangle love story.

Performances

Anand Deverakonda, Vaishnavi Chaitanya and Viraj Ashwin are the primary characters running the show. The former two, especially, deliver a power-packed performance.

It can be said, without any doubt, that Baby is the career-best performance of Anand Deverakonda. He lives in the character of Anand. It is also a case of perfect casting, which aids him to the fullest. His looks, body language and air of earnestness make him the apt choice for the part.

Multiple scenes in the second half show the dramatic skills of Anand Deverakonda. The one’s around the pre-climax and climax are, without any doubt, the most impressive and heart-touching.

Vaishnavi Chaitanya has a better character arc and role in Baby than many heroines we usually see. She seizes the opportunity and delivers a memorable performance. Getting used to body language initially takes time, but things settle down smoothly later. A minor issue is her body language while drunk and talking tough during those moments. It looks a little forced.

Viraj Ashwin is the third cog in the wheel. His styling is good, and has moments to shine. However, the confusion wrt his character’s actions sometimes doesn’t let him rise above the given material.

Sai Rajesh directs Baby. It is an age-old love story involving class differences mixed with another relatively old Tamil cinema’s realistically mounted love story tropes. The cocktail then has a dash of modern touch to make things palpable for the current generation.

The opening sets the ball rolling with the lead protagonist lying roadside on streets covered in dirt and mud with a messy look and drunk. The whole thing instantly recalls the Tamil cinema realism tropes mentioned earlier.

Soon, the movie takes us back in time via a beautifully cut montage of ‘O Rendu Prema Meghaalila’. It builds the love story beautifully and simultaneously adds a nostalgic value. The song and its BGM take care of the narrative for almost half an hour as it punctuates the proceedings.

The real story starts when Vaishnavi enters college and gets a mobile phone later. The way the phone is integrated into the narrative and plays a crucial role in character development is well done.

The transformation of Vaishnavi’s character takes care of the entire first half. In between, she has a few romantic scenes and struggles with genuine love, Anand. As a result, the narrative is stretched, and the predictable moments in these tend to drag the tale.

But, the unconventional romantic moments keep getting thrown up from time to time. It is escalated around the pre-interval and interval block when some foul language comes into play. A feeling of unevenness and weariness prevails at the end of the first half, but one still looks forward to the second.

Comparatively, the second half is better than the first. The narrative is more smooth, and it is packed with drama. Some of it might look overstretched, and some overdone, but the sincerity and genuineness behind them can’t be missed.

The last hour, in particular, is a nonstop emotional ride. However, some silly (execution and character choice-wise) moments appear before those heavy dramatic moments, taking a little sheen away.

By the time one reaches the end, it feels like an eternity. The drama goes on and on, but as things have been set up that way, everything seems fit coming together.

The ending is sure to move even a stone-hearted guy. But the catch is that one has to connect with the content. If one isn’t, the whole thing might appear as overblown melodrama.

Overall, Baby has its heart in the right place and honesty scores there. The length is a primary issue as it tires one down, but the performances and emotional end of the movie offer a moving experience making it a decent one-time watch.

The supporting actors are many, but none have a fully developed role like the three main leads. Each has a small part to do in the larger picture, but besides those moments, they seem non-existent. Nagababu and Seetha characters are the primary examples. They do their parts well but could have been better utilised in the narrative. Harsha has a small but vital role and delivers it in his style. The rest of the actors are okay.

Vijay Bulganin’s music is a major highlight of the movie. A couple of songs are excellent, but how they are shot and integrated with the narrative makes them stand out. MN Balreddy’s cinematography is alright. The focus is more on the expressions than the background, which helps a few moments. But, the visuals give an impression of trying hard. The dialogues are neat and enhance the impact (either in a desired or undesired way)

Highlights?

Vaishnavi and Anand Deverakonda

Vijay Bulganin’s Music & BGM

Few Emotional Scenes

Predictable Tropes

Some Silly Moments/Choices

Will You Recommend It?

Yes, for youth love drama fans

Baby Telugu Movie Review by M9News

Final Report:

Baby’s second half has momentary silliness that leads to an intense drama with good performances. It’s not for everyone, but to whom it works, it’s decent watch. Length is an issue, but honest making shines. Give it a try.

First Half Report:

Baby is a character driven dramatic love story with a slow, but mostly engaging first half. There are parts that drag but unconventional romantic portions make up when they arrive and hold interest. The second half is the key now.

— Baby begins with a powerful visual of Anand, heartbroken and in love. It quickly transitions into a flashback. Stay tuned for the first half report.

Baby U.S. Premiere will begin shortly. Stay tuned for the report and review.

Cast: Anand Deverakonda, Vaishnavi Chaitanya, Viraj Ashwin, Nagababu,Lirisha, Kusuma Degalamarri, Sathvik Anand, Babloo, Seetha, Mounika, Keerthana and Others

Written and Directed by: Sai Rajesh

Produced by: SKN

Music: Vijay Bulganin

Dop: M N Balreddy

Editor: Viplav Nyshadam

Art: Suresh Bhimigani

Banner: Mass Movie Makers

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Home » Review » Baby Review: The Anand Deverakonda, Vaishnavi Chaitanya, Viraj Ashwin starrer is a heart wrenching and bold take on modern relationships »

Baby Review: The Anand Deverakonda, Vaishnavi Chaitanya, Viraj Ashwin starrer is a heart wrenching and bold take on modern relationships

Baby is the latest Telugu romantic drama that has been directed by Sai Rajesh. Anand Deverakonda, Vaishnavi Chaitanya, and Viraj Ashwin play lead roles. Read our review here.

Baby movie scene

• Avad Mohammad

Last Updated: 08.26 AM, Jul 14, 2023

Baby revolves around Vaishnavi (Vaishnavi Chaitanya), a girl from a local Basti, and her love interest, Anand (Anand Deverakonda). While Anand ends up as an auto driver due to his economic status, Vaishnavi decides to pursue engineering. However, Vaishnavi's life takes an unexpected turn when she encounters Viraj (Viraj Ashwin), a charismatic young man who sparks her interest. As the story progresses, a love triangle ensues, and the audience is left wondering whom Vaishnavi will ultimately choose in the end.

First things first. Baby is one of the most honest films made in recent times. The film showcases brutal truths as to how the younger generation deals with the aspect of love and deceit. Sai Rajesh has directed this film and he does not sugarcoat it one bit. He shows the film through the eyes of the heroine and reveals what conflict she goes through while dating two guys at the same time. Baby is not about falling in love and is about digging deep into the psyches of the flawed characters played by Vaishnavi Chaitanya, Viraj Ashwin, and Anand Deverakonda.

Sai Rajesh dwells more on the moralistic side of these characters and showcases how they are right from their own point of view. While he showcases Vaishnavi Chaitanya's character in a very bold manner, the characterization will surely draw various conclusions from women who watch the film. The true strength of Baby lies in its interval, climax, dialogues, and music. Sai Rajesh's explosive dialogues resonate with the audience, some of which pay tribute to Pawan Kalyan and Trivikram.

Coming to the performances, Anand Deverakonda impresses with his portrayal showcasing spontaneity and authenticity. His performance successfully captures the essence of young men in love during their school days. Anand has improved a lot as an actor and Baby gave him a lot of scope to showcase his talent. Viraj Ashwin shines in his role, showcasing his talent once again, particularly as a young man from a wealthy family, effectively conveying a range of emotions.

But the real star of the film is the female lead Vaishnavi Chaitanya. She makes a sparkling debut and gives a flawless performance in her role. Right from the first frame, she emotes superbly. Her character arc is such that Vaishnavi gets ample scope to perform and stands out in the film. There is a scene where she gets drunk and gives it back to her abusive boyfriend. Vaishnavi shows immense maturity and is an actress to watch out for in Telugu cinema.

Supporting actors Harsha and Satwik deliver notable performances in their limited roles, while Nagababu's portrayal adds a dignified touch to the father's character. As said earlier, musician Vijay Bulganin breathes life into the film with his heartwarming songs and amazing background score. The dialogues by Sai Rajesh are bold and hard-hitting. Especially those written for the female lead are solid. One of the biggest highlights of the film is the interval block. The audience is stunned by the drama showcased and this leaves them curious to know what the heroine is going to do next.

Baby has its fair share of issues. At least ten to twelve minutes of the film should have been chopped off in the second half. The slow pace is a cause of concern in the climax. Director Sai Rajesh takes his own time to wrap the film and because of this, the climax feels stretched. But the manner in which the director holds the attention with just three key characters is amazing to watch on screen.

Baby is a take on modern relationships and how men and women from different walks of life think about love and deceit. The film has arresting drama and will surely raise a lot of eyebrows as the director has showcased the female lead in a way the Telugu audience is not used to. But this itself makes Baby different from others and holds your attention until the very end.

On the whole, Baby is a take on flawed characters and how they handle love at different stages of their life. The romantic drama has one of the best performances in recent times and is narrated in a very bold and realistic manner. The youth will connect to the film in a big way as Baby has all the ingredients of heartbreaking, deceitful, and mature romance told in a very hard-hitting manner.

Also Read: Hostel Days review: Aditya Mandala’s take on hostel life is entertaining and relatable  

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Baby Movie Review: A Morally Ambiguous Drama That Thrives In The Flaws Of Its Characters

Director: Sai Rajesh

Cast: Anand Deverakonda, Vaishnavi Chaitanya, Viraj Ashwin

Mild spoilers ahead...

It's quite easy to write off  Baby  as a shallow, biased drama punctuated with the male gaze early on. And the film does lend itself to such scrutiny in the early portions. Take, for instance, the scene where Anand ( Anand Deverakonda ) lashes out at his school sweetheart Vaishnavi ( Vaishnavi Chaitanya ) when she expresses her desire to join her new college friends for a ladies' night in a pub. This confrontation, the first one between the couple, occurs right after Vaishnavi undergoes a physical make-over from being a modest, dark-skinned b asti  (slum) girl to a sophisticated, urban lady, encouraged by her equally posh and rich friends at her engineering college. 

An agitated Anand, who clearly reprimands Vaishnavi's wish, citing that her friends are a bad influence, almost threatens to slap her with his shoe. In this situation, he doesn't even try to understand her perspective, which is coming from a place of excitement to explore a world and experiences she hasn't been privy to over the years. Now, it's easy to label Anand a control freak for being so indifferent to her wishes, although he believes that his momentary anger is purely a reflection of his concern for the love of his life. But where  Baby  actually undoes its mistake of letting Anand's toxic traits pass off as care--even though he apologises for it--is by making Vaishnavi address his entitlement and controlling nature later in the film.

If you feel something's problematic in  Baby , it's likely that the film will address it through a character. This allows the film to undo a lot of choices that might come across as inappropriate early on in the film. And yes, there's a lot of inappropriate stuff on display because the characters themselves are flawed and toxic.

The three main characters, Anand, Vaishnavi, and Viraj, are imperfect beings driven by mad love with their every mistake, regardless of how good their intention might be, making the plot thicker and murkier. Although the early, sweet school sequence that tracks the origins of Anand and Vaishnavi's love story makes you wish the couple gets a 'happily ever after' ending, even though you know it's not going to be an easy road, the film makes it particularly hard to pick a side. The beauty of  Baby  is that nothing exists in simple black and white, everything is grey. Be it Anand, Vaishnavi, or Viraj, Sai Rajesh's writing lets you see through their personalities. We know that Anand is a control freak, but we also know that he cares for Vaishnavi. We are also aware that Vaishnav loves gifts, cars, and the 'rich' stuff. Anand seeking physical intimacy, a 'kiss' from Vaishnavi, is a recurring point in the film, but when Vaishnavi agrees to it (you have to check out the film to know why she agrees), he steps back because he believes she is too innocent to be intimate with him. This might be played for laughs in the film, to juxtapose his 'character' with Vaishnavi's, but you see this man's intent. He's the same guy who assassinated her character and broke her heart by spewing some of the nastiest things earlier. You see,  Baby  urges that people, at least its main characters, can be many things and doesn't compartmentalise them morally.

Likewise, Vaishnavi, who is central to the film, is forced to make many difficult choices in the film that affect Anand, her childhood sweetheart Anand and the college hunk Viraj, who comes across as an underwritten but interesting character nevertheless. While it begins as a familiar love triangle, the whole Viraj-Vaishnavi angle is dealt with in a super interesting way that never judges Vaishnavi. She keeps asserting that she would like to keep their relationship purely platonic while he relentlessly keeps pursuing her romantically. Viraj eventually puts Vaishnavi in a spot where she has to do something so 'unfaithful' against her wish; he does it by threatening her, meaning that he is not a 'good' person. But later on, we see Viraj pining for Vaishnavi, even after causing her great sorrow and turning her life upside down. That's only the tip of the iceberg.

The interpersonal dynamics in this film are super tricky, rendering the screenplay feel convoluted at times. But it is precisely this inconsistency, which is an extension of the volatile, mercurial characters, that makes  Baby  what it is. But I wish the writing gave Viraj the same depth it gave to Anand and Vaishnavi. His actions lack a motive and feel forced, although their consequences are registered strongly. Similarly, the characters of Baby are always subject to change, and trust me, the graph of these characters and the scenarios that precipitate a change in their arcs and the story justify its 177-minute-long runtime, although the plainness of the first half argues otherwise.

There are some brilliant writing choices here. It   is a film of echoes. One narrative-defining incident takes place on Viraj's birthday, while another one happens on Anand's birthday. A knife draws parallels between Viraj and Anand at a point when they are consumed by rage and despair. Anand's words about the value he gives to Vaishnavi are echoed by Viraj when he proposes to her. An iPhone, too, becomes a tool to demarcate Viraj and Anand from Vaishnavi's perspective. Anand, a Trivikram fan, keeps framing rhythmic dialogues to express his love for Vaishnavi throughout the film, but his best expression comes when he is utterly shattered.

Moral ambiguity, however, is a trait reserved only for the leads. The weakest and the most annoying writing choice has to be the presence of an external antagonist named Sita a caricaturish representation of a spoilt girl. She just exists as a personification of a bad influence on Vaishnavi in college. While we understand that the leads, despite their glaring flaws, are doing some problematic things for the sake of love, Sita's actions and existence are so one-dimensional that the writing becomes painfully bland whenever she is used to incite or accelerate a conflict. And she is used only for either of these. The play featuring just the main trio is so solid that the inclusion of an external antagonist only deters the intricacy of the drama.

Moreover, I wish the film had better staging because its emphasis on dialogue makes most of the scenes, from a visual standpoint, look purely functional. I understand that Baby is a conversational drama, but better staging would have exalted Baby to the next level. A scene featuring Anand and Viraj in an auto in the pre-climax is perhaps the only scene in the film that makes effective usage of staging. The rest of the film will work equally well even as an audiobook because the entire focus is on conversations.

Speaking of the movie-viewing experience  Baby  offers, Vijay Bulganin is undoubtedly the strongest pillar of  Baby,  and his music accentuates the drama wonderfully. While  'O Rendu Prema Meghalila'  is the soul of the film, breathing life into even tiny moments, the 'Premisthunna' song sequence, ascribed to the innate drama in it, might just be one of the most discomforting sequences in a long time.  Baby  does get into some dark spaces.

Another significant quality of  Baby  is how it treats its characters like simple human beings for whom concepts like first love, sex, and moving on are a big deal. If anything,  Baby  is an antithesis to the idea of moving on. A completely dejected Anand admits that he is a simple auto driver, and this is how his thought process is. His monologue at the end of the film, in a way, invalidates our insistence on a more progressive story because  Baby  makes it a point to establish that it's telling the story of simple, flawed people who are not necessarily acquainted with the progressive ideas that many discuss on Twitter. And problematising their personalities, especially Anand's, ain't going to serve the cause because  Baby  acknowledges the characters' issues; whether you sympathise with them or not might is a subjective choice. Like with every film, your response to  Baby  is going to be heavily dependent on your worldview and personal experience. With  Baby , these factors might matter a little bit more while evaluating it because such is the nature of the story. And that's exactly why  Baby  earns the title of being the most interesting, ambiguous, and debatable Telugu film of the year so far.

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• తెలుగు

'Baby' Review: Lengthy Lousy Lusty

Film: Baby Rating: 2.25/5 Cast: Anand Devarakonda, Viraj Ashwin, Vaishnavi Chaitanya, Naga Babu, Lirisha etc Cinematography: MN Balreddy Editor: Viplav Nyshadam Music: Vijay Bulganin Producer: SKN Written and Directed By: Sai Rajesh Release Date: 14 July 2023

Anand Devarakonda, after a series of flops, came up with this film featuring Vaishnavi in her debut as a full-length heroine. Viraj Ashwin played the second lead, and the film was directed by Sai Rajesh. The trailer appealed to a specific audience, giving the impression of a poetic love story.

Let's delve into the plot and find out what it offers.

Story: Vaishnavi (Vaishnavi Chaitanya) has been in love with Anand (Anand Devarakonda) since their high school days. While Vaishnavi joins an Engineering College, Anand, who fails his 10th standard, becomes an auto driver over time.

Viraj (Viraj Ashwin), a wealthy young man in the college, falls in love with Vaishnavi and proposes to her. Although Vaishnavi develops feelings for Viraj, she remains loyal to Anand.

However, a series of events eventually push Vaishnavi to accept Viraj's kiss-proposal, leading her into trouble. What happens next? Who is the actual culprit, and who are the victims? How does her kiss affect the lives of each one?

The rest of the story answers these questions.

Artiste's Performance: Anand Devarakonda delivered a commendable performance, excelling in several scenes. He portrayed a character with strong values and morals, while also portraying a victim of love.

Vaishnavi showcased her talent by playing a girl-next-door from a below middle-class family, as well as an urban girl with a makeover. She portrayed a graceful lover and a confused teenager, displaying versatility in her acting.

Viraj performed well in his role, although there weren't many opportunities for him to showcase his diverse acting skills. His character lacked surprises or additional shades.

Naga Babu's portrayal was adequate but didn't offer anything noteworthy. Viva Harsha's role was like an extra actor with a few scenes and a couple of dialogues.

Technical Expertise: The cinematography was good, and the background score adequately supported the film. The songs were situation-based and pleasing to ears.

The editing was not sharp, causing scenes to drag on. On a whole the making standards are good. 

Highlights: Anand Devarakonda Vaishnavi Music

Drawbacks: Run-time Vulgarity

Analysis: Sai Rajesh, known for directing films with a blend of comedy and spoof value like "Hrudaya Kaleyam" and "Kobbari Matta," attempted to break away from that image with this film. He aimed to create an intense cult love story, but unfortunately, the result was a lethargically made, overly lengthy film with confusing characters.

While the director intended to present characters with real-life emotions, it became burdensome for the audience to bear the confusion and indecisiveness shown on screen.

The characterization of the female lead began subtly as a girl next door but later transformed into an urban girl who behaved contrary to her initial character. Despite the director's attempt to attribute her actions to alcohol, the overall narrative shifted toward hating the main lead rather than empathizing with her. Additionally, the heroine, who crossed several boundaries with her new friends, is surprisingly unaware of what 'dating' means, creating further confusion in her characterization.

Furthermore, the main lead's character felt contrived, with an excessive focus on idealistic traits. Instead of sympathizing with him, the audience sometimes trolled the character with loud laughs and shouts, revealing a mismatch between the director's imagination and the contemporary audience's mindset.

While the director may have aimed for a film akin to Balu Mahendra's "Vasantha Kokila" with a shattered hero at the end, the result felt forced and excessively long.

It is essential to maintain the right balance and not drag the narrative beyond what is necessary to achieve the desired effect. In this film, the story was dragged out too long, making it unbearable for the audience. The first half was slow but steady, while the interval part was intriguing. The second half followed predictable patterns, and the climax was never ending and pale.

The film runs like a moral story. It is a lesson for young girls of college age not to get trapped into the urban evils like pubs, alcohol and smoke and spoil personal lives. But the way it was dealt was vulgar. 

In spite of that moral theme, the film included objectionable cuss words like L@#j# (multiple times), G#dd#, De#g# Thaagi, Lan$ak#d#ka, Kud$si##tav. The filmmakers may have intentionally included these words, knowing that they would be muted by the Censor Board, but still understood by the audience in context. However, this choice speaks more about the director's vulgar taste than anything else. The words are not getting muted in American prints causing a lot of embarrassment and inconvenience to the NRI audience.

There is also a dialogue- "Nuvvu theravaalsindi kallu kaadu- kaallu" which is vulgar. 

There is a dialogue suggesting that men must spend the rest of their lives consuming alcohol sitting in a corner if their love fails. This outdated filmy thought process reflects the director's perspective.

The film appears loosely inspired by "RX100," where the heroine herself is the villain. In this case, the heroine is a villain but primarily driven by circumstances rather than her character.

The film emphasized more lust than love. All the main characters are victims at the end as per the story and of course the audience too are the victims of the length!

Bottom Line: Shabby

• Committee Kurrollu Review: Mixed Emotions, Uneven Plot
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Tags: Baby Baby Movie Review Baby Review Baby Telugu Movie Review Baby Rating Baby Movie Rating Baby Telugu Movie Rating

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Baby movie review: రివ్యూ: బేబీ.. ముక్కోణపు ప్రేమకథ మెప్పించిందా?

Baby movie review in telugu: ఆనంద్‌ దేవరకొండ (anand devarakonda), వైష్ణవి (vaishnavi chaitanya), విరాజ్‌ (Viraj Ashwin) కీలక పాత్రల్లో నటించిన ముక్కోణపు ప్రేమకథ ఎలా ఉంది? నేటి యువతరాన్ని మెప్పించేలా సాయిరాజేశ్‌ తెరకెక్కించారా?

Baby movie review: చిత్రం: బేబీ; న‌టీన‌టులు: ఆనంద్ దేవ‌ర‌కొండ‌, వైష్ణ‌వి చైత‌న్య‌, విరాజ్ అశ్విన్‌, నాగ‌బాబు, సాత్విక్ ఆనంద్, బబ్లూ, లిరిష, కుసుమ త‌దిత‌రులు; సంగీతం: విజయ్ బుల్గానిన్; ఛాయాగ్రహణం: ఎం.ఎన్. బాల్ రెడ్డి; రచన, దర్శకత్వం: సాయి రాజేష్ నీలం; నిర్మాత: ఎస్.కె.ఎన్; విడుదల తేదీ:  14-07-2023

ఇ టీవ‌ల కాలంలో విడుద‌ల‌కు ముందే పాట‌లు, ప్ర‌చార చిత్రాల‌తో అంద‌రి దృష్టినీ ఆక‌ర్షించిన చిత్రం ‘బేబీ’(Baby movie). ఆనంద్ దేవ‌ర‌కొండ, వైష్ణ‌వి చైత‌న్య‌, విరాజ్ అశ్విన్ ప్ర‌ధాన పాత్ర‌ల్లో న‌టించిన చిత్ర‌మిది. ‘క‌ల‌ర్ ఫొటో’ వంటి సినిమాకి క‌థ అందించిన సాయి రాజేష్ ఈ చిత్రానికి ద‌ర్శ‌క‌త్వం వ‌హించ‌డం..  ‘టాక్సీవాలా’ వంటి హిట్ త‌ర్వాత ఎస్‌కేఎన్ సోలోగా నిర్మించిన సినిమా కావ‌డం.. టీజ‌ర్‌,  ట్రైల‌ర్లు యువ‌త‌రం మెచ్చేలా కొత్త‌ద‌నం నింపుకొని ఆక‌ర్ష‌ణీయంగా ఉండ‌టంతో దీనిపై ప్రేక్ష‌కుల్లో మంచి అంచ‌నాలు ఏర్ప‌డ్డాయి. మ‌రి ఆ అంచ‌నాల్ని ఈ  ‘బేబీ’ అందుకుందా? (Baby movie review in telugu) ఈ సినిమాతో ఆనంద్ దేవ‌ర‌కొండ హిట్ ట్రాక్ ఎక్కారా?  సాయి రాజేష్ ద‌ర్శ‌కుడిగా స‌త్తా చాటారా? 

క‌థేంటంటే: వైషు అలియాస్ వైష్ణ‌వి (వైష్ణ‌వి చైత‌న్య‌) ఓ బ‌స్తీ అమ్మాయి. చిన్న‌ప్ప‌టి నుంచి త‌న ఎదురింట్లో ఉండే ఆనంద్ (ఆనంద్ దేవ‌ర‌కొండ‌)ను ప్రేమిస్తుంటుంది. ఆ ప్రేమ‌ను అత‌నూ అంగీక‌రిస్తాడు. వీరి ప్రేమ స్కూల్ డేస్‌లోనే ముదిరి పాకాన ప‌డుతుంది. అయితే ప‌దో త‌ర‌గ‌తి త‌ప్ప‌డంతో ఆనంద్ (Anand devarakonda) ఆటో డ్రైవ‌ర్‌గా స్థిర‌ప‌డ‌తాడు. వైష్ణవి (Vaishnavi chaitanya) మాత్రం ఇంట‌ర్ పూర్తి చేసి పేరున్న ప్రైవేట్ ఇంజినీరింగ్ కాలేజీలో చేరుతుంది. అక్క‌డ కొత్త ప‌రిచ‌యాల వ‌ల్ల వైషూ ఆలోచ‌నా విధానంలో మార్పులు మొద‌ల‌వుతాయి. ఈ క్ర‌మంలోనే ఆమె త‌న క్లాస్‌మెట్‌ విరాజ్ (విరాజ్ అశ్విన్)కు దగ్గరవుతుంది. స్నేహం పేరుతో మొద‌లైన ఆ బంధం ఆ త‌ర్వాత అడ్డ‌దారులు తొక్కుతుంది. ఈ క్ర‌మంలోనే అనుకోని ప‌రిస్థితుల వ‌ల్ల విరాజ్‌కు వైష్ణ‌వి శారీర‌కంగా ద‌గ్గ‌ర‌వ్వాల్సి వ‌స్తుంది. మ‌రి ఆ త‌ర్వాత ఏమైంది?  వీరిద్ద‌రి వ్య‌వ‌హారం ఆనంద్‌కు తెలిసిందా?  నిజం తెలిశాక త‌ను ఎలా స్పందించాడు?  అలాగే విరాజ్‌కు వైష్ణ‌వి - ఆనంద్‌ల ప్రేమ‌క‌థ తెలిసిందా? అస‌లు ఆనంద్ - విరాజ్‌ల‌లో వైష్ణ‌వి ఎవ‌ర్ని ప్రేమించింది?  (Baby movie review in telugu)అన్న‌ది తెర‌పై చూసి తెలుసుకోవాలి.

ఎలా సాగిందంటే: ‘మొదటి ప్రేమకి మరణం లేదు. మనసు పొరల్లో శాశ్వతంగా సమాధి చేయబడి ఉంటుంది’ బేబీ ట్రైలర్ ఆరంభంలో రాసిన కొటేషన్ ఇది. ఈ మాట‌కు త‌గ్గ‌ట్లుగానే చిత్ర క‌థ‌న‌మంతా సాగుతుంది. స్కూల్ డేస్‌లో తెలిసీ తెలియ‌ని వ‌య‌సులో ఓ అమ్మాయి, అబ్బాయి మ‌ధ్య పుట్టిన ప్రేమ‌క‌థ.. వారు ఎదిగే క్ర‌మంలో ఎలాంటి మ‌లుపులు తిరిగింది? ఆ ప్రేమ ఏ కంచికి చేరింది? అన్న‌ది క్లుప్తంగా ఈ చిత్ర క‌థాంశం.  చిన్న‌వో.. పెద్ద‌వో నిజానికి ఇలాంటి చిన్న‌నాటి  తొలి ప్రేమ‌క‌థ‌లు చాలా మంది జీవితాల్లో క‌నిపిస్తూనే ఉంటాయి.  అయితే వాటిలో కాలంతో పరిణ‌తి చెందుతూ పెళ్లి పీట‌లు దాకా ఎక్కేవి కొన్ని మాత్ర‌మే. వీటిలో ఎక్కువ శాతం విషాద ప్రేమ‌క‌థ‌లే ఉంటాయి. అలాంటి ఓ సున్నిత‌మైన ప్రేమ‌క‌థ‌నే ‘బేబీ’ (Baby movie review in telugu) రూపంలో ఎంతో స‌హ‌జంగా తెర‌పైకి తీసుకొచ్చే ప్ర‌య‌త్నం చేశారు ద‌ర్శ‌కుడు సాయి రాజేష్‌.

• ఇదీ చదవండి: ఎనిమిదేళ్ల కష్టం.. యూట్యూబ్‌ స్టార్‌ నుంచి.. కథానాయికగా..

ఇది ముఖ్యంగా ఈత‌రం యువ‌త‌కు బాగా క‌నెక్ట్ అయ్యేలా ఉంటుంది. సినిమాలో క‌నిపించే చాలా స‌న్నివేశాలు ఈ కాలం యువ‌తీ యువ‌కుల మ‌ధ్య ఉన్న ప్రేమ‌కు.. వారి ఆలోచ‌నా విధానాల‌కు అద్దం ప‌ట్టేలాగే ఉంటాయి. భ‌గ్న ప్రేమికుడిగా ఆనంద్‌ను ప‌రిచ‌యం చేసి.. అత‌ని కోణం నుంచి అస‌లు క‌థ‌ను ఆరంభించిన తీరు బాగుంటుంది. (Baby movie review) అక్క‌డి నుంచి తొలి ఇర‌వై నిమిషాల పాటు వైష్ణ‌వి - ఆనంద్‌ల స్కూల్ డేస్ ప్రేమ‌క‌థే ప్ర‌ధానంగా సాగుతుంది. ఈ పాఠ‌శాల ప్రేమ‌క‌థ స‌హ‌జ‌త్వం నింపుకొని మ‌న‌సులకు హ‌త్తుకునేలా సాగినా.. కాస్త సాగదీశారేమో అనిపిస్తుంది.  పెద్ద‌గా మాట‌లు లేకుండా కేవ‌లం హావభావాలు, నేప‌థ్య సంగీతంతో వారి ప్రేమ‌ను హైలైట్ చేసిన తీరు ఆక‌ట్టుకుంటుంది. ఆనంద్ టెన్త్ ఫెయిలై ఆటో డ్రైవ‌ర్‌గా మార‌డం..  వైష్ణ‌వి ఇంట‌ర్ పూర్తి చేసి పై చ‌దువుల‌కు కాలేజ్‌లో చేర‌డంతో వీరి ప్రేమ‌కథ మ‌రో మ‌లుపు తీసుకుంటుంది.

ఇక వైషూ కాలేజీలో చేరిన‌ప్ప‌టి నుంచి ఏమ‌వుతుందోన‌ని ఆనంద్ కంగారు ప‌డ‌టం.. ఈ క్ర‌మంలో ఆమెపై అనుమానం పెంచుకోవ‌డం.. కాలేజీలో ఫ్రెండ్స్‌ను చూసి వైషూ త‌న లైఫ్ స్టైల్ మార్చుకోవ‌డం..  అది చూసి ఆనంద్ మ‌రింత ఆందోళ‌న ప‌డ‌టం.. ఈ క్ర‌మంలో ఇద్ద‌రి మ‌ధ్య అభిప్రాయ భేదాలు.. ఆయా స‌న్నివేశాల‌న్నీ ఎంతో స‌హ‌జంగా ఆస‌క్తిరేకెత్తిస్తూ సాగుతాయి. (Baby movie review in telugu) ఇక ఎప్పుడైతే విరాజ్‌.. వైష్ణ‌వి జీవితంలోకి ఎంట్రీ ఇస్తాడో... అక్క‌డి నుంచి ఆనంద్ - వైషూల ప్రేమ‌క‌థ‌లో సంఘ‌ర్ష‌ణ మొద‌ల‌వుతుంది. సాఫీగా సాగుతున్న క‌థ కాస్త ర‌స‌వ‌త్త‌రంగా మారుతుంది. విరామానికి ముందు వైష్ణ‌వితో ఆనంద్ గొడ‌వ ప‌డ‌టం.. అనంత‌రం బాధ‌తో వైషూ ప‌బ్‌లో త‌ప్ప‌తాగి ఆనంద్‌కు ఫోన్ చేసి క్లాస్ పీక‌డం.. ఈ రెండు ఎపిసోడ్లకు థియేట‌ర్ల‌లో క్లాప్స్ ప‌డ‌తాయి.

ఇక ఇంట‌ర్వెల్ ఎపిసోడ్ ఒక్క‌సారిగా క‌థ‌లో హీట్ పెంచ‌డ‌మే కాక ద్వితీయార్ధంపై మ‌రింత ఆస‌క్తిరేకెత్తించేలా చేస్తుంది. అయితే ఈ ఆస‌క్తిని ఇలాగే కొన‌సాగించ‌డంలో ద‌ర్శ‌కుడు త‌డ‌బ‌డ్డాడు. (Baby movie review) ఓవైపు ఆనంద్‌కు నిజాన్ని తెలియ‌కుండా దాచి పెడుతూ.. మ‌రోవైపు విరాజ్‌తో బంధాన్ని కొన‌సాగిస్తూ వైష్ణ‌వి న‌డిపే ముక్కోణ‌పు ప్రేమ‌క‌థ కాస్త సాగతీత వ్య‌వ‌హారంగా అనిపిస్తుంది. ఇక విరాజ్ కుట్ర పూరిత మ‌న‌స్త‌త్వం బ‌య‌ట ప‌డ్డాక అత‌ని నుంచి బ‌య‌ట ప‌డేందుకు వైష్ణ‌వి ప‌డే మాన‌సిక సంఘ‌ర్ష‌ణ ఆక‌ట్టుకుంటుంది. ప‌తాక స‌న్నివేశాలు భావోద్వేగ‌భ‌రితంగా ఉంటాయి. అయితే ఆ ఎపిసోడ్ మ‌రీ న‌త్త‌నడ‌క‌న సాగిన‌ట్లు అనిపిస్తుంది. క్లైమాక్స్ ఏమాత్రం సంతృప్తిక‌రంగా అనిపించ‌దు. ప్రేమిస్తే త‌ర‌హా సినిమాల్ని గుర్తుకు వస్తాయి.

• ఇదీ చదవండి:   రివ్యూ: మిషన్‌ ఇంపాజిబుల్‌: డెడ్‌ రెకొనింగ్‌ (పార్ట్‌-1)

ఎవ‌రెలా చేశారంటే: ఈ సినిమాలో ఆనంద్ పాత్ర‌లో ఆనంద్ దేవ‌ర‌కొండ (Anand devarakonda) చాలా కొత్త‌గా క‌నిపించారు. స్కూల్ డేస్ పాత్ర త‌న‌కంతగా న‌ప్ప‌లేద‌నిపించింది. ఆటోడ్రైవ‌ర్‌గా స‌హ‌జ‌మైన న‌ట‌న‌తో ఆక‌ట్టుకున్నారు. భావోద్వేగ‌భ‌రిత స‌న్నివేశాలు బాగా చేసినా.. ప‌తాక స‌న్నివేశాల్లో న‌ట‌న కాస్త తేలిపోయిన‌ట్ల‌నిపించింది. కాకపోతే వైష్ణ‌వికి ఆయ‌న‌కూ మ‌ధ్య కెమిస్ట్రీ చూడ‌ముచ్చ‌ట‌గా ఉంది.  క‌థానాయిక‌గా వైష్ణ‌వికి (vaishnavi chaitanya) మంచి పరిచయ చిత్రమిది. ఇందులో ఆమె బ‌స్తీ అమ్మాయిగా.. గ్లామ‌ర్ గ‌ర్ల్‌గా లుక్స్‌లోనే కాదు న‌ట‌న‌లోనూ చ‌క్క‌టి వేరియేష‌న్స్ చూపించింది. (Baby movie review in telugu) ఆమె పాత్రే సినిమాకి ప్ర‌ధాన ఆక‌ర్ష‌ణ‌. బోల్డ్ స‌న్నివేశాల్లో ఆమె అందాలు ఒలికించింది. భావోద్వేగ‌భ‌రిత స‌న్నివేశాల్లో చ‌క్క‌టి న‌ట‌న క‌న‌బ‌రిచింది.

ప్ర‌తినాయ‌క ఛాయ‌లున్న పాత్ర‌లో విరాజ్ న‌ట‌న ఆక‌ట్టుకుంటుంది. నాగ‌బాబు, హ‌ర్ష త‌దిత‌రుల పాత్ర‌లు ప‌రిధి మేర‌కు ఉంటాయి. సాయి రాజేష్ ఎంచుకున్న క‌థ.. రాసుకున్న సంభాష‌ణ‌లు.. సినిమాని స‌హ‌జంగా తెర‌పై ఆవిష్క‌రించిన తీరు యువ‌త‌రాన్ని మెప్పిస్తాయి. అయితే కథ, కథనాలను ఎక్కువ స్ట్రెచ్‌ చేశారేమో అనిపిస్తుంది. సినిమాలో ఏ పాత్ర‌కూ అర్థవంతమైన ముగింపు ఇవ్వ‌లేదు. దీని ప్ర‌భావం క్లైమాక్స్‌పై ప‌డింది. విజ‌య్ బుల్గానిన్ నేప‌థ్య సంగీతం, పాట‌లు సినిమాకి ప్ర‌ధాన ఆక‌ర్ష‌ణ‌గా నిలుస్తాయి. బాల్‌రెడ్డి విజువ‌ల్స్ ఎంతో స‌హ‌జంగా ఉన్నాయి. నిర్మాణ విలువ‌లు క‌థ‌కు త‌గ్గ‌ట్లుగా ఉన్నాయి.

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• గమనిక: ఈ సమీక్ష సమీక్షకుడి దృష్టి కోణానికి సంబంధించింది. ఇది సమీక్షకుడి వ్యక్తిగత అభిప్రాయం మాత్రమే!
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గమనిక: ఈనాడు.నెట్‌లో కనిపించే వ్యాపార ప్రకటనలు వివిధ దేశాల్లోని వ్యాపారస్తులు, సంస్థల నుంచి వస్తాయి. కొన్ని ప్రకటనలు పాఠకుల అభిరుచిననుసరించి కృత్రిమ మేధస్సుతో పంపబడతాయి. పాఠకులు తగిన జాగ్రత్త వహించి, ఉత్పత్తులు లేదా సేవల గురించి సముచిత విచారణ చేసి కొనుగోలు చేయాలి. ఆయా ఉత్పత్తులు / సేవల నాణ్యత లేదా లోపాలకు ఈనాడు యాజమాన్యం బాధ్యత వహించదు. ఈ విషయంలో ఉత్తర ప్రత్యుత్తరాలకి తావు లేదు.

రివ్యూ: టర్బో.. మమ్ముట్టి నటించిన యాక్షన్ కామెడీ ఫిల్మ్‌ ఎలా ఉంది?

రివ్యూ: కమిటీ కుర్రోళ్ళు.. కొత్త వాళ్లతో నిహారిక నిర్మించిన మూవీ ఎలా ఉంది?

రివ్యూ: ‘సింబా’.. జగపతిబాబు, అనసూయ నటించిన చిత్రం ఎలా ఉందంటే!

రివ్యూ: బడ్డీ.. అల్లు శిరీష్ మూవీ ప్రేక్షకులను మెప్పించిందా?

రివ్యూ: తిరగబడరసామీ.. రాజ్‌తరుణ్‌ ఖాతాలో హిట్‌ పడిందా?

రివ్యూ: బృంద.. త్రిష నటించిన తొలి వెబ్‌సిరీస్‌ ఎలా ఉంది?

రివ్యూ: రక్షణ.. పాయల్‌ నటించిన ఇన్వెస్టిగేటివ్‌ థ్రిల్లర్‌ ఎలా ఉందంటే?

రివ్యూ: శివం భజే.. అశ్విన్‌బాబు న్యూ ఏజ్‌ థ్రిల్లర్‌ ఎలా ఉంది

రివ్యూ: బ్లడీ ఇష్క్‌: అవికా గోర్‌ సినిమా థ్రిల్‌ చేసిందా?

రివ్యూ: ‘రాయన్‌’.. ధనుష్‌ 50వ చిత్రం ప్రేక్షకులను మెప్పించిందా?

రివ్యూ: పురుషోత్తముడు.. రాజ్‌తరుణ్‌ ఖాతాలో హిట్‌ పడిందా?

రివ్యూ: బహిష్కరణ.. అంజలి వేశ్యగా నటించిన వెబ్‌సిరీస్‌ ఎలా ఉందంటే?

రివ్యూ: బ్యాడ్‌ న్యూజ్‌.. విక్కీ కౌశల్‌, త్రిప్తి దిమ్రీ మూవీ అలరించిందా?

రివ్యూ: డార్లింగ్‌.. ప్రియదర్శి, నభానటేష్‌ల కామెడీ ఎంటర్‌టైనర్‌ మెప్పించిందా?

రివ్యూ: భారతీయుడు2.. కమల్‌, శంకర్‌ కాంబో మరోసారి హిట్‌ అయిందా?

రివ్యూ: ధూమం.. ఫహద్‌ ఫాజిల్‌ నటించిన థ్రిల్లర్‌ ఎలా ఉంది?

రివ్యూ: శశి మథనం.. ప్రేమికుడు ఎరక్కపోయి ఇరుక్కుంటే?

రివ్యూ: వెబ్‌సిరీస్‌: మీర్జాపూర్‌ సీజన్‌-3.. క్రైమ్‌, యాక్షన్‌ సిరీస్‌-3 మెప్పించిందా?

రివ్యూ: ‘గురువాయూర్‌ అంబలనాదయిల్‌’.. మలయాళ బ్లాక్‌ బస్టర్‌ ఎలా ఉంది?

రివ్యూ: ‘కల్కి 2898 ఏడీ’.. ప్రభాస్‌ సైన్స్‌ ఫిక్షన్‌ మూవీ ఎలా ఉంది?

రివ్యూ: యక్షిణి.. సోషియో ఫాంటసీ వెబ్‌సిరీస్‌ ఎలా ఉంది?

తాజా వార్తలు (Latest News)

69 ఏళ్లుగా.. ఆమె పేరుతోనే భోజనం

మొద్దు శీను దాగిన చోటు కనుగొని..

రచ్చకెక్కిన దువ్వాడ ఇంటి గుట్టు

అక్షరాల అంకుశం.. మిరాశీకి మంగళం

నందమూరి మోక్షజ్ఞ రాకకు సన్నాహాలు

నేటి రాశి ఫలాలు.. 12 రాశుల ఫలితాలు ఇలా... (10/08/24)

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3 /5 Filmibeat

• Cast & Crew

Baby Cast & Crew

Baby Crew Info

Director
Cinematography
Editor
Music
Producer
Production	A Mass Movie Makers
Satellite Rights	E Tv
Budget	TBA
Box Office	91.00 Cr
OTT Platform	Aha Video
OTT Release Date	2023-08-25
Addtional Info
Lyrics
Singers
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Baby Critics Review

Baby trailer.

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• O Rendu Prema Meghaalila Singers: Sreerama Chandra Lyricist: Ananth Sriram 0
• Premisthunna Singers: PVNS Rohit Lyricist: Suresh Banisetti 0
• DevaRaaja Singers: Arya Dhayal Lyricist: Kalyan Chakravathy 0

Frequently Asked Questions (FAQs) About Baby

In this Baby film, Anand Deverakonda , Vaishnavi Chaitanya played the primary leads.

The Baby was released in theaters on 14 Jul 2023.

The Baby was directed by Sai Rajesh

Movies like Mechanic Rocky , The Raja Saab , Mr Bachchan and others in a similar vein had the same genre but quite different stories.

The Baby had a runtime of 177 minutes.

The soundtracks and background music were composed by Vijay Bulganin for the movie Baby.

The cinematography for Baby was shot by M N Balreddy .

You can watch the Baby movie on Aha Video,.

On 25 Aug 2023 Baby was released on the Aha Video, platform.

The movie Baby belonged to the Drama,Romance, genre.

Baby User Review

• Movie rating

Disclaimer: The materials, such as posters, backdrops, and profile pictures, are intended to represent the associated movies and TV shows under fair use guidelines for informational purposes only. We gather information from social media, specifically Twitter. We strive to use only official materials provided publicly by the copyright holders.

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Baby Movie Review: An odious, operatic tragedy of errors

Rating: ( 3 / 5).

Is there any genre more inconsistent in its treatment than romantic films? On one hand, we have films that are all froth and fluff, unrealistic from the get-go. On the other end, you have your pain-ridden odysseys acting as a gateway for catharsis. One is sheer escapism, the other a polarising poke into the pus-filled warts of human experience. There is an uneasiness so distinct after watching  Baby , a lot of the appreciation I have for this film comes from the very uneasiness it effectively evoked in me. But how can one appreciate something that makes you feel uneasy? Maybe it is some degree of novelty, combined with a congruence to a certain strain of reality. Maybe the existence of 'feel good' cinema conversely implies the existence of 'feel bad' cinema, for  Baby , easily earns itself a distinction in the latter category. Director - Sai Rajesh Cast - Vaishavi Chaitanya, Anand Deverakonda, Viraj Ashwin, Harsha Chemudu, Nagababu Konidela

For a film that deals with something so intimate and humble in scale — first love, growing up, infidelity, heartbreak and regrets — Director Sai Rajesh mounts it with an assured grandeur. The music of the film, composed by Vijai Bulganin, helps immensely, elevating the story even when the actors are struggling to find their feet. Not so long ago, this exact feat was achieved by composer duo Ajay-Atul for Sairat , a Marathi adaptation of Romeo and Juliet . But Baby is far pricklier in comparison. The movie has three leads and the makers intentionally name characters after their real names. Vaishnavi Chaitanya plays Vaishnavi, Anand Deverakonda is Anand and Viraj Ashwin’s character is called…you get the drift. If Jeo Baby’s The Great Indian Kitchen wanted to convey to its viewers that they are narrating the tale of *every* Indian family by not naming their characters, Baby takes a different route to arrive at the same location.   What gives Baby its edge is the way it presents two varying arguments about the film’s central love story at the same time. Sure, this is the story of many, if not every couple but, more often than not, these couples also believe they are exceptional, their love story is but the greatest in the world. Sample this song from Baby whose lyrics say, “ Mana katha lanti maro katha, charithalo undadhantane… ” (There is no story as unique as ours, history will stand proof to it). There is an echo to this display of exceptionalism on a more personal level when Vaishnavi declares, “ andaru veru, nenu veru ” (I am not like everybody else), which is followed by Anand rudely replying “ andaru porilu veru kaadhu, andaru okkate. ” (all girls are the same).  The exceptionalism of the characters is balanced by an inquiry on identity. As Vaishnavi leaves her ghetto to a swanky private engineering college, we see her self-esteem crack as she gets ridiculed about her dark skin and her economic background. We see her family, a cranky, insecure mother and a well-meaning but emotionally absent father play a role in this. This sets the tone for the rest of her arc. Staying committed to its “feel bad” vibe, Vaishnavi’s story is essentially an unbe'coming' of age one. Baby’s twin themes of exceptionalism and identity meet at the moment when Anand, after hurling abuses at Vaishnavi, declares that her identity only comes from him loving her. That she is who she is, because he chose to love her out of all the other people he could have loved. Vaishnavi, responds a little while later, that he gets his arrogance because she loved him first. She follows this up with a “ nuvvu mundhu preminche unte nen ninnu nelanu naakinche danini. ” What a beautiful insult. 

As much as Baby is about Vaishnavi, the film also belongs to Anand and his bookended grief, as its plays out like a flashback, a lengthy follow-up to the “ modhati premaku maranam ledhu ” (first love is immortal) hypothesis.  Anand is introduced with a shot of his feet as a fly lingers around. He is drunk, visibly overwhelmed with memories. We first see Vaishnavi dancing away outside her basthi’s Ganesh pandal. Their high school love is all innocence, aptly punctuated by children singing the chorus of  'O Rendu Prema Meghalila' . But alas, their innocence is only built to have it every last bit of it destroyed. Vaishnavi is the first to fall for Anand, he reciprocates it later. Vaishnavi, receiving a soap dabba as a gift, declares how she loves receiving gifts. These seemingly cute details are foreshadowed, weaponised even, for regrettable consequences and cruel pay-offs. 

Baby is well aware of its own foreboding, so much so that Vaishnavi and Anand find themselves talking about feeling, and later failing to see bad omens come in their way. If Anand and Vaishnavi form the film’s more obvious love story, Baby ’s tryst with tragedy is the film’s second, hidden love story. Viraj is the face and form of this story’s ugliness. Echoes of identity and exceptionalism find themselves in his story as well. Viraj is a rich guy who drives a Cooper to his college. Why would he like Vaishnavi, a basthi girl? But look at his introduction scene plays. Every girl is impressed by his looks, his wealth. Vaishnavi is not only different than all the other girls, but she is also indifferent to who he is on the outside. Much like Anand, this is the girl he chooses, to bequeath her a new identity, to be her only identity. 

While Baby also portrays love as something special, something irreplaceable and magical in theory, the film succeeds in its ugly depiction of narcissism, pettiness and violence. The film is generating enough hate as I type this sentence, but there is a good reason for that. Not a single main character is good or right. Vaishnavi is undone by her fear, Anand is destroyed by his insecurity and Viraj, well, Viraj is the most nightmarish version of the nice guy/boy bestie trope. Imagine Revi from Love Today , but crazy manipulative instead of just stupid. There is also a laughably bad and infantilized class divide angle in the form of a character named Seetha thrown in. While it does not work on its own, it does its bit in pushing the story forward. 

The film’s biggest shortcoming is in its direction. Its 177-minute-long runtime, consisting of scene after scene of theatre-style staging where the camera never moves and the dialogues never end does prove to be taxing to the viewer. For a story so haunting, its filmmaking is flat and tepid, wasting an opportunity to go from interesting to…well, exceptional. For now, and for a while, I shall continue to remain how the characters have been throughout the film. Confused. Like everybody else.

Baby (I) (2015)

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Oh! Baby movie review : Samantha delivers a career-best performance in Nandini Reddy's heart-warming drama

Nandini Reddy’s delightful new film, Oh! Baby, is also her best work till date.

We are often told, “Age is just a number” and that you are never old enough to do what you want to in life. But it’s not true, isn’t it?

In the opening segment of Nandini Reddy’s delightful new film, Oh! Baby , which is also her best work till date, we are introduced to Bebakka (Lakshmi) and her childhood friend Chanti (Rajendra Prasad). Both of them are well past their prime and as they continue to bicker about their lives and families, we hear them talk about her knee pain and constipation. The latter, in particular, doesn’t let them eat what they want to, and the former reduces their mobility so much that they give up doing what they could have done.

Bebakka’s overbearing nature turns into a nuisance for her family, even though her son Shekhar (Rao Ramesh) continues to revere her. She is well aware of what she has missed, but she also knows why she had to give it all up. In her world, there’s nothing more important than her family. This context is important to understand because everything else that follows after the opening segment will make you look at age and people within your family in a new light. Because Oh! Baby doesn’t just address what would one do if they are given a second chance, but also delves into dichotomy of life itself: we don’t appreciate the things we have right now, and when life passes, you don’t know how to deal with your age.

Nandini Reddy turns the whole film into a therapeutic experience with Samantha in the driver’s seat. Oh! Baby is the kind of film that leaves you with a grateful feeling for all the things you have in your life and miss those which you didn’t quite pay attention to. It reminded me of a phase in my own life when the presence of my grandmother was comforting because she would often tell me stories and serve extra food because that was her way of showing love.

Oh! Baby is the official remake of a Korean drama, Miss Granny , and this follows the life of Bebakka aka Savitri (Lakshmi), who transforms miraculously into a 24-year-old woman after she steps into a photo studio. In her second life, so to speak, Bebakka, who now calls her Swathi (Samantha), fulfils her dreams and comes to terms with what’s important for her to live a happy life.

It would be a crime to reveal everything that Swathi does in her journey because that’s an experience in itself. And the way Samantha has pulled off the role, right from imbibing Lakshmi’s body language, especially her gait, to how she treats people around her, this is perhaps the most endearing performance in her career so far. It’s Lakshmi who sets the right precedent for us to fall in love with Swathi instantly. From the moment when Swathi realises that she doesn’t have a backache and knee pain, which had been part of her life for God knows how many years, till she figures out if her youth is really worth it, it’s Samantha’s film all the way. If this film doesn’t convince you that she’s probably one of the most lively characters you’ve ever seen on screen, then I don’t know what will.

There’s so much to say about how Samantha pulls off the role, but the only thing you need to know before watching the film is that she can twist every muscle in her face, and each time it’ll make you laugh. She’s hilarious to the point that you forget you are watching a fictional character on screen. One time, when she goes out on a date with Naga Shaurya, she casually tells him he should enjoy food to the fullest extent before his body gives up on him. And when the waiter asks her if she wants only non-veg dishes, she hits back saying, “Of course. My teeth are still intact.” The punches keep landing in every scene, and Nandini finds interesting situations to bring in plenty of emotion into the storytelling.

I can’t think of a Telugu film in recent times which hinged so much on the strength of its lead actress’ ability to break the fourth wall. And Samantha does this effortlessly throughout the film. Whether it’s her banter with Rajendra Prasad, or the initial awkwardness of her equation with Naga Shaurya, Samantha is the soul of the film, and full credit to Lakshmi, too, for setting the ball rolling with her striking screen presence. Casting is top notch throughout the film, and some of the actors like Sunaina, who played Rajendra Prasad’s daughter, and Teja Sajja (who played Lakshmi’s grandson) stand out too. Rao Ramesh and Rajendra Prasad slip into their roles beautifully. Cinematographer Richard Prasad lets the warmth of the characters and the storytelling take their own shape and he maintains this harmony throughout the narrative.

The only quibble about Oh! Baby is its music. For a film where the protagonist wants to be a singer, the music doesn’t quite pack a punch, although couple of songs churn plenty of emotions because of the situation that the lead character finds herself in. There are a few portions, in the second half, that overstay their welcome, but the underlying emotion compensates for such shortcomings. In terms of how the supporting characters are treated, it’s also surprising that the grandmother doesn’t interact as much with her granddaughter.

In the end, Oh! Baby finds plenty of solid ground to talk about issues that we don’t often see in mainstream films and Nandini Reddy deserves a pat on her back for the sensitivity that she brought into the film. It makes the viewers see the world around us through the eyes of the protagonist. One of my favourite scenes in the film has Samantha talking about how she wants to live another day just to feel what it’s like to be looked at by someone who’s in love with her, I teared up, a bit. Maybe that’s what Oh! Baby is really about. The way you look at people you love and how they perceive it.

Oh! Baby is a treasure box. Open it, dig into it, and cherish everything that it has to offer you. There’s a lot more to this film than just laughs. It’s like sunshine on a gloomy day. It’s a heart-warming film that you won’t forget anytime soon.

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