On paper, the idea behind Baapu: A Father’s Story looks intriguing, but making it into a captivating movie is a quite different matter. Written and directed by Daya, this independent-spirited Telugu drama takes place in rural Telangana and aims to be a darkly humorous, emotionally charged family narrative. Even while the film stays true to its basic issue and features strong performances from seasoned actors like Brahmaji, Aamani, Sudhakar Reddy, and Dhanya Balakrishna, it only really shines in certain scenes and frequently veers off course without holding viewers’ attention.
The title character, baapu (father), is played by Sudhakar Reddy, who viewers know as Balagam’s thatha (grandfather). His routine is quickly established in the early scenes, which also quietly allude to his increasing forgetfulness, a recurrent theme that drives the plot along at different points. On a little plot of land, the elderly man’s daughter-in-law Saroja (Aamani) and son Mallanna (Brahmaji) grow cotton. They are drowning in debt and have to give up the majority of their earnings to moneylenders as harvest season draws near. Their daughter Varalakshmi (Dhanya Balakrishna) concentrates on her academics in the hopes of landing a government position, while their son (Mani Aegurla) works as a driver of a run-down seven-seater car to make ends meet.
It takes time for Baapu to settle into a groove. The plot mostly follows expected lines and is predictable as the people and their goals develop. Although they provide minimal depth, the younger characters’ relationship subplots match the larger familial issues. The son’s love story lacks intrigue, with a twist that is all too obvious, while the daughter’s romantic arc is woefully underdeveloped. The picture excels when it delves into dark humor, especially when the family comes up with a plan to get five lakh rupees in government assistance, which is only given when a family member passes away. The conversations that follow about life, death, and the ridiculousness of their situation provide much-needed interaction. The pursuit of a golden idol is the subject of a secondary subplot.
The setting, dialect, and slice-of-life portrayal of rural Telangana feel authentic but lack the vibrancy of films like Balagam or Mallesham. Baapu’s success is fueled by impressive performances. Brahmaji, who is sometimes limited to supporting parts, excels in his main part, giving a composed and compelling performance, especially when he struggles with feelings of love and guilt for his father. Aamani is dependable, and Sudhakar Reddy effortlessly charms his part. Despite Srinivas Avasarala’s underutilization, Dhanya and Mani are both proficient in their respective roles.
The fable-like plot beautifully wraps up loose ends as the movie draws to a close, providing each character with closure. The movie would have been much more engaging, though, if the individuals and their journeys had been given more nuance. Rather, Baapu lacks the emotional impact it seeks to have and instead feels like a short film that has been extended into a two-hour feature.
