By D. Nagarjuna
Watching a film in a theatre offers an immersive experience that simply cannot be replicated on a small screen or even in a home theatre. My decision to watch Hey Balwant on the first day of its release was further encouraged by the presence of Shivani Nagaram—known for Little Hearts—who plays the female lead. As someone pursuing a Master’s in Journalism at a college where I once taught, her association added a personal touch to the viewing experience.
The film marks the directorial debut of Gopi Atchara, and it is fair to say his effort has not gone in vain. While the movie may or may not emerge as a box-office blockbuster, it certainly deserves appreciation for its finesse in handling an inconvenient and uncomfortable subject. Ironically, the story revolves around what is often referred to as “the oldest profession”—a topic society hesitates to discuss openly, even though it continues to exist in plain sight and is frequently treated as a mere transactional exchange between buyer and seller.
What works for the film is its layered narrative. The central theme is interwoven with other social concerns, giving the storyline depth and relatability. The music complements the mood well; a couple of songs are enjoyable, though they may not necessarily linger long after one leaves the theatre.
The supporting cast—Suhas, Vennela Kishore, Sudarshan, and Annapurna—deliver performances that fit comfortably within the narrative framework. However, it is Naresh who ultimately emerges as the real standout, both in terms of the character arc and acting prowess. His performance lends emotional weight to the father-son dynamic that forms the backbone of the film.
The storytelling is subtle. Depending on one’s perspective, some may categorise it as dark humour. Yet, there could hardly have been a cleaner way to present a so-called “dirty” subject. The film consciously avoids vulgarity, choosing instead to explore themes of compulsion, societal judgement, responsibility, and familial bonds—particularly the father-son relationship. Shivani Nagaram’s role, though not central to the narrative, adds charm and grace. The film is not heroine-centric, and therefore she has limited scope to showcase her full acting potential. Nevertheless, her presence is noteworthy.
By the end, the viewer walks out with a sense of satisfaction—having watched a cleanly made film on an inherently uncomfortable topic. It subtly reflects on helpless choices forced upon individuals by circumstances and society, and the struggle to extricate oneself from such entanglements.
Current ratings range between 2.5 and 3 out of 5. This reviewer would place it slightly higher at 3.25, particularly when compared with other films currently running in theatres. If time or budget constraints keep you away from the big screen, it is certainly worth catching on OTT. ZEE5 is the streaming partner. Don’t miss it—you won’t feel compelled to switch it off midway. The narrative momentum is largely sustained, with only occasional minor slowdowns.
