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Style Sizzles,Substance Fizzles:’Hostel Hudugaru Bekagiddare”

"Hostel Hudugaru Bekagiddare,"
Photo Credit : Twitter

In the realm of Nithin Krishnamurthy’s directorial debut, “Hostel Hudugaru Bekagiddare,” an exciting new frontier in visual storytelling and production techniques is boldly explored. While not devoid of flaws, the movie’s storyline succeeds in captivating the audience’s attention, keeping them engaged from start to finish.

Within the landscape of “Hostel Hudugaru Bekagiddare,” a film brought to life by fresh faces, a unique presence graces the screen. Filmmakers Rishab Shetty and Pawan Kumar make cameo appearances that, while lacking significant impact, seem to symbolize the nod of recognition from debutant director Nithin Krishnamurthy to his mentors. This journey found its roots during Nithin’s collaboration with Pawan on the film “Lucia,” in which Rishab also played a role. Much like the groundbreaking impact of the psychological thriller “Lucia” in 2013, “Hostel Hudugaru Bekagiddare” embarks on a mission to redefine visual grammar and production standards.

However, the journey doesn’t start on entirely smooth terrain, as the film initially adheres to the familiar tropes of the college drama genre. The spotlight shines on a spirited group of friends residing in a men’s hostel, their rebellious nature directed toward the stern hostel warden. Just as the narrative seems to follow the well-worn path of catering to mass appeal, a clever twist emerges. The trajectory of “Hostel Hudugaru Bekagiddare” takes an intriguing turn, delving into the night that witnesses an abrupt demise the warden’s passing. Astonishingly, he attributes his tragic decision to the boys in question. Burdened by this haunting incident and facing impending exams, the boys confront a challenge greater than academics.

Much like many unconventional films, “Hostel Hudugaru Bekagiddare” can be likened to a spirited boxing match between ideas and their execution. Occasionally, the movie teeters on the edge of exuberance, but the array of eccentric characters it presents is both irresistible and uproarious. Among them are a perpetually lost trio, an unabashedly brazen drunkard, a diligent front-row student, a wide-eyed junior, a devout Christian, an audacious yet oblivious North Indian, an insatiably protest-driven individual, and a host of others. Together, these characters sustain the film’s whimsical essence.The director’s commitment to humor takes center stage, with each line of dialogue seemingly striving to outdo the previous one. While some lines incite hearty laughter, others fail to hit the mark.

The narrative of “Hostel Hudugaru Bekagiddare” maintains a precarious balance throughout, skillfully holding the audience captive. Arvind Kashyap’s masterful cinematography amplifies the visual impact, a talent showcased in his work on films like “777 Charlie” and “Kantara.” Kashyap’s use of handheld shots intensifies suspense and draws the audience into a psychological realm intertwined with the unfolding tale. Instances of characters breaking the fourth wall contribute to the film’s frenzied atmosphere, further validating the creators’ assertion of the movie’s adherence to a cinema verite style, with dialogues resonating with spontaneity and authenticity.

What truly distinguishes “Hostel Hudugaru Bekagiddare” is its refusal to be confined within the boundaries of a single genre. The authoritative warden, brought to life skillfully by Manjunath Naik, bears faint echoes of Boman Irani’s iconic Dr. Virus character from the 2009 film “3 Idiots.” However, in contrast to Rajkumar Hirani’s creation, this film doesn’t attempt to fit the mold of a complete campus drama enriched with romance, sentiment, and moral lessons.

The director’s primary aim remains steadfast to provide pure entertainment to the audience. Two remarkable musical compositions by Ajaneesh Loknath further enhance the movie’s skillful construction of its captivating universe. Yet, a moment of self-indulgence occasionally creeps in as the film lapses into repetition, struggling under the weight of the high expectations set by its first half. Ramya’s fleeting cameo, fragmented into multiple parts, fades from memory. In a narrative predominantly dominated by male characters, the limited portrayal of women calls for more thoughtful scripting.

“Hostel Hudugaru Bekagiddare” revels in excess, overflowing with nods to Kannada pop culture. The film might prove overwhelming for those seeking a more balanced cinematic experience

Iurge all to experience “Hostel Hudugaru Bekagiddare” on the big screen and support the emerging talents behind its creation. The film stands as evidence of the innovative spirit and boldness displayed by young directors reshaping cinematic norms and presenting fresh viewpoints. Embracing their art through viewing and admiration fosters the growth of a dynamic platform for emerging voices within the film industry.

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Samson Clanet Miranda

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