Its hero is truly all-powerful, fighting alone against a hundred opponents. The logic and realism of their films and heroes are far removed from reality. However, about a decade ago, Tamil and Telugu cinema began to offer better stories. Films like "Baahubali" and "KGF," while fitting into the genre, had solid and complex narratives. They were commercially successful and received praise from critics. But now, the southern film industry seems to be stuck in that formula. The most notable example is the recently released "Devara," starring Junior NTR.

The word "Devara" (pronounced "Devra" in Telugu) can be translated as a local deity. In many regions, alongside mythological figures, there are numerous deities that exist in folklore, and the deity in this film is one such figure. He is the leader of one of four villages located along the coast. The people of the four villages engage in the occupation of stealing goods from ships at sea. A smuggler in the city serves as their contractor for this work, with the assistance of a local police officer. However, the historical background of the four villages is not one of collaboration with smugglers. Their ancestors fought against foreign powers, preserving their land and maritime boundaries from enemies. But over time, many have forgotten this history. Only Devara has not forgotten. This leads to a conflict with Vaira.

The film's story follows a largely linear narrative. Police officer Shivam searches for Yeti, heading to the Red Sea for this purpose. There, he meets DSP Tulsi and later Vaira. He then hears an old mountain tale from Singappa, which includes Devara's story, already told earlier in the film. This familiar theme of southern cinema is once again presented by Koratala Shiva.

The film starts with a sense of uncertainty. During the minister's briefing, task force chief Shivam does not seem confident at all. His conversation with Tulsi feels loud and overly dramatic. The same happens in the scene where he meets Vaira. Although Ajay is a good actor, he fails to fully embody his character. On the other hand, Saif Ali Khan captures attention in his introduction scene as Vaira and maintains it throughout the rest of the film. However, this level of engagement is not seen in the character of Devara.

Junior NTR has always been a formula hero in Tamil and Telugu cinema. In "RRR," Rajamouli didn't give him a very different character. However, in the PR campaign, he received more footage than Ram Charan. It seemed that this would help "Devara" succeed. But it didn't. From the introduction scene of Devara, Junior NTR appears confused or somewhat diminished. The scene of unloading goods from the ship is lengthy and lacks dialogue. There was much to convey through Devara's facial expressions and body language, but he couldn’t hold his own against Saif. The same situation continues in the following parts.

Regarding cinematography, A Ratnavelu has made a considerable effort. The setup featuring mountains, the sea, and the local people was good. The set design was well-executed, but the market depicted in that seaside village resembles an urban market, which shouldn't be the case. Even in the clothing of Devara's son, the colorful shirt reminds one of tourists in Hawaii.

Audiences will easily find parallels between Devara and films like "Baahubali," "KGF," "Kantara," and "Pushpa." In "Baahubali," a significant portion of the story is narrated by Kattappa about Amarendra Baahubali. In this film, it is Singappa who tells Shivam the story of Devara. The actor Prakash Raj, in this role, does little more than widen his eyes, as the director did not give him much to do. Additionally, the scene of Devara's death leaves a question, much like in "Baahubali."

The similarity with "Kantara" lies primarily in the village setup and Devara's identity. At one point, he becomes a myth, similar to "Deiva" in "Kantara." The connection with "KGF" is mainly found in the theme of becoming a messiah for the masses and instilling fear, which is indeed a common element in subcontinental cinema. As for "Pushpa," parallels can be drawn in the entire love story between Vara and Thangam. It feels like Pushpa and Srivalli have returned in this film. Jahnvi Kapoor's character was unnecessary for the story; she was included merely for two songs and to showcase her figure. In contrast, the role of Devara's wife was much more significant.

The blending of multiple films does not take this movie anywhere. Interestingly, the film started with Shivam's mission to search for Yeti (a terrorist). That was supposed to be his mission. However, after the first 10 minutes, that name is never mentioned again until the end of the film. The narrative remains solely focused on Devara's heroism. Yet, in neither of Junior NTR's characters does the audience feel thrilled by that heroism.