Big Budget, Old Story, Zero Impact: I Missed ‘Rudra’ In Theatres, Or Did I?

First things first, this is not a review, but a viewer’s expression after watching the Assamese film Rudra on the OTT platform ReelDrama. I missed it last year when the film was released in theatres, and genuinely regretted it. The trailer promised scale. I genuinely wanted to experience it on the big screen, but due […]

First things first, this is not a review, but a viewer’s expression after watching the Assamese film Rudra on the OTT platform ReelDrama.

I missed it last year when the film was released in theatres, and genuinely regretted it. The trailer promised scale. I genuinely wanted to experience it on the big screen, but due to certain family obligations and personal issues, I simply couldn’t.

There was always a lingering sense of regret—that I had missed a promising film.

However, after watching the film on OTT last night, I found myself patting my back and saying—well, I didn’t really miss anything by skipping it in theatres.

Since most of us have already watched the film, calling this write-up a “review” would be inaccurate. This is something more personal—a reflection, a feeling.

The film suffers from flaws across the board—story, screenplay, direction, acting, and even make-up. As we all know, the story and screenplay are the strongest pillars of any film. In Rudra’s case, both are disappointingly weak. The narrative jumps erratically and follows an extremely predictable pattern.

The storyline itself is nothing new—it has been told and retold countless times.

A daredevil special agent storms enemy hideouts single-handedly, mowing down adversaries with an endless supply of bullets. He visits his partner’s village, falls in love with his sister, and then tragedy strikes. Forced into hiding, he assumes a new identity. Eventually, fate drags him back into action, only for the ultimate twist to reveal that his trusted mentor is the villain. He defeats the antagonist, and the story concludes on a triumphant note.

This is a formula we have seen across Hindi cinema, Tamil cinema, Telugu cinema, Malayalam cinema, and even global films.

A familiar story isn’t necessarily a problem—if it is told in a fresh, engaging, and stylistically distinct way. Unfortunately, Rudra fails precisely here.

One of the most jarring aspects of the film is the make-up—particularly Ravi Sarma’s. The wig and artificial beard used to depict a broken, vagabond-like version of his character look visibly fake and exaggerated.

Instead of conveying emotional damage or lived-in hardship, the styling feels staged—almost like a leftover from a much older era of filmmaking, reminiscent of 1950s or 60s aesthetics.

This becomes a problem because the look draws attention to itself. Rather than deepening the character, it repeatedly pulls the viewer out of the scene.

In a role that depends heavily on emotional credibility, such artificiality weakens both the character’s presence and the impact of his journey.

The action sequences, to be fair, are well choreographed. They carry the kind of adrenaline and visual style expected from a film like Rudra. However, strong action alone cannot compensate for weak storytelling.

In terms of performance, despite Ravi Sarma winning Best Actor (Assamese) at the INCA Awards 2026 in Mumbai on April 16, his portrayal lacks the emotional depth the role demands.

His largely monotonous delivery and limited variation in expression reduce the character’s impact, making what should have been a layered, commanding presence feel restrained and underdeveloped.

Nandini Kashyap as Ravi Sarma’s love interest looks beautiful on screen, but her performance feels stiff and somewhat artificial.

Joy Kashyap, as Rudra’s partner, is good and consistently engaging on screen. He has a natural screen presence and a certain ease that makes his performance work.

At the same time, you can clearly see that there is more he could have brought to the role if the writing had supported him better. The character feels underwritten, and his limited screen time further restricts his impact.

He also bears a slight resemblance to the late Mukul Dev, which adds a familiar edge to his on-screen presence. What he needs now is stronger material—roles that push him beyond these limitations.

If he explores a wider range and challenges himself with layered characters, he has the potential to emerge as a prominent face, even a poster figure, of Assamese cinema.

Among the supporting cast, Himanshu Gogoi stands out, but unfortunately he is reduced to repeating familiar comic beats.

While his comic timing is sharp, relying on it repeatedly makes his performance predictable. After his turn as Gulapi in Gulai Soor, I expected to see Himanshu Gogoi take on more varied and demanding roles—characters that push him beyond his comfort zone.

But that shift depends as much on writing as it does on casting. Unless filmmakers create such roles on paper and are willing to trust him with them, his range will remain underused.

Dear industry, don’t waste talent like Joy Kashyap and Himanshu Gogoi on weak writing. They have the range, presence, and potential to do far more. Give them material that challenges them, not roles that box them into repetition.

For a film made on such a substantial budget, one expects far greater attention to writing. When the story and screenplay are weak, editing inevitably suffers—and in Rudra, it does so significantly.

As someone who genuinely loves Assamese cinema, I feel it is time we move towards more diverse storytelling—new narratives, fresh genres, and bold experimentation.

Repackaging old formulas in slightly polished forms will no longer engage audiences.

Similarly, actors who have been part of the industry for decades need to step out of their comfort zones and embrace more meaningful, challenging roles.

In the end, this isn’t a harsh dismissal—it’s a heartfelt reaction. But personally, I feel I simply wasted my time watching Rudra.

To be honest, I even found myself laughing during moments that were meant to be emotional.

And that, perhaps, says everything.

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