When Pawan Kalyan was cast in the remake of 'Ayyappanum Koshiyum' (Malayalam; 2020), there was some scepticism about what writer Trivikram had in mind. The first film, directed by Mollywood filmmaker Sachy, was a small-town drama with solid writing. Tollywood's superstar vehicles, on the other hand, can't just be decent. They must be on a massive scale. 'Bheemla Nayak' is set in a village, yet everything about it, from the speech to the background music, is designed to provide a lot of uplifting, hero-centric moments.

Pawan portrays the title role. As a pressure-resistant Sub-Inspector, he arrests Daniel Sekhar (Rana Daggubati), the son of an ex-MP, for a minor offence. Daniel does something to Nayak with the explicit intention of retaliating for his insult. There will be no turning back for either of them from this point on.

The original Malayalam film was relatively quiet. 'Bheemla Nayak,' on the other hand, caters to a broad audience without being overly loud or flamboyant.

It allows Thaman to create a fresh flavour of music while being shamelessly commercial in its sensibility. While the title track and 'La La Bheemla' are obvious, the remainder of the tracks immerse the listener in the film's atmosphere. The BGM is always interesting. It also helps that both Pawan and Rana emote in serious scenes with the same level of sincerity. The latter appears to be more worn out than Prithviraj Sukumaran did in the original.

Ravi K Chandran, cinematographer, and AS Prakash, production designer, compliment each other's work to create an appealing visual flavour. Trivikram's vision appears to have informed the colour palette selection.

For the most part, the dialogues are engaging. This isn't to imply that 'Bheemla Nayak' is without flaws. The graph of the titular figure slackens after the first 35 minutes or so and until the interval. In a star-studded film, this is a huge drawback. Another glaring flaw is that in the second half, it's the songs and BGM that do the heavy lifting, rather than the punch lines and fantastic action choreography. The finale comes with an old-fashioned thought that humanises Nayak. It's only because of Pawan's aura that it works for you.

Another cliche is Nayak's backstory. It's too old to be regarded seriously as a writing style.

However, the section immediately following the flashback gives the impression that the author is telling a coming-of-age storey. Trivikram reimagines entire scenes and presents them as though the movie is new. A good example is the incident in which Daniel unexpectedly takes his wife's side.

Nitya Menen's relationship with Pawan is endearing, and she is undeniably talented. Samyuktha Menen is in good shape. Murali Sharma, Samuthirakani (as Daniel's arrogant father), Rao Ramesh (as Nayak's enemy no. 2), Shatru, Harshavardhan, Monika Reddy (as Nayak's lady constable), and Pammi Sai all turn out to be excellent casting choices.