The crime drama ‘Bad Manners’ by Suri and Abhishek Ambareesh loses its zing after starting off strongly

Bad Manners’ first part is a standard Suri movie. A world where committing crimes is the norm is shown to us. Pure evil is embodied by the characters, and the story alternates between multiple timelines. You have to forgive the director’s repetitive approach to a crime drama because he plays it to his strengths.

Abhishek Ambareesh plays Rudresh, also known as Rudra, a police officer who misplaces his service weapon. He disguises himself and travels to Goda, a town, to purchase a 9MM handgun. Suri establishes Goda, a site where even young people may be found meticulously crafting a wide variety of firearms, from machine guns to pistols. A gun manufacturer in Goda is engaged in conflict with two dangerous, eccentric outlaws. A kidnapping case, however, adds a new layer to the narrative.

Storyline: Rudra is hired by the police department following the loss of his father. What occurs at a crime scene if he misplaces his service gun?

The main issue on everyone’s mind when Bad Manners opened was, “Can an eccentric filmmaker like Suri offer a great launchpad to a star kid?” The late Kannada superstar Ambareesh’s son is Abhishek Ambareesh. This cannot have a single solution.

Considering that this is Abhishek’s second film after Amar, his performance isn’t bad. In this instance, he portrays a police officer’s anger convincingly, yet during the emotionally charged scenes, he comes across as robotic. Suri makes a mediocre attempt to strike a compromise between his style and the requirements of a star car.

The second half of the script, which Suri and Amri co-wrote, is poorly written. The half-baked love subplot (including Rachita Ram) further detracts from the picture, which attempts to depict Rudra’s ascent to prominence as a police officer but ends up being generic. There are absurd sequences in the film that aim to explain away its strange title. Similar to Suri’s Tagaru, Bad Manners features preachers on the duties of police officers, ranging from Tara, Rudra’s mother, to Sharat Lohitashwa, his superior.

The absence of a sense of mystery around the second part of Bad Manners is its main flaw. It’s hard to sit through the entire plot because it goes in circles. With the assistance of outstanding editing, Suri’s reverse chronology script from Popcorn Monkey Tiger performed admirably. However, this movie’s use of the same tactic comes across as gimmicky and doesn’t advance the plot. This uncertainty drowns out Charan Raj’s trippy tune, while Shekhar, the cinematographer, uses exaggerated angles and strong colors that bring to mind Suri’s earlier films.

One of the best neo-noir directors working in Kannada is Suri. In his prime, he made compelling films, even if he never abandoned his pet theme. His most notable achievement was the role of a valiant hero with gray shades in Kadipuddi.

In order to create Kendasampige, a terrific road thriller starring rookies Varun and Manvitha Kamath, he broke off from his reputation. With a famous actor, Tagaru was a great attempt to reimagine the masala genre. But it looks like he’s back to his indulgent self with Popcorn Monkey Tiger and Bad Manners, and the movies highlight the dangers of being entangled in your own web.