Apart from Pawan and Rana, what are the specialties in Bheemla Nayak?
In Bheemla Nayak, the female protagonists, Nithya menon and Samyukta, have more developed character arcs than in the original. The former portrays a strong-willed woman, while the latter appears in a pivotal scene. For the respective roles, Samutirakani, Rao Ramesh, and murali Krishnaa are excellent options. They perform admirably in the limited time they have.
Others, such as tanikella bharani and Raghubabu, have tiny parts despite their effectiveness. brahmanandam makes a brief appearance at the conclusion. He's usually a pleasant surprise. With his work, Thaman was the one who first sparked a huge interest in the film. That was just a taster. In the movie, he breathes fire. It's excellent without being excessively loud, which is something he's been chastised for in the past.
The visualisation of the title tune gives us headaches. Even if it appeals to a few, seeing sunil and Hyper Adhi lip-sync the entrenched mass words is a horrendous idea. The camerawork of ravi K Chandran gives the film a raw yet elegant aesthetic. Like the memory, it's something only he could have brought to the table. The producers deserve credit for bringing him on board. The editing is excellent, particularly in the second half. The dialogues are natural and never seem out of place. trivikram srinivas deserves credit for grounding the entire storey in telugu culture. In that regard, his words are the most valuable asset. After a brief hiatus, he returns with his work in a way that only he can.