
Ram Charan
Peddi Pehelwan

“Hurt. Bruised. But not beaten.”
In a village that doesn't officially exist, a laborer's unmatched athletic talent becomes his weapon to fight for his people's right to be recognized.
I’ve seen Peddi twice now, and both times I left the theater with the same uneasy feeling: this is a film that wants to be about dignity, but keeps tripping over its own feet. Buchi Babu Sana’s second feature is a sprawling, ambitious sports drama set in 1980s rural Andhra Pradesh, following Peddi (Ram Charan), a lower-caste athlete whose body becomes both his weapon and his wound.
The film spans three sports—cricket, kushti (traditional wrestling), and para track sprinting—each marking a different chapter in Peddi’s fight for recognition, both personal and political. It’s a story about the body as a site of labor, spectacle, and ultimately, liberation. And yet, for all its grand intentions, Peddi often feels like a film at war with itself, particularly in how it frames the bodies of its characters—especially the women.

The first time I watched Peddi, I was struck by how viscerally the film renders the physicality of its protagonist. Ram Charan’s performance is nothing short of transformative. He doesn’t just play Peddi; he inhabits him, from the way he carries himself in the wrestling pit to the way his body sags under the weight of exhaustion and injury.
There’s a moment early in the film where Peddi, a young aata coolie (rice laborer), is seen hauling sacks of grain under the scorching sun. The camera lingers on his back, the muscles straining, the sweat dripping down his spine. It’s a quiet, almost documentary-like shot, and it does more to establish Peddi’s world than any exposition could.
This is a man whose body is his livelihood, his identity, and eventually, his salvation. Charan’s physicality is so convincing that when Peddi later transitions into para-athletics after a leg injury, you believe it. You feel the frustration of a man who has spent his life defining himself through his strength, only to have it taken away.
The film’s most powerful sequences are the ones that treat Peddi’s body with this kind of reverence. The kushti matches, in particular, are shot with a raw, almost tactile intensity. Rathnavelu’s cinematography captures the grit and grime of the wrestling pit, the way the mud clings to Peddi’s skin, the way his breath comes in ragged gasps.
These scenes are where Peddi feels most alive, most urgent. They’re also where the film’s themes—about caste, labor, and the dehumanizing gaze of the privileged—come into sharpest focus. When Peddi’s upper-caste opponents refuse to touch him, or when they mock his village’s name, the film doesn’t just tell us about marginalization; it shows us, through the way Peddi’s body is policed, controlled, and ultimately, reclaimed.
But here’s the problem: Peddi doesn’t extend that same care to all of its characters. Take Achiyamma (Janhvi Kapoor), Peddi’s love interest. The film introduces her as a fiery, independent woman—a privileged but street-smart figure who challenges Peddi’s worldview.
"A high-energy sports drama with strong performances but uneven pacing and familiar tropes."
The film has real emotional depth, and Ram Charan and Janhvi Kapoor give compelling performances with chemistry that lends the story authenticity. The runtime is excessive, though, and the pacing problems and reliance on well-worn sports-movie clichés dilute its impact.
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Peddi may be a sports drama on screen, but off screen it’s been a full-blown soap opera: leaked chats, sister-versus-sister casting drama, a force‑kiss scandal, mid‑run re‑edits, latestnetflix.com argues, and a fan literally charging the stage at a promo event. Grab some chai; this is going to be messy.
Alleged WhatsApp chats, shared by fan pages, claimed Janhvi Kapoor pleaded with the team not to shoot her in hyper‑sexualised angles for Peddi. One viral screenshot shows her saying: *“I told him no b**b and waist shots. And Ram sir is so sweet he also yelled at him and said you will not take such angles of her ever again. So he got upset.”*
In the same alleged chats, Janhvi is said to complain that this kind of objectifying camera work “keeps happening in the south,” even comparing her situation to Kiara Advani’s in Game Changer, but insisting her own shots were “worse”—until “Ram sir said no way, stop.” Fans took this as a peek into an ugly pattern: glamorous heroines fighting the male gaze with very little backup—except, apparently, from Ram Charan.
Multiple reports say director Buchi Babu Sana later admitted that some shots “turned misleading” and apologized publicly, vowing to alter or delete them after backlash over Janhvi’s portrayal. Translation: whatever happened in those alleged chats, the final cut still kept enough of the problematic material to blow up into a nationwide debate.
The most infamous scene: Peddi (Ram Charan) follows Achiyyamma (Janhvi) home, there’s a power cut, and he forcefully kisses her without consent while she cries—yet it’s played with romantic A.R. Rahman BGM swelling in the background.
Social media dubbed Peddi “the most expensive disrespect to a leading woman in Indian cinema,” accusing the film of zooming in on Janhvi’s body parts, framing stalking as flirting, and glorifying a hero who is essentially a “sexual offender” in fan rants.
The backlash got so big that it dragged half of Bollywood and Tollywood into the conversation:
Buchi Babu Sana posted an apology saying cinema should “never make anyone feel uncomfortable or disrespected,” insisting he never intended to insult women. He later admitted the trailer itself was “too much” and had “backfired,” claiming the cut misrepresented the film and contributed to the outrage.
Under pressure, the team quietly trimmed and removed some of the most controversial bits involving Achiyyamma in the first days of release—particularly the forced‑kiss sequence and hypersexualising shots.
Janhvi’s makeup artist Savleen Kaur Manchanda reposted a slide saying Janhvi had objected in post‑production to certain shots and tried to set boundaries, but those shots “remained in the film” anyway.
In a deliciously messy bit of candor, Buchi Babu Sana admitted he first narrated Peddi to Khushi Kapoor—and then dumped her for her older sister.
On Reddit, fans “appreciated Khushi for rejecting Peddi,” speculating she may have dodged a bullet given how the female lead turned out. That twist is fan interpretation, not fact—but it adds to the sense of Kapoor‑household awkwardness.
At a Peddi promotional event in Vijayawada, a fan breached security and sprinted towards Ram Charan in front of a massive crowd.
While Ram–Janhvi fan edits flooded TikTok and Instagram, many X (Twitter) users savaged their dynamic. One trending review bluntly declared: “There’s zero chemistry between Ram Charan and Janhvi Kapoor in Peddi. Buchi Babu Sana genuinely wrote scenes that lean into harassment…”
As Peddi controversies exploded, Janhvi’s real‑world romance with businessman Shikhar Pahariya was running its own gossip marathon. - Before release, Threads and Insta chatter speculated about a Jamnagar wedding in 2026, which Boney Kapoor firmly denied.
None of this ties her romantically to Ram Charan—he’s happily married to Upasana—but it did mean Janhvi was living through a film scandal and marriage rumor cycle simultaneously.
Far from any off‑screen love triangle, Ram Charan’s wife Upasana turned full fangirl at a Peddi screening, whistling and throwing papers during his mass entry; videos of her “mass hero wife” energy went viral. If there were whispers about uncomfortable romantic scenes on screen, his real‑life support system looked rock solid.
Amid all the discourse about manufactured romance, Janhvi pointed out that the most authentic moment between her and Ram Charan in Peddi wasn’t scripted at all. - In the Hellallallo song, there’s a beat where she stops mid‑step and just stares at Ram Charan like she can’t believe his energy. She later revealed it was an unplanned reaction—she got genuinely awestruck, blurted “oh my god, what are you doing?” with her eyes, and the team loved it so much they kept it in.
Even as think‑pieces eviscerated its portrayal of consent, trade reports had Peddi marching past the \₹300–400 crore worldwide mark within weeks, meaning the outrage did not stop audiences from turning up. Cue endless online debates about whether commercial success excuses regressive content.
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.
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