Dabidi Dabidi Song Becomes Trolling Stuff: What is this Balayya?

The latest controversy surrounding actor Nandamuri Balakrishna has once again sparked public outrage. In his upcoming movie Daaku Maharaj, Balakrishna, now in his sixties, is seen engaging in disturbing physical gestures during a dance sequence with actress Urvashi Rautela in the song “Dabidi Dibidi.” In the sequence, Balakrishna is shown playing a mridangam (a traditional Indian drum) on Rautela's back and buttocks, first with one hand and later with both hands. This portrayal, which seems to be an attempt at creating shock value, has left audiences feeling uncomfortable and dismayed.

While Balakrishna has previously faced criticism for awkward hand gestures in the film Paisa Vasool, these seem relatively tame when compared to his latest performance in Dakoo Maharaj. The sequence has been widely criticized, not only for its crudeness but also for the message it sends to the public. Given Balakrishna’s status as both an actor and a public representative, his actions are under greater scrutiny. His brother-in-law is the chief minister, and his son-in-law is a key political figure. Moreover, his fellow Tollywood actor serves as a deputy CM. In such a context, it is concerning that Balakrishna would agree to such an inappropriate display.

A public figure must always be mindful of the image they project, especially when they hold a position of influence. Balakrishna, who has faced backlash in the past for his dialogues and gestures, should have been more cautious in choosing the roles and scenes he participates in. The negative response from netizens has been swift and overwhelming, calling attention to his lack of sensitivity to modern sensibilities.

Furthermore, producer Nagavamsi may want to consider compensating Urvashi Rautela more generously for her involvement in such a controversial scene and perhaps even offering her physiotherapy as a precautionary measure. It is time for the industry to reflect on the changing landscape of media and public perception, especially when it comes to the treatment of actors and the kind of content that is produced.