Mithra Mandali, produced by Kalyan Manthina, Bhanu Pratapa, Dr. Vijender Reddy Teegala, hits the cinemas. In this section, we are going to review the latest box-office release.
Plot:
The story is set in a fictional town named Jungilipatnam where a powerful casteist named Thuttekula Narayana (VTV Ganesh) is angling to enter the Assembly to uphold the Thutte caste's prestige. Just ahead of the elections, his daughter Sweccha (Niharika NM) elopes with someone whose identity he is not aware of. When Narayana complains to SI Sagar (Vennela Kishore), all hell breaks loose as a garden variety of characters try to help him out. The narrative introduces us to Chaitanya (Priyadarshi), whose friends, Sathvik (Vishnu Oi) and Abhi (Rag Mayur), are in love with Sweccha.
Performances:
The actors lean into exaggerated personalities to create a chaotic ensemble. They are not too distinct from one another. As lovestruck fools, Vishnu Oi and Rag Mayur are too over-the-top. Prasad Behara was fun in his YouTube series but here, he is wasted. It's interesting how Priyadarshi has evolved from his deadpan comedic style over the years. At times, he packs a punch with their panicked outbursts. Niharika NM's reactions to the escalating mess don't look real. Her make-up is inferior.
Satya, as the self-proclaimed 'Important Character', is hilarious in bits and starts. Vennela Kishore is okay. This movie might prove to be Vamshidhar Goud's breakout appearance. VTV Ganesh's politician character would have been more likeable had it been humanized. Jeevan, Srimannarayana, Vasu Inturi and others don't add much.
Technical aspects:
Siddharth SJ's cinematography captures the group's chaotic dynamic to an extent. The camera tries to enhance a weak physical comedy. Peekay's editing does it with quick cuts and snappy transitions.
RR Dhruvan's background music underscores the comedic chaos. Jambar Gimbar Lala, Kattanduko Janaki, Swecha Standuu are cheesy.
The movie's unforgivable sin is this: a song like Thella Kodi Nalla Kodi has been wasted as a montage in the climax. Maybe, director Vijayendar S intended it to generate a vibe in the final portions so that the song stays with the audience as they walk out of the hall. Sorry, but the purpose wasn't served. The song should have been a proper dance number.
Post-Mortem:
The hook of the story concerns Narayana believing that his daughter has eloped with someone outside his caste. Since the cop he complains to is inept, the investigation is a non-starter. The entry of Satya's know-all spy character complicates the case, while Narayana's political rival tries to fish in the troubled waters.
Sathvik and Abhi are dim-witted. Priyadarshi's Chaitanya is fairly intelligent to begin with, but is as dumb as his two friends when the script needs him to. This inconsistency sticks out like a sore thumb. The casting is somewhat uneven. While most of them have been cast to type, a few others are misfits: Niharika looks older for a character that requires her to make her juvenile choices believable. Raghu Karamanchi plays a bit role in which he chops off limbs. This is distasteful.
The opening sequence establishes the caste fanatic in the heroine's father. Had the screenplay been subtle and bold, a tinge of seriousness would have pervaded the story. We don't feel anything for either the daughter or her love interest when the mess worsens. That's because the love story is weakly established. There is no single tender moment involving Niharika.
The climax should have been emotional to an extent. All that we get to see is a bunch of characters believing that they are in a circus and are supposed to entertain the audience with whatever expressions they can muster. VTV Ganesh's Narayana doesn't pause even for a moment with a remorseful expression. When filmmakers are proud of making soullness comedies, this is what happens!
Closing Remarks:
Mithra Mandali attempts to be a zany, chaotic ensemble comedy but falls flat due to uneven performances, an inconsistent script, and a failure to capitalize on its more serious themes. The film's energy is high, but the payoff is low.
