But his untimely demise prompts Mahesh to go looking for all his relatives, across generations and bloodlines, from Solapur and Nagpur to Haridwar. Mahesh plays the son of an altruist in Satyaraj, a guy who turns 400 rupees into a 400-crore business. Yet, of the entire plethora of actors and actresses only Rao Ramesh has anything remotely to do, the role of a man consumed by his own jealousy. It has umpteen actors from Tanikella Bharani and Satyaraj to Mukesh Rishi and Rao Ramesh, not to mention actresses of acclaim like Revathi and Jayasudha. But boy, is the outcome scary!īrahmotsavam is a movie about loving your family, nay all your seven generations. What exactly did he narrate to a super star like Mahesh Babu to convince him about this project is any man's guess. This time around, he repeats his trick, one time too many. He didn't probably pick the signals from Mukunda. Somewhere after that he has undone the good will earned by turning preachy. When Srikanth Addala made Sitamma Vakitlo Sirimalle Chettu, it felt fresh, sometimes a drag, yes, but fresh nevertheless - the dialect, the way of speaking, a family you could relate to, subtle wit. That makes Brahmotsavam a film to love for its tugging-the-heart-strings kind of moments and rue for its overbearing sentiment and style sans substance. The elaborate platter gets overstretched beyond the horizon, and moves without a logical spine. Not to forget the effort of penning the heartwarming dialogue is shared by Sreekanth Addala and Krishna Chaitanya.Ī little bit of fine editing would have put the film under control staying away from unwanted digressions. The remaining credit falls in the lap of Thota Tharani for his magnificent set design. While Rathnavelu bathes the frames with sunlight and over crowds them all through, Gopi Sunder brings a surprise to the narrative with his immersive background score. The former takes the cake with her funny antics with Mahesh in the later half, and the latter is a powerhouse unleashing a volley of emotions and comic potions. The endearing ones from the lot are Samantha and Rao Ramesh. However, her break down before interval reminds you of Prabhas doing the same in Mr. Kajal gets a small but exciting role to play. He is hell bent on changing the Gen X who live and bury themselves in the screens of their smart phones. A hunk to fall for, a son who's venerated like his father, a lover who makes his loved ones sleepless, and above all, a relative who re-re-re-reiterates the true essence of family bonding and importance of relationships.
He is layered with all the dope that's archetypal for a Telugu hero. We expect the characters to be well fleshed out, but many of them are brutally wasted with a blink-and-you-miss appearances. May be an editing blooper or a screenwriting glitch, few scenes miss the connect and pop up without any rhyme or reason. There are strokes and masterstrokes, but at times, the art of mixing the right colors to right proportion goes missing. The movie tries to stand tall on a wafer-thin story line with all the actors and technical departments firing their cylinders to prune its large canvas to perfection.
Unlike SVSC, it doesn't hover on the middle-class woes, but rather touches in the ego clashes among rich and how the relationships can fall apart like pack of cards when they aren't nurtured properly. Brahmotsavam is a reflection of that very Addala who never tires of believing that anything to with 'family' will be a sweeping success.īrahmotsavam has all the staples starting from a rich extended family to the hero facing a crisis of falling short of relatives and goes on a quest to find his distant 'beerakaya suttam'. More of family bonding, more of relationships, more of egos and separations, more of uncanny comedy, and much more. The over world is a family and, now, world is a stage.
His characters never stay silent and never talk straight. Director Sreekanth Addala has a distinction of introducing many tropes in a typical Telugu drama.
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