‘Brahma Anandam’ Movie Review: Brahmanandam, Venela Kishore Shine in this half-baked dramade

Brahmanandam, King Gautham and Venela Kishore | Photo Credit: Special Arrangement

Brahma Anandam A complicated base presents-the father and son of the world life, Brahmanandam and King Gautham, an Astraged grandfather-grandfather is named after the legendary comedian. Director RVS Nikhil manufactures at this bizarre concept, but overcomplicates with excessive subplot, eventually reduces its effect.

Brahma is a rare hero who can laugh at himself. Once after a famous child artist, he struggles to develop into a skilled theater actor, which gives some success. Their fragmented family dynamics, unresolved grief over losing their father, and their girlfriend, add to Tara, add to their emotional turmoil. His only constant constants are his cousin Rasi and childhood friends Giri, otherwise he was included in the chaotic world.

When a promising career opportunity knocks, Brahma rejoines his relationship with his grandfather, Anand Ramamurthy. As soon as the story exposes a sleeping hemlet, hidden agenda from the city, and chaos increases. However, it takes a lot of time for the director to reach this point, with unnecessarily circling to hide a predicted plot twist.

The film is ambitiously affects many subjects – the struggle of aspirations, the decline of the Telugu theater, the family’s family relationships and the loneliness of the elderly – yet any of them fail to find it meaningfully. While its intentions are commendable, without the storytelling, without giving the actual depth, it tilts too much on its lead.

The first half, although inconsistent, saves at least some laughter. Brahmanandam, Raja Gautham, and Venela Kishore shared the cracking chemistry, each brought its signature comedic style. However, as the film moves forward, its speed is futile, staggering under writing.

The central base-an elderly couple’s grandfather is lost in a romance-romance-romance within the drama. The story takes a conservative stance, which attempts a comedy-of-aerrs approach to the relationship while skimping on the struggle of inter-generation. Emotional heartbeat is never a land in fact.

In search of the starting of the idol with his love interest, the character development of Jyoti, Brahma has been sidelined. The delay of the idol does not regret the delay of the idol to ignore his grandson, and the subplot, who appears in Jyoti’s son Manohar’s examination, feels that he is a shrine.

Pre-climax is a barrage of Clich, in which melodrama oversees any meaningful resolution. Dialogue is a philosopher, preaching-like turning, beating further tests. In 148 minutes, the film overtakes its welcome, raising a compact story beyond the requirement.

Brahmanandam again proves that he is more than just a comedian, although his stagnation and dialogue distribution feel an attractive. King Gautham gave an honest performance, proving that he deserves another shot. However, in a film designed to highlight the real-life father-son pair, it is Venela Kishore who steals the show with her spontaneous intelligence and sarcastic retaorts.

Priya Vadlamani, Aishwarya Holakkal, and Divija Prabhakar promised, while Talluri Rameshwari, however, still manages to bring her scenes to light. Forever reliable Rajiv Kankala, Prabhakar, and Sampat Raj are included in stock roles, but left a mark in their limited screen time.

On the technical front, Sandilia Pesapati’s Pappi Score and Cinematography of Mithesh Parvathani gave some attraction. Director RVS Nikhil displays a nature for humor and eccentric characterization, but the lack of story weakens Brahma AnandamThe film flows with the capacity, but loses its spark midway, eventually providing an uneven, half -cooked experience.

Brahma Anandam Ends as a lost opportunity.

(Brahma Anandam is currently running in theaters)