Bhartha Mahasayulaku Wignyapthi, produced by SLV Cinemas, is currently playing in theatres. In this section, we are going to review the latest theatrical release.
Story:
Rama Satyanarayana (Ravi Teja) is the owner of a wine-making brand in Hyderabad. When a Spain-based business house led by Manasa Shetty (Ashika Ranganath) declines an offer to tie up with his company, he travels to the European country to find out the reason why his brand couldn't make the cut. While Manasa develops affection for him, Rama's troubles intensify once he is back to India. What happens when Manasa discovers that he has been married to Balamani (Dimple Hayathi)?
Performances & Technical Departments:
Ravi Teja doesn't get to show bravado in his typical Mass Maharaja style. He is vulnerable and makes his character’s moral ambiguity feel believable here and there. Dimple Hayathi is okay in the role of a traditional homemaker. Ashika Ranganath is refreshingly self-assured and contemporary; she ensures Manasa is more than just a catalyst in the plot.
Sunil and Vennela Kishore, respectively, are the male lead's friend and personal assistant. They are routine, although some of the well-written situations held them. Muralidhar Goud plays a psychologist named Kamalassan Naidu and he is absolutely routine. Tarak Ponnappa of Pushpa 2 fame plays a cash-rich businessman with the energy of a street thug. Master Rohan and Getup Srinu have roles in the second half.
Bheems Ceciroleo’s music does its job without pushing boundaries—the songs are pleasant in the moment and the background score neatly supports the mood. Andham Mundhu and Vaammo Vaayyo are enjoyable. Prasad Murella’s cinematography is clean and unobtrusive.
Post-Mortem:
Writer-director Kishore Tirumala advertised the movie as a clever relationship comedy where the male lead is taken aback by two supposedly tricky questions posed by his wife and his girlfriend. The questions, as it turns out, are hardly novel. They don't have a substantial role in altering the course of the story either. As marketing gimmicks go, this one was totally mischievous.
Every single character in the film acquires extreme cinematic qualities, staying away from slice-of-life qualities as much as possible. Manasa Shetty may be a rising businesswoman in Spain but she displays the IQ of a privileged, hedonistic village landlord who loves to be surrounded by a sycophantic assistant. And then there is the brother of one of richest diasporic Indians behaving like a total thug. The male lead complicates things for himself by not revealing his identity to an important character.
When the film is not funny (it is hilarious for a good 30 minutes), the derivative nature of the situations shows. At least three movies from the 1990s spill over into the screenplay at many turns. Where could the film have been contemporary? It should have borrowed debates from the manosphere unfolding on Reddit and other online fora. The female solidarity is underdeveloped and doesn't feel warm either.
Like Victory Venkatesh's character from Intlo Illalu Vantintlo Priyuralu, Rama is a self-made entrepreneur. Like him, Rama is awkward and jittery. He develops cold feet at the slightest hint of a threat to his domestic peace. Is making your protagonist behave cluelessly the only way to make an entertainer in 2026?
The slapstick humour is mixed with pop culture references (read Dhurandhar, Meesaala Pilla, a Dumb Charades episode, and a medley of songs). There is a psychologist who keeps repeating "Elephant in the room" and is forced to control his urination. There is a comical thug (Ajay Ghosh) who provokes the male lead into launching himself into fights.
The second half had so much potential for drama. The relentless urge to justify the decisions of the male lead results in a half-hearted climax.
Closing Remarks:
Bhartha Mahasayulaku Wignyapthi attempts to blend 1990s domestic-drama tropes with modern settings, but the result is a flat cocktail. Good comedic situations and enjoyable music are its biggest assets.
