Mana Shankara Vara Prasad Garu Review: Chiranjeevi Shines, Comedy Falls Flat
Director Anil Ravipudi appears to be enjoying himself with his trademark fun-centric cinema, but Chiranjeevi stepping into this illogical and contrived formula proves slightly disappointing
Cast: Chiranjeevi, Nayanthara, Zarina Wahab, Sachin Khedekar, Harshvardhan, Sarat Saxena, Venkatesh
Rating: 2/5 stars
Megastar Chiranjeevi, perhaps keen to step away from his routine action roles, opts for a light-hearted entertainer to reconnect with his vast fan base. He manages to raise a few laughs, performs household chores with comic self-pity, and dances with ease. However, the forced and frivolous narration ultimately mars the experience.
Director Anil Ravipudi appears to be enjoying himself with his trademark fun-centric cinema, but Chiranjeevi stepping into this illogical and contrived formula proves slightly disappointing, as it dents his larger-than-life image. The central conflict—about a couple drifting apart—feels artificial rather than rooted in genuine emotional differences. Worse, the film frivolously mocks the functioning of a national security team entrusted with protecting a Union minister and later Nayanthara’s father, reducing serious responsibilities to slapstick.
That said, Chiranjeevi’s comic timing, showcased after a considerable gap, works in parts. His interactions with his children and school kids evoke a few genuine laughs. Nayanthara plays an entrepreneur and does her best to salvage a poorly written role. Their pairing looks pleasant on screen, and the song Meesala Pilla stands out. Unfortunately, several sequences resemble television serials in both treatment and tone.
Sensing the monotony of the plot, the director brings in Venkatesh to liven things up. However, his presence is largely limited to dancing with Chiranjeevi and cracking a few flat jokes, offering little narrative value.
Anil Ravipudi has repeatedly stated that a novel story isn’t essential to make an entertaining film—a notion this film challenges. The constant sense of déjà vu in his recent outings suggests it is time for a rethink. The director seems to have overlooked how comedy masters like Jandhyala, Bapu, and Vamsi blended humour with fresh storytelling and are remembered for far longer.
The film opens with a Union minister receiving a threat call, only to be saved by his security team led by Chiranjeevi. He is then granted leave to reconnect with his children, who live in a hostel, while his estranged wife (Nayanthara) also arrives at the same place. The rest of the film unfolds through predictable developments.
After intense roles in Lucifer and Bholaa Shankar, Chiranjeevi plays a timid, henpecked husband who is frequently ill-treated by his wife. Though he delivers a few emotional moments and some passable humour, the exaggerated comic portrayal undermines his stature. Nayanthara, as an arrogant businesswoman, impresses within the limited scope of her role. Sachin Khedekar, Zarina Wahab, Catherine Tresa, and others fit their parts well.
Anil Ravipudi once again banks on his familiar husband–wife bashing formula—successfully used from F2 to his recent Sankranthiki Vasthunam. However, this well-worn “taming of the shrew” template feels exhausted here. Rehashed for Chiranjeevi and Nayanthara, it neither generates effective humour nor offers meaningful insight into marital relationships.
