‘Sarangpani Jatkam’ Movie Review: Mohanakrishna Indraganti and Priyadarshi’s film is laughing therapy

Roopa Koduvayur, Priyadarshi in the movie | Photo Credit: Special Arrangement

Oscar Wilde’s half-cost story Crime of Lord Arthur SaviliPublished in 1891, follows the absurd efforts of an aristocratic class to commit a murder before marrying his fiancé – purely because a Palm reader describes it as his fate. Writer-director Mohanakrishna Indraganti re-explains this base within the structure of a contemporary Telugu house, weaves in sharp social comments, reflecting the film industry and social media culture, while Telugu and Telugu and Tamil cinema like the great sensibilities of Telugu and Tamil cinema to add their hats and like ‘Crazy’ Mohan. It may take a lot to pack – but Sarangapani Jathkam Social satire and scruball is an amazing smooth mixture of comedy, anchor by an excellent artist, especially Priyadarshi Pulikonda and Venela teenager.

The film directly dives its characters. Sarangpani (Priyadarshi) started its day to monitor the predictions of the horoscope on TV and in newspapers. Astrology, palm science, and his unwavering belief in all things, has painted his childhood and college years. Even there are no rational voices of his parents, Pinakpani and Devaki. So when they find out that their bosses, Maithili (Rupa Koduvayur) in the car showroom, are in love with them, they credits this twist of fate to the miracle predicted in that morning horoscope rather than their own personality or actions.

Although the character name takes out mythological weight, the story is a contemporary, contemporary and contemporary, unlike the astrological passion of Maithili with rational, skeptical world vision. They are opposed to Vyasa, and this stress is very high in the film’s humor and heart.

Early part of Sarangapani Jathkam Like a no-frills romantic comedy, drawing from everyday realities of middle class houses and workplaces. The narrative raises speed with the arrival of a high-profile sotseer (Srinivas Awasarla in an unusually fiery role). Anarchy, and Sarangpani’s childhood friend Chandru (Venela Kishore) has been pulled into madness.

Once you establish the characters and their arcs, the film barely recalls a beat. Priyadarshi brings a victorious mixture of innocence, vulnerability and humor time for the role of Priyadarshi Sarangapani, while Venela teenagers are razor-sharp with their deadpan delivery. Together, they are riotous, especially when they are “dead”. A stretch set with a Kentansius elderly woman and her surprised son in a house is a standout, one after the other. The writing here is especially strong – Wordplay increases humor without feeling deprived without anytime.

Follow the up to the comedic set-colors. Often there is a risk of making very difficult efforts, but Sarangapani Jathkam Sidestaps it with fresh gags which is actually land. Help in the background to define small touch character – such as wall posters, cars and cinema to literature (Chaplin to Prabhas) in Chandru’s house, today capture various cultural effects on urban India. Music composer Vivek Sagar, meanwhile, an explosion is taking place as his offbeat score also enhances the simplest scenes.

The trademark sensitivity of Indraganti for penis mobility also shines. Women address their husbands by name – a rareness in the Telugu cinema’s more traditional representation – and none of them is inactive. Maithili is clearly more skillful and emotionally grounded partner, and Rupa Koduyur plays it with poetry and accurates. It is an actor who deserves more screen time in the industry.

Scruball comedy often loses steam in the final act, but here, the speed only manufactures. More characters are introduced, confusion is deeper, and satire intensifies. The formula about “elevated” a modest post-interval character about a chutli comment by Ramki (Harsh) serves as a smart jab in Telugu screenplay writing, while is enough to include itself in Joke.

In form of SamohanamIndraganti does not hesitate to criticize media culture. If that film made fun of the gossip websites, it slant a troll economy, showing how anonymous anger often stems from personal dissatisfaction.

Final act takes cues from classic of 1990 Michael Madana Cama RajanWith a hurry and confusion of characters. Tanikela Bharani and King Cambolu make late entry which only add to fun. Naresh, Kalpana, and Rupa Lakshmi are solid in their auxiliary roles, while the blink-end-miss-like hotel receptionist or background waiter-lealver.

Some sequences may lack visual polish to match sharp writing, but for this, performance and clever script may be higher than makeup. In an era where the spectacle and scale dominate the dramatic release, Sarangapani Jathkam Creates a compelling case for the old -fashioned comedy. A low, high-prior film-This group is a dose of laughter that we did not know that we need.