SATYAJIT RAY

Mana Shankara Vara Prasad Garu begins as a breezy family entertainer that promises to reintroduce Chiranjeevi’s comic charm, but gradually reveals its biggest flaw—not in its dated plotting, but in its regressive worldview. What starts as harmless humour quietly slips into troubling justifications, making the film feel less nostalgic and more out of sync with its times.

Set against the 1965 anti-Hindi imposition agitation, Sudha Kongara’s Parasakthi is a politically charged drama that draws strength from its intent, performances, and first half. While it powerfully articulates resistance against linguistic imposition, a wavering second half and clichéd turns dilute what could have been a truly stirring statement.

The RajaSaab is a film driven by misplaced confidence, tonal confusion, and a stubborn refusal to recognise its own limitations.