Brahma Anandam presents an intriguing premise — real-life father and son, Brahmanandam and Raja Goutham, portraying an estranged grandfather-grandson duo named after the legendary comedian. Director RVS Nikhil builds on this quirky concept but overcomplicates it with excessive subplots, ultimately diluting its impact.
Brahma is a rare protagonist who can laugh at himself. Once a celebrated child artist, he struggles to evolve into a skilled theatre actor, finding little success. His fractured family dynamics, unresolved grief over losing his father, and his lack of commitment to his girlfriend, Tara, add to his emotional turmoil. His only constants are his cousin Raasi and childhood friend Giri, grounding him in an otherwise chaotic world.
When a promising career opportunity knocks, Brahma rekindles his relationship with his estranged grandfather, Ananda Rammurthy. As the story shifts from the city to a sleepy hamlet, hidden agendas unravel, and chaos ensues. The director, however, takes too long to get to the point, stalling with unnecessary detours to conceal a predictable plot twist.
The film ambitiously juggles several themes — the struggles of aspiring actors, the decline of Telugu theatre, transactional family relationships, and the loneliness of the elderly — yet fails to explore any of them meaningfully. While its intentions are commendable, the storytelling leans too heavily on its leads without delivering genuine depth.
The first half, though inconsistent, at least delivers some laughs. Brahmanandam, Raja Goutham, and Vennela Kishore share crackling chemistry, each bringing their signature comedic style. However, as the film progresses, its momentum falters under redundant, meandering writing.
The central premise — an elderly couple’s blossoming romance within a grandfather-grandson drama — gets lost along the way. The narrative takes a conservative stance, attempting a comedy-of-errors approach to the relationship while skimming over the inter-generational conflict. The emotional beats never truly land.
In its pursuit of reuniting Murthy with his love interest, Jyothi, Brahma’s character development is sidelined. Murthy’s delayed remorse over neglecting his grandson does not resonate, and the subplot involving Jyothi’s son Manohar’s exam woes feels shoehorned.
The pre-climax is a barrage of clichés, with melodrama overshadowing any meaningful resolution. The dialogues take a philosophical, sermon-like turn, further testing patience. At 148 minutes, the film overstays its welcome, stretching a compact story beyond necessity.
Brahmanandam proves yet again that he is more than just a comedian, though his pauses and dialogue delivery feel a tad indulgent. Raja Goutham delivers a sincere performance, proving he deserves another shot. However, in a film designed to highlight the real-life father-son duo, it is Vennela Kishore who steals the show with his effortless wit and sarcastic retorts.
Priya Vadlamani, Aishwarya Holakkal, and Divija Prabhakar show promise, while Talluri Rameshwari, though underutilised, still manages to light up her scenes. The ever-reliable Rajeev Kanakala, Prabhakar, and Sampath Raj are relegated to stock roles but leave a mark in their limited screen time.
On the technical front, Sandilya Peesapati’s peppy score and Mithesh Parvathaneni’s cinematography lend some charm. Director RVS Nikhil exhibits a flair for humour and eccentric characterisation, but his lack of narrative focus weakens Brahma Anandam. The film brims with potential but loses its spark midway, ultimately delivering an uneven, half-baked experience.
Brahma Anandam ends up as a lost opportunity.
(Brahma Anandam is currently running in theatres)
Published – February 14, 2025 01:00 pm IST
The Hindu Cinema Plus
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Telugu cinema
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Telangana
