Years before the OTT boom, television premieres were a big deal. Families would gather around their TV sets on special holidays to watch a newly-released film. These three-hour movies would often stretch to six hours due to numerous advertisements, but it seemed no one minded. The focus was on the collective experience rather than the film itself. Amidst today’s era dominated by streaming services, the film **Krishnam Pranaya Sakhi**, starring Ganesh, feels like a nostalgic relic. At a time when streaming platforms pose a significant challenge to traditional cinema, it’s doubtful that a film like **Krishnam Pranaya Sakhi** would manage to lure audiences to theaters. Interestingly, in an attempt to preserve the suspense around a significant plot twist, the makers decided against releasing any teasers or trailers for the film.
Directed by Srinivas Raju, the narrative of the film follows a non-linear screenplay to tell a love story, a relatively unconventional choice. However, despite this interesting narrative approach, the film falters in almost every other aspect. Ganesh plays the role of Krishna, the owner of Krishna Group of Companies, while Malavika Nair portrays Krishna’s assistant and close friend, Pranaya. As the audience begins to understand their relationship, the director takes them back in time to explore the early days of Krishna and Pranaya’s connection. During this period, Krishna, a successful businessman, decides to present himself as a humble driver to avoid overwhelming Pranaya, who manages an orphanage.
The central question becomes, what went wrong between these two timelines? One person in the theater whispered the answer: “Memory loss.” The concept of memory loss in cinema is a well-worn trope, dating back many decades. Unless treated with a unique perspective, it seldom produces engaging results. Unfortunately, director Srinivas Raju fails to bring any fresh take on this old idea. Perhaps even more damaging is his decision to rely heavily on another dated theme found in romantic dramas: love at first sight.
The film’s screenplay is marred by shallow writing, and this lack of depth becomes glaringly apparent early on.
. The Krishna Group of Companies is portrayed as a powerful entity, yet we are never informed about what exactly the company does. The protagonist is shown attending numerous nonsensical meetings that add nothing to the narrative. Meanwhile, Pranaya’s orphanage comes across as a quaint, cozy homestay rather than a dignified institution caring for children, further detracting from the film’s believability.
Krishna’s assistants constantly emphasize the number of women eager to marry the billionaire, giving the impression that Krishna is doing Pranaya a favor by falling in love with her. Pranaya’s character is subdued and underdeveloped, while another female character from a rival company—played by Sharanya Shetty—is depicted as a glamorous, hot-headed woman. This contrast seems to suggest that the director’s vision of a rich, successful woman is shallowly tied to appearances and temperament.
When **Krishnam Pranaya Sakhi** was initially announced, there was considerable buzz regarding the unusual pairing of director Srinivas Raju and actor Ganesh. Raju had just completed a gripping and intense series, **Dandupalya**, known for its gritty, violent themes, while Ganesh had built a reputation through romantic comedies. This unexpected combination served as a marketing hook, yet, in reality, the partnership has failed to deliver. Ganesh, in particular, brings nothing new to his role, with his performance feeling tired and repetitive.
The film underscores a significant shift in how audiences consume media. In an age dominated by streaming platforms offering endless choices and on-demand viewing, a film like **Krishnam Pranaya Sakhi** finds it hard to establish relevance. Generic storytelling, outdated themes, and underwhelming performances only add to its woes, making it seem like a relic from a bygone era. This lack of innovation is particularly glaring in today’s competitive landscape, where unique, engaging content is the key to capturing viewers’ attention.
As the movie struggles in theaters, it serves as a reminder that merely banking on nostalgia or old storytelling techniques isn’t enough to succeed in modern cinema. The audience’s expectations have evolved, and filmmakers must be willing to innovate and take risks to deliver stories that resonate with contemporary viewers. While **Krishnam Pranaya Sakhi** might have thrived in a different era, it finds itself out of place in today’s cinematic landscape.
