In an era where digital streaming platforms dictate much of our viewing habits, the importance of television premieres has considerably waned. Years ago, the sight of family gatherings around a big screen to catch the latest film on a holiday was a shared tradition, one that often stretched a three-hour movie to six due to an abundance of advertisements. Yet, the communal experience outweighed the inconvenience. ‘Krishnam Pranaya Sakhi,’ starring Ganesh, appears to belong to that bygone era, characterized by its nostalgic value rather than contemporary appeal.
Set in a context quite different from today’s high-stakes streaming wars, ‘Krishnam Pranaya Sakhi’ seems like it was crafted with the traditional TV audience in mind. Director Srinivas Raju narrates a love story using a non-linear screenplay, an intriguing choice that, unfortunately, is one of the few elements that seems to work in the movie’s favor. The story revolves around Krishna, played by Ganesh, who is the owner of the Krishna Group of Companies. Malavika Nair portrays Pranaya, Krishna’s assistant and friend. The film attempts to juxtapose two timelines: the present, where Krishna and Pranaya work together, and a flashback detailing Krishna’s attempts to woo Pranaya by posing as a humble driver.
So, what intervenes between these two timelines? “Memory loss,” muttered an audience member during the show, hinting at the film’s outdated reliance on clichéd plot devices. The trope of memory loss in romantic dramas is almost as old as cinema itself, and without a fresh twist, it hardly captivates an audience. Srinivas Raju’s execution of this concept, paired with another worn-out trope—love at first sight—falls flat and feels uninspired.
The film’s writing further detracts from its effectiveness. Despite being depicted as a magnate, the Krishna Group of Companies remains a nebulous entity, with Krishna often seen attending meetings that lack depth or clarity. Similarly, Pranaya’s orphanage comes off more as an aesthetically-pleasing homestay rather than a fully-functioning institution committed to caring for children.
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The characterization also leaves much to be desired. Side characters continually remind the audience of Krishna’s celebrity status and his numerous prospective brides, almost as if to assert that he is doing Pranaya a favor by falling in love with her. Pranaya is portrayed as subdued and meek, standing in stark contrast to Sharanya Shetty’s portrayal of a rival company’s glamorous and hot-headed woman, perhaps reflecting the director’s stereotypical view of successful women.
‘Krishnam Pranaya Sakhi’ initially garnered attention due to the unlikely pairing of director Srinivas Raju, known for his gritty and violent ‘Dandupalya’ series, and Ganesh, typically associated with romantic comedies. This unconventional combination formed the cornerstone of the marketing campaign, creating curiosity among potential viewers. However, the cinematic reality fails to live up to the promotional hype. Ganesh, a seasoned actor known for his charm in romantic roles, offers nothing new to his repertoire, rendering his performance repetitive and uninspired.
Given the rapidly evolving landscape of Indian cinema, particularly Kannada cinema’s recent strides, ‘Krishnam Pranaya Sakhi’ feels like a missed opportunity. The choice of a non-linear narrative structure could have breathed fresh air into an otherwise stale storyline, yet the execution proved to be its downfall. The lack of teasers or trailers may have been an attempt to keep the plot twist under wraps, but it only added to the film’s enigma which did not find resonance among the audience.
The competitive nature of today’s film industry, which pits the traditional big screen against the burgeoning dominance of digital streaming platforms, demands innovation and uniqueness. Sadly, ‘Krishnam Pranaya Sakhi’ does little to stand out, feeling more like a relic of a previous era rather than a contemporary piece of entertainment.
As it currently runs in theaters, the film serves as a reminder of cinematic conventions that have aged poorly and underscores the importance of continuous reinvention in storytelling. For fans of Ganesh or lovers of traditional romantic dramas, it might offer a touch of nostalgia. However, for the modern viewer seeking fresh narratives and complex characters, ‘Krishnam Pranaya Sakhi’ is unlikely to leave a lasting impression.
