Nandamuri Balakrishna Akhanda movie review

Fans were overjoyed when ‘Akhanda’ was announced as the third film in the duo’s combination. Expectations on the film automatically increased. Everyone was eagerly awaiting how the original Boyapati would show Balakrishna this time. Boyapati has done a double role with Balakrishna in this film, just like in the last two films. Movie posters, Balakrishna looks, teaser, trailer have further raised the expectations of the movie. Let’s go into the story of the film to know to what extent the film, which was released on December 2, met these expectations.

A terrorist named Gajendra Sahu escapes from a police encounter and reaches Maharudra Peetha. He kills the dean in order to avenge this system that has troubled him and becomes the dean himself. At the same time, a man named Ramachandra Raju was born in Anantapur. If one of them suffocates, the other child will be without a splinter. At the same time, Agora (Jagapatibabu) steps in and carries the dead child away. The dead child arrives at the sanctuary of Kashi Vishwanath. By the grace of Parameswara, the child suffocates. After a few years, the children will grow up to be adults. The child Murali Krishna (Nandamuri Balakrishna) who grew up in Anantapur is trying to eradicate factionalism there. He runs schools and hospitals in the area and serves the people. Collector Sharanya (Pragya Jaishwal) who came to the area to see the good deeds done by Murali Krishna loves him. The two get married. On the other hand, he is busy extracting uranium from his mine when he finds out that he is a copper mining businessman (Srikanth) in the same area. Young children die when the waste from there is dumped into the ground. Knowing the matter, Murali Krishna confronts the Vaidyarajas. Then a bomb explodes at a hospital built by Murali Krishna in the middle of a planned situation. The minister dies. With that, the police arrested Murali Krishna. The Vaidyarajas try to kill Sharanya. Only then will Akhanda make his debut.

Analysis:

Boyapati once again tried to convey the point that when innocents and young children die unjustly, God will come and take care of them in some form. However, this time it is a privilege to link Aghora’s character to his own story. Fans and audiences eagerly awaited how Boyapati Sreenu, who portrayed Balakrishna powerfully in Sinha and Legend films, will be unveiled on screen this time. As mentioned earlier, Simha once again showed the boy in a dual role in the Legend series. Elevating one character as a Rayalaseema farmer is another awful role. Boyapati Sreenu balances the two characters and opens the Boyapati Akhand with dialogues and action elements to connect the element he wants to convey to the masses and the fans.

Hero Nandamuri Balakrishna enlivened the characters of Akhanda and Murali Krishna with his powerful, mass acting and dialogue delivery. Much of the story revolves around Muralikrishna, the Rayalaseema character throughout Fastoff. In addition to the formation of factionalism in Anantapur, Balakrishna appeared as a hero in the role of the late farmer Murali Krishna. Action scenes also have a range of childish acting. Each scene is elevated within the scene range by the director.

There will be a solid character entry before the longer interval. The action part feels great after that character entry. Whistles are often played in theaters for dialogues that evoke occasional villains. Thaman tried to impress with his music. Jai Balayya Song impresses everyone. As well as Balakrishna, the song that comes between Pragya and Adiga goes on romantically. Director Boyapati took the story a step further in the same song. In the second half comes another song that stretches emotionally. Thaman background music especially the background score given to the solid character was the main lifeline. Ram Prasad cinematography is good. As always, M. Ratnam’s words were the main force behind Balakrishna and Boyapati’s films.

Both or not is a situational dialogue that tells the story of ordinary people and yogis in many contexts.

Sinha’s elevation of Boyapati’s scenes is beyond legend.