Ravi Teja is one actor who continues to get films regardless of their fate. His last successful outing was Dhamaka in 2022. After that, he acted in five films as a lead, but all of them failed at the box office. At a time when he badly needs a solid break, he teams up with director Kishore Tirumala for Bhartha Mahasayulaku Wignyapthi, which was released today.
On the other hand, Kishore Tirumala’s last film, Aadavallu Meeku Joharlu (2022), was also a flop. However, Kishore is known for making decent films like Nenu Sailaja, Vunnadhi Okate Zindagi, and Chitralahari. When the collaboration with Ravi Teja was announced along with the interesting title Bhartha Mahasayulaku Wignyapthi, expectations were decent. Both the actor and the director were in need of a good break.
Dimple Hayathi and Ashika Ranganath play the female leads, while Sudhakar Cherukuri produces the film. Bheems Cecirolio, who recently composed music for Mana Shankara Vara Prasad Garu, is the music director here. Before the release, Kishore Tirumala stated that the film revolves around a husband, wife, and a girlfriend. Telugu cinema has seen many such films in the past, especially during Sobhan Babu’s era. Kishore attempts to narrate a similar theme in a modern setting. The big question remains: does this film give Ravi Teja and Kishore Tirumala the break they need?
Cast: Ravi Teja, Ashika Ranganath, Dimple Hayathi, Sunil, Satya, Vennela Kishore, Muralidhar Goud, Rohan, Ajay Ghosh, Getup Seenu and others
Director: Kishore Tirumala
Ram Satyanarayana (Ravi Teja) and Balamani (Dimple Hayathi) are a happily married couple who own a wine brand called Anarkali. Ram plans to expand his business overseas and sends a proposal to a Spain-based company owned by Manasa Shetty (Ashika Ranganath). When the proposal gets rejected, Ram decides to travel to Spain to convince the company officials, only to discover that Manasa herself is the owner. Without revealing his identity as the Anarkali brand owner, Ram befriends Manasa and eventually gets physically intimate with her. He also hides the fact that he is already married, and Manasa doesn’t seem to bother about it either. Ram returns to Hyderabad and resumes his normal life with his wife. Trouble begins when Manasa lands in Hyderabad and wants to meet him. How does Balamani react after learning about Ram’s relationship with Manasa? What happens when Manasa finds out that Ram is married and that he approached her in Spain only for business approval? There is no real suspense here, and most of the developments are predictable, but the film wants you to watch it on the big screen for the resolution.
Given Kishore Tirumala’s earlier work, one expects sensible entertainment with emotions and fun. Unfortunately, in Bhartha Mahasayulaku Wignyapthi, he sticks to an old-school narration. Telugu cinema has seen several films based on the wife-husband-ex-girlfriend theme, with actors like Sobhan Babu and Venkatesh. Those films balanced entertainment and emotion well, supported by strong performances from actresses like Sarada, Sridevi, Jayasudha, Jayaprada, Soundarya and many others.
Here, Kishore forcefully inserts several characters to stretch the narrative. In films like Nenu Sailaja and Chitralahari, his storytelling was gripping and emotionally engaging. But in this film, he relies heavily on comedians like Satya, Vennela Kishore, and Sunil for entertainment. Unfortunately, their comedy feels routine, repetitive, and at times irritating.
The characterisation is confusing. Ram spends a night with Manasa in Spain, and the director shows her as someone who doesn’t care whether a man is married or not. She even mentions having broken up twice before. However, the same character suddenly reacts emotionally after reaching Hyderabad and learning the truth. This inconsistency weakens the narrative.
To further stretch the film, Kishore introduces Satya as Vinda alias Bellam, Manasa’s PA. The entire Spain portion feels dragged, with scenes leading up to the interval being easily predictable. In the second half, another unnecessary negative character is introduced in the form of Manasa’s brother, adding nothing new to the story. The climax and its resolution are obvious long before they arrive.
Both the wife and the girlfriend question Ram about hiding the truth, and his explanations are the same ones seen in countless other films. Despite claiming to offer something new, the director fails to deliver. One particularly baffling moment is when Ram praises his girlfriend as the most beautiful woman in the world right in front of his wife, who remains silent without any reaction. Such scenes feel unrealistic and poorly written.
There are a few laughs here and there, but overall, the film fails to impress and falls short of Kishore Tirumala’s usual standards. Many jokes are lifted directly from social media instead of being organically written. Sunil’s flashback 'Kerosene' episode is in poor taste and reflects badly on the director’s judgment. A routine story is presented in a very weak and uninspired manner.
Coming to performances, Ravi Teja does his best, but his character lacks depth. Though he is supposed to be caught between his wife and girlfriend, the film never truly explores that conflict. He keeps escaping the truth until the climax, where everything unfolds in a very familiar manner. His inner-voice character, which appears physically, is more boring than effective.
Among the female leads, Ashika Ranganath gets the better role. She looks glamorous and performs well. This is her second Telugu film, and she appears completely different from her role in Naa Saami Ranga, where she played a village girl. Dimple Hayathi, as Ravi Teja’s wife, is just about okay. Satya’s over-the-top comedy becomes irritating, while Vennela Kishore and Sunil appear in their usual comic setups. Muralidhar Goud plays yet another familiar role. Child actor Rohan does well. Kannada actor Tarak Ponnappa appears in the second half but leaves little impact.
Bheems Cecirolio’s music is decent, with a couple of songs standing out and being well choreographed. The cinematography is good, especially in the song sequences that capture scenic locations nicely. Dialogues are mostly average and heavily inspired by social media trends.
Bhartha Mahasayulaku Wignyapthi is a disappointing outing, especially from Kishore Tirumala. One expects a sensible and emotional film from him, but he ends up spoiling a routine story with weak narration and outdated treatment. Nothing new or innovative is offered. Ravi Teja’s bad luck at the box office continues, and he may have to wait for his next film to finally get that much-needed break.