Mana Shankara Vara Prasad Garu Movie Review: It is Chiranjeevi’s show all the way
Mana Shankara Vara Prasad Garu Movie Review(2.5 / 5)
Megastar Chiranjeevi teams up for the first time with director Anil Ravipudi for Mana Shankara Vara Prasad Garu, which hit screens on January 11. With Nayanthara as the female lead and Chiranjeevi’s daughter Sushmitha producing the film along with Sahu Garapati, expectations were naturally high. Known for his strength in comedy and commercial entertainers, Anil Ravipudi once again sticks to his familiar template. However, instead of backing it with a strong story, he builds the entire film around Chiranjeevi, banking heavily on the star’s screen presence, timing, and vintage charm.
Anil Ravipudi previously delivered Sankranthiki Vasthunnam, where he mixed a police backdrop with family drama and comedy. In Mana Shankara Vara Prasad Garu, he follows a similar route, replacing the police officer with a National Security Guard and adding a marital reunion angle. While the formula is familiar, the execution largely depends on Chiranjeevi’s charisma rather than solid writing. The result is a film that works in parts but lacks depth and consistency.
Film: Mana Shankara Vara Prasad Garu
Cast: Chiranjeevi, Nayanthara, Venkatesh, Catherine Tresa, Sachin Khedekar, Sarath Saxena, Zarina Wahab, Harshavardhan, Abhinav Gomatam, Srinivas Reddy and others
Director: Anil Ravipudi
Shankara Vara Prasad (Chiranjeevi) is a disciplined National Security Guard assigned to protect a Central Minister (Sarath Saxena). He lives a simple life with his mother (Zarina Wahab) after separating from his wife Sasirekha (Nayanthara), a wealthy and strong-willed businesswoman. Their marriage ended due to ego clashes and misunderstandings, leaving Prasad emotionally broken but still deeply in love with his wife.
An unexpected incident changes the course of the story when Sasirekha’s father (Sachin Khedekar) is attacked by unknown assailants. When the family requests government protection, Shankara Prasad is assigned the duty of safeguarding them. This assignment is not accidental but part of Prasad’s own plan to re-enter his estranged wife’s life and win back her trust.
As Prasad enters his former in-laws’ house along with his NSG team, tensions rise. Sasirekha is initially furious to see him, refusing to forgive or forget the past. How Prasad slowly reconnects with his children, softens Sasirekha’s heart, and ultimately reunites the broken family forms the crux of the film.
Director Anil Ravipudi is known for his knack for comedy, and he once again relies heavily on humor to drive the narrative. However, unlike his earlier successes, Mana Shankara Vara Prasad Garu lacks a strong backbone. The director has clearly designed the film to highlight Chiranjeevi rather than tell a compelling story.
The first half focuses on Prasad’s flashback, how he met Sasirekha, their courtship, marriage, and eventual separation. The romantic portions between Chiranjeevi and Nayanthara are handled with elegance and warmth. One of the most entertaining bits is the repeated use of the iconic song 'Sundari Neevanta' from Dalapathi in multiple languages during their chance encounters, which adds humour and nostalgia.
Once the couple has children, the narrative shifts toward the father-child relationship. Prasad joining his children’s school as a PT teacher leads to several light-hearted and emotional moments. These scenes work largely because of Chiranjeevi’s ease and natural comic timing. The emotional bonding between father and children becomes the highlight of the first half.
The second half moves into Sasirekha’s house, where the director attempts to create conflict and drama. A villain is introduced, but his presence feels forced and weak, existing only to extend the narrative. The security threat and attack on Sachin Khedekar’s character lack impact and seriousness.
Several scenes in the second half feel stretched. One such sequence involves a party scene where women discuss their husbands and legal sections they can use against them. While intended as comedy, the scene feels unnecessary and prolonged, clearly added to pad the runtime rather than serve the story.
The sudden entry of Venkatesh is another example of forced fan service. While seeing two big stars together on screen generates excitement, the impact here is limited. The Antakshari-style song sequence where Chiranjeevi dances to Venkatesh’s songs and vice versa feels more indulgent than effective. It entertains momentarily but does not add value to the narrative.
As with many Anil Ravipudi films, logic is conveniently ignored. National Security Guards are portrayed more like comic relief characters than elite officers entrusted with national security. Serious situations are diluted with jokes, making the entire security backdrop feel superficial.
The climax follows a familiar commercial route, with Chiranjeevi taking on multiple villains in a prolonged action sequence. While mass fans may enjoy these moments, the sequence lacks freshness and realism. The film starts smoothly but loses grip in the latter half due to forced scenes and repetitive conflicts.
This film belongs entirely to Chiranjeevi. More than Anil Ravipudi’s writing, it is Chiru’s screen presence that holds the film together. After underwhelming outings like Acharya, Bhola Shankar, and Godfather, Chiranjeevi returns to his comfort zone — comedy and family entertainment. At 71, his energy, dance moves, and comic timing are impressive, especially in the hook song and lighter moments.
Nayanthara looks graceful and plays her role with dignity. As a rich businesswoman with emotional vulnerability, she fits the role perfectly. Her scenes with Chiranjeevi carry emotional weight and exude chemistry.
Sachin Khedekar is a fine actor, but his Telugu dubbing feels repetitive and familiar. Sarath Saxena’s role is limited and routine. Catherine Tresa appears throughout the film but has little scope. Harshavardhan, Abhinav Gomatam, and Srinivas Reddy support well in their respective roles.
Zarina Wahab delivers a strong performance as Chiranjeevi’s mother. Interestingly, she appears in two major releases within days, playing Prabhas’ mother in The Raja Saab and Chiranjeevi’s mother here. Her emotional scene with Nayanthara in the pre-climax stands out.
Bheems Ceciroleo’s music works well for the film. Songs like 'Meesala Pilla' and 'Sasirekha' are catchy and well picturised. The mass song featuring Chiranjeevi and Venkatesh is routine but effective for fans. Cinematography is neat, and some dialogues provide decent entertainment.
Mana Shankara Vara Prasad Garu is a complete Chiranjeevi film where the star carries the entire narrative on his shoulders. Director Anil Ravipudi delivers a typical commercial entertainer without a strong story or logic. While the first half is engaging, the second half feels dragged and forced.
For audiences looking to watch vintage Chiranjeevi during the festive season, the film offers enough moments to enjoy. It is a one-time watch, best enjoyed without expectations — a time-pass entertainer that works mainly because of its lead star.