‘Sankranthiki Vasthunam’ movie review: Anil Ravipudi and Venkatesh’s film delivers mindless laughs

Aishwarya Rajesh, Venkatesh and Meenakshi Chaudhary in ‘Sankranthiki Vasthunam’
| Photo Credit: Special Arrangement

A character named Bulli Raju, played by child actor Revanth, mouths expletives that send grown-ups into a tizzy. We hear some of these words while the rest is masked by the background score. A section of the audience may wonder why the filmmaker makes a boy say things beyond his age. The very next minute, writer-director Anil Ravipudi’s Telugu film Sankranthiki Vasthunam reasons that the young mind has been corrupted by an overdose of content on digital platforms! Bulli Raju’s antics in an early scene bring the house down and set the tone for the film. Teaming up with Venkatesh Daggubati for the third time, after the farcical comedies F2 and F3, Anil is aware that all his target audiences want are a few good laughs. Logical reasoning and political correctness can take a backseat. Within that framework, the film delivers several laughs.

Sankranthiki Vasthunam keeps things simple and fun, laced occasionally with observations about oft-repeated tropes and the changing trends in mainstream Telugu cinema. A few decades ago, it was not too uncommon to see films woven around a male protagonist, his wife, and a girlfriend. The drama surrounding former police officer YD Raju (Venkatesh, nicknamed by his colleagues as Yama Dharma Raju), police officer and his former girlfriend Meenakshi (Meenakshi Chaudhary) and his wife Bhagyalakshmi (Aishwarya Rajesh) is a throwback to that era. There is also a reference to Venkatesh’s earlier film Intlo Illalu Vantintlo Priyuralu.

The stage for this aspect of the drama is set, in a hilarious manner, with Raju invoking Godly references. The laughs that follow through the film, involving the women, are silly and border on farce. Venkatesh, Meenakshi, and Aishwarya go with the flow as the narrative does not hold back the fun. Venkatesh’s monologue in the final portions takes the cake. In another film, if this monologue had been delivered on a serious note, it would have earned the wrath of women. The makers of this film know that their narrative will not be taken seriously.

This is a film in which the crime element, involving a kidnap drama, is also dealt with in a light-hearted manner. It is a familiar template. A high profile personality is kidnapped, a rescue operation begins, a convict is demanded as ransom… you get the drift. It is no surprise that YD Raju is summoned for the job. Several others enter the mix, including Raju’s possessive and suspicious wife and the volatile son, Bulli Raju. The film also introduces a few other oddball characters. Look out for Upendra Limaye as the jailer and Sai Kumar as an officer who has to deal with his egoistic overtures.

Visually, Sankranthiki Vasthunam is a riot of colours in tune with Sankranti festivities in the districts of Andhra Pradesh. Where it falters is an extended action sequence in which it is easy to spot that the team has filmed in the backdrop of a green screen and later relied on visual effects. However, the outrageous turn of events ensures that the audience’s attention remains on the fun element.

Bheems Cecerolio’s catchy songs, ‘Godari Gattu’ in particular, work to the advantage of the film. In a few sequences, the score is reminiscent of Anirudh Ravichander’s work. Perhaps it was intentional since one of the final action sequences is designed like a hat tip to Venkatesh’s cop action dramas. It is as though Venkatesh, aided by Anil Ravipudi, makes a point that he has had his share of action dramas, which have been dominating Indian cinema of late.

It is appreciable that the narrative addresses the age gap between Venkatesh and the female leads. The film does not make him invincible. There are references to the character’s lack of fitness, creaking muscles, and bones after he left the police force. Pop culture references, from Pushpa’s ‘jhukega nahi’ to Kalki’s ‘repati kosam’, add to the fun.

Some of the humour in the initial portions that border on adult comedy and a later scene, involving a gag about same-sex relationship, seems out of place in a so-called family entertainer.

Venkatesh breezes through his part and much of the humour works primarily because it serves as a reminder of his popularity with the family audiences and his knack for comedy. Aishwarya Rajesh’s performance is in sync with her character; she is a hoot as the wife who gradually reveals her true colours. Meenakshi, trying her hand at comedy for the first time, is effective as a serious cop character and a bitter, jealous girlfriend. Within all the illogical humour, the narrative establishes the individuality of her character when she has to make a choice at a crucial juncture.

A social message towards the end is presented without an overtly preachy tone.

Sankranthiki Vasthunam does not take itself seriously. Some portions of the humour in the film might be absurd and tiresome, but the movie largely works as a fun outing.