Certain things are a given in a film written and directed by Anil Ravipudi. There will be ample comedy, even if much of it is unabashedly silly. Viewers familiar with his work know not to expect nuance, or much by way of technical polish. In Mana Shankara Vara Prasad Garu, his first collaboration with Telugu superstar Chiranjeevi, Ravipudi leans into these strengths, loading the film with humour and fanboy moments that bank on the actor’s nostalgic appeal. The chief pleasure lies in watching Chiranjeevi clearly enjoying himself, aided by an extended cameo from Venkatesh Daggubati and the presence of Nayanthara.
The film, which nearly opens with the aesthetic of a television serial, takes time to settle into its rhythm. The opening stretch makes its intentions clear: this is not a story that invites scrutiny of a national security officer’s professional rigour. Shankara Vara Prasad (Chiranjeevi), touted as one of the country’s finest, is introduced as an affable middle-class man cheerfully tackling household chores, before effortlessly turning into a one-man wrecking crew.
Mana Shankara Vara Prasad Garu (Telugu)
Director: Anil Ravipudi
Cast: Chiranjeevi, Nayantara, Venkatesh Daggubati, Zarina Wahab
Runtime: 164 minutes
Storyline: An officer estranged from his wife has to win her, and their children back, and he stops at nothing.
When the opening action sequence unfolds in a library and the score by Bheems Cecirolio loudly proclaims that ‘Boss is back’, Chiranjeevi makes it count. At 70, playing a character in his mid-40s, he proves he still has the moves. Even the dance numbers are smartly calibrated — nostalgic in flavour, yet choreographed with enough restraint to feel age-appropriate. Throughout, Chiranjeevi looks comfortable as a genial family man who can, when required, slip into mass-hero mode with a touch of class.
The story treads familiar ground. Shankar is estranged from his wife Sasirekha (Nayanthara), a successful businesswoman, and longs to win her — and their two children — back. There are no real surprises in a narrative that banks heavily on comedy. A running gag involving a television serial that mirrors Shankar’s life, along with humour that pokes fun at his own persona, helps keep the film moving.
Sasirekha and her father (Sachin Khedekar) are written in broad strokes reminiscent of how the elite business class was caricatured in films of the 1980s and 90s. Decades later, Anil Ravipudi offers much the same archetypes, merely dressed in contemporary styling. The wafer-thin plot, stretched to 164 minutes, could have wrapped up halfway through had Shankar and Sasirekha simply sat down to talk. Some gags — including those built around ‘OTP’ jokes — fall flat. But then, the film seems to argue, does it matter as long as there is a steady supply of jokes, however uneven?
The school portions and the matter-of-fact way in which Shankar recounts his past keep things engaging for a while. Post-interval, however, the momentum dips as both comedy and drama turn predictable. A subplot involving an antagonist feels like a sore thumb, and Ravipudi brings back his lucky charm, actor Venkatesh Daggubati.
The Chiranjeevi–Venkatesh portions are slightly underwhelming, as if the film is weighed down by the expectations that come with pairing two superstars. There are moments that work, though. Chiranjeevi’s restrained portrayal of a brooding family man contrasts Venkatesh’s gleefully over-the-top turn, and once the two give in to full-blown Sankranti revelry in a dance number, the theatre predictably erupts. The nostalgic nods to their hits from the 80s and 90s also land well.
Venkatesh Daggubati and Chiranjeevi in the film
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Special Arrangement
The stoic anchor here is Nayanthara. Her role breaks no new ground and carries a heavy sense of déjà vu, but she navigates the thin line between playing an archetypal upper-class snob and a self-assured woman with grace. The character deserved more depth, yet she makes it work with poise.
Catherine Tresa, Harshavardhan and the rest gamely play along in supporting roles that are not meant to be taken seriously. After The Raja Saab, this is another film where Zarina Wahab lends dignity to her limited screen time, leaving a quiet impression.
One of the film’s bigger let-downs is its cinematography, which remains merely functional. The music, too, is hit and miss. Given Ravipudi’s enviable box-office track record, perhaps it is time he demanded more from his technical crew, not just his writers.
Mana Shankara Vara Prasad Garu offers enough fun to gloss over its dull stretches. And it leaves you with at least one unexpected takeaway: the next time you hear ‘Sundari’ from Thalapathy by Mani Ratnam, featuring Rajinikanth, you might just smile.
Published – January 12, 2026 02:53 pm IST
