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Krishna Vrinda Vihari Movie Review: This Naga Shaurya starrer infantilises its base plot irredeemably

Run-time: 139 Minutes

Early on in the film, Krishna’s voice-over tells the audience that his sister is ‘settled’ in life after marriage. He corrects himself and says, “Actually, she has adjusted to what life has thrown at her.” The line kindles some hope in the audience. Is ‘Krishna Vrinda Vihari’ going to be a healthy commentary on modern-day relationships? Never mind. We get the answer when the orthodox household where Krishna has grown up as a timid guy is reduced to food items like pickles and ‘puli hora’. The rest of the film follows this spirit of dumbing down everything. 

Krishna (Naga Shaurya) moves from a small village in Andhra Pradesh to Hyderabad to pursue an IT job. There, he bumps into the beautiful Vrinda (Shirley Setia, the ‘Nikamma’ actress makes her Telugu debut), who is conveniently his fun-loving manager. She has been pestered by a creepy male colleague, conveniently. Vrinda gets drawn to Krishna’s charm after he bashes up the male colleague’s muscular goondas. As a bonus, he also delivers a profound line on how a mother should tend to a child. Vrinda instantly knows that she has met her soulmate. 

Despite her love for Krishna, Vrinda doesn’t want to marry him. It’s because, like Renu Desai’s character in ‘Badri’ (2000), she is incapable of producing offspring. Krishna can’t lose her and wants to marry her with his mother Amrita Valli’s (Radhika Sarathkumar) approval. Amrita Valli, on her part, has a sentimental stake in Krishna’s future offspring. What follows is an elaborate contrivance in the lives of Krishna, Vrinda and the former’s mother.

The film handles the cultural differences between a Telugu Brahmin family and a North Indian family that has taken to Westernization in an audaciously basic manner. The portrayal of the workplace is even worse. The IT company where Krishna and Vrinda are working is more a lover’s park until they get married, and their second home after they get married. A female colleague (Himaja) performs the functions of a sister-in-law at the office. At one point, the office even becomes a playground for Krishna to unleash his fury on some baddies. We know the producer must have saved on budget but, in the process, we are afraid the film ends up offending the burgeoning IT industry. 

While the potting has a couple of resemblances to Nani’s ‘Ante Sundaraniki’ (2022), the sensibilities of ‘KVV’ belong to a different world. In the Nani film, the conflict plot was used to expose human imperfections and hypocrisies. ‘KVV’ is not interesting in such depth. At one point, we see three males cribbing about what males go through. In that particular scene, we are reminded of Anil Ravipudi’s ‘F2’. 

The film could have redeemed itself had the familial differences between the couple and Radhika’s character been depicted in a believable, mature fashion. What we instead get are a couple of caricaturish jokes and far-fetched situations. 

Ideally, a film like this should have strictly stayed away from action. You can have a fight if you can’t resist the temptation of making your hero tear off his shirt and flash his ripped body. But there is an impossibly asinine situation when you can’t have a fighting scene. ‘KVV’ misses this lesson, like it misses almost all script-writing lessons.

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