Films rooted in Sanathana Dharma themes have been enjoying strong box-office traction in recent years. From Kantara Chapter 1 and Hanuman to Mirai, such content has resonated deeply with audiences when handled with sincerity and restraint. Even outside mainstream cinema, the Gujarati film Laalo – Krishna Sada Sahayate created history by becoming the region’s first ₹100+ crore grosser.
Against this backdrop, expectations were naturally high for Akhanda 2.
The first installment of Akhanda emerged as a solid success and also found visibility among North Indian audiences through its Hindi-dubbed television run. Riding on that goodwill, the makers positioned Akhanda 2 as a pan-India spectacle with Balakrishna’s growing nationwide recognition. However, contrary to expectations, the sequel has failed to make any impact outside the Telugu states, particularly in North India.
Despite aggressive promotions in Mumbai and multiple Hindi media interactions, theatres reportedly remained empty. Trade sources suggest that collections from non-Telugu markets — including North India, Kerala, Karnataka, and Tamil Nadu — stood at a meagre ₹80 lakh, an underwhelming figure for a film mounted on such a grand scale.
When industry insiders were asked what went wrong, several strong opinions emerged.
A distributor remarked,
“Boyapati doesn’t know how to present the Akhanda character through Balakrishna. Audiences expected an authentic Sanathana Dharma experience, but instead got loud theatrics and songs like Jajikaya, which broke the core sentiment.”
Another trade analyst blamed the illogical narration and excessive elevations, stating that the over-the-top action and exaggerated heroism alienated neutral audiences, especially the younger generation.
A senior film writer drew comparisons with successful spiritual films:
“In Kantara, the divinity overwhelms the character, not the actor. In Hanuman and Mirai, the hero remains vulnerable and human. If the protagonist himself becomes superhuman, the power of divinity is diluted. That fundamental mistake was made in Akhanda 2.”
Criticism has not been limited to director Boyapati Srinu alone. Several voices have questioned the overzealous promotions led by Gangadhara Sastry.
A retired professor who watched the film with his family commented,
“The promotions promised Sanathana Dharma, but the film showed exaggerated hero worship, a helpless system, and unnecessary loudness. Even my grandchildren couldn’t find any spiritual depth — they only laughed.”
Another filmmaker pointed out the contradiction in tone:
“Why include exposing glamour, alcohol scenes, and the Jajikaya song in a film claiming spiritual sanctity? Films like Mirai even removed songs to preserve tone. Boyapati showed no such sensitivity.”
A film critic summed it up bluntly:
“Content-driven films grow through word of mouth. Akhanda 2, despite massive promotions, isn’t connecting because it feels like a junk narrative overloaded with elevations, exaggerated performances, and incoherent tracks.”
Interestingly, while many industry figures are cautious with on-record statements, off the record, there appears to be near-unanimous disappointment. Several insiders admit that public praise is often driven by fear of backlash or political and fan considerations, rather than genuine appreciation.
In the end, Akhanda 2 serves as a reminder that Sanathana Dharma themes succeed not through noise or hero worship, but through sincerity, balance, and storytelling discipline — something audiences today are increasingly discerning about.
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