Following Priyadarshi’s acclaimed performance in Court, Vishnu Oi’s comic brilliance in Mad Square, and Niharika NM’s Telugu debut, expectations were high for Mithra Mandali. With Bunny Vas presenting, the buzz was real—but does the film live up to it?
Story:
The film opens at a local police station, where officer Sagar K. Chandra (Vennela Kishore) refuses to file a complaint. At the same time, MLA aspirant Tutte Narayana (VTV Ganesh) rushes in, claiming his daughter Swecha (Niharika NM) has gone missing. It soon emerges that Swecha eloped with Chaitanya (Priyadarshi) and his group of friends, the “Mithra Mandali.” The rest of the story follows their romance and how a simple elopement escalates into a full-blown kidnapping drama.
Performances:
Priyadarshi blends into the ensemble, with his role largely confined to the romantic track and a song sequence. Vishnu Oi delivers occasional laughs, while Rag Mayur is decent in comic timing. Prasad Behara’s comedy, however, mostly falls flat. Vennela Kishore and Satya provide some levity, and VTV Ganesh performs reliably. Niharika NM has screen presence but doesn’t leave a lasting impression.
Technical Aspects:
The background score complements the comedy, and the songs are humorous. Cinematography is functional, while the screenplay lacks finesse and feels inspired by Jathi Rathnalu. Other technical departments meet basic expectations.
Highlights:
- A few genuinely funny moments, including the meta gag and select scenes with Vennela Kishore and Satya
Drawbacks:
- Silly and incoherent overall setup
- Repetitive jokes and sequences
- Lack of strong storytelling
Analysis:
Mithra Mandali is built on a thin premise and unfolds like loosely connected skits. The idea of parallel storylines—a politician framing his daughter’s elopement as a kidnapping and the chain of events leading to it—starts off clever but loses novelty quickly.
Instead of mining humor consistently from this setup, the film stretches scenes, recycles jokes, and fails to maintain comic timing. A few meta jokes and English-language bits land, but repetitive subplots about buying drinks, borrowing money, and Prasad Behara’s portions test patience.
Sharp writing and precise timing are essential for plot-less comedies, but both are missing. Even Satya’s supposedly “important” character feels illogical. Priyadarshi is relegated back to a comedian rather than emerging as a lead actor.
Bottom Line:
Mithra Mandali offers sporadic laughs but is largely repetitive and incoherent. While a few scenes work, the farcical execution and weak screenplay make it a dull watch overall.
