An architect by profession Srinivasa Raju (Nithin) gives utmost importance to family which values great respect for Telugu traditions and rituals. On the other hand, Sridevi aka Sree (Rashi Khanna) comes from a contrasting family with dad RK (Prakash Raj), a pure businessman who values more of money, time than traditions, family. Srinivas and Sree fall in love, both families give their nod. Apparently, differences between RK and Srinivasa Raju families lead to an agreement for taking this alliance forward. What’s that? What are the lessons RK learnt in this process is rest.
Like every template film of Dil Raju, this one is also modeled on the lines of indefinitely tried and dried out feel good family emotions blended with dual pronged elements of sacred marriage system and forgotten traditions. Nowhere director Satish Vegeshna tried to generate novelty in his treatment reminding us countless films like Krishna Vamsi’s Sasirekha Parinayam, Mogudu to Gunasekhar’s Varudu to Dil Raju’s SVSC, Fidaa, Satamanam and many more. Playing safe on the disagreement between two contrasting families struck in marital alliance is an age old formula. What makes Srinivasa Kalyanam more piteous is the selection of very popular artists in useless and purposeless characters. For example, accepting Jayasudha in Rajendra Prasad’s mother character will take lot of time for audience to digest. Then Nandita Swetha’s Maradalu role is a pure wastage. Rather than penning dialogues based on situational demands of the script, Satish Vegeshna went other way, seems to have written scenes that suit to a bag of heavy duty lines lying idle on his dusty, old scribbling pad. Every time when Nithin or Jayasudha arrives on screen, we can get ready for a sermon. As there is no strong central conflict on paper, obviously excitement goes down till the very pre climax. Though Satish succeeded to major extent as a writer, he is a big letdown as director.
Cinematography by Sameer Reddy is economically colorful capturing the pre marriage rituals and festive atmosphere. Madhu’s editing is sober, needs lot of trimming to erase TV serial flavor. Mickey J Meyer scored his best in melodies, especially the climax and Modalaudaam songs. Background score is adequate. Production standards of Dil Raju are just acceptable.
Onto artists, Nithin’s character looked dull and preachy without energy. Though handsome at looks, he is too young to sermonize. Rashi Khanna is left desolate with that beautiful smile captured again and again in close up shots. Better she should have borrowed some character strength from writer-director. Prakash Raj is the only role with meat. His transformation from a filthy rich businessman to a believer in family values is though rotten yet acceptable. Rajendra Prasad, Amani, Jayasudha, Naresh, Sitara, Poonam Kaur, Giri Babu, Annapurna and others made the family frame complete. Comedy in the name of Nithin friends’ batch viz. Sathyam Rajesh, Praveen, Vidyullekha Raman, Hemanth isn’t hilarious.
Idea of showcasing the sanctity in Hindu marriage system and reminding us the dying down traditions sounds good on paper. Apparently, taking serious lessons tossing every scene with a sugar coated message turns a dangerous feat when characters and conflict itself are shallow. Srinivasa Kalyanam is a two and half hour marriage CD detailing the meaning hidden in Sanskrit slokas chanted in marriage pandal. Producer Dil Raju might have fell in Vegeshna’s trap on this single point to repeat the same old formula.
Film kick starts on a regular note introducing us to Srinivasa Raju aka Nithin’s rural family in Sakhinetipally while he is working in Chandigarh. Taking enough time to establish Nithin friends’ batch, time for Rashi Khanna’s simple entry and the romantic track neither had a feel nor motive. On the other hand, Rashi Khanna’s real identity of being the younger daughter of rich businessman RK aka Prakash Raj is just ok. Here on Prakash Raj shines for a while and story steers back to love track. Proceeding towards marriage with mutual acceptance from both family sides twisted in Pre-Marital Agreement is a forcible lock for interval.
Second half is all about the wedding rituals at Nithin’s home and Prakash Raj’s change in perception of marriage and family. Nandita Swetha comes here and there only to disappear later on. All the fun in village and marriage atmosphere created was authentic. Scenes developed in the process of opening the Pre-Marital Agreement for pre climax and climax are time tested. Of course, final 15 minutes appears lengthy, Nithin rendering Sanskrit mantras with so much of pain leading to a happy ending.
All in all, Srinivasa Kalyanam suffers with weak script and undeveloped characters glued to marriage concept. This is a classic case of how a facile story makes some sense when there is rich casting on hand. Satish Vegeshna, Dil Raju could not create the same magic of Satamanam for sure. CJ goes with 2.5 stars rating and final BO reach depends on how families, youth accept this boring saga.