Mithai Movie Review

Mithai Movie Review

Mithai, the movie’s name, is supposed to symbolise the relatively great pay by which the corporates lure workers into willful imprisonment. So, is your movie about corporate slavery? The ideal answer is friendship. It is about two guys –Sai, a sensitive, weak man and Jaani, the street-smart loudmouth–that care about each other enough to leave all aside. However, the movie insists on becoming ambitious. It wants to talk about international politics–just two children with Donald Trump and Kim Jong-un’s masks urine all over the monitor. Plastic emotions and the Coen brothers also are mentioned. Have you ever eaten a fantastic mithai [candy ] that has more than a couple of ingredients?
Mithai Movie Review

First things first, the movie is not a dark humor. Sai, played with Rahul Ramakrishna, has struck with one bad news after another, but he is not indifferent towards his distress. Dark humour has a slyness about it and this movie’s anything but mischievous. The movie’s humor is not particularly caustic either. But for the way it treats the women–one is faceless, another is heartless, and also the last one is jobless–it is all rather sweet and colloquially nasty. Maybe when the woman who breaks Sai’s heart gets struck by a car–I thought that’s what the headphones are for–instead of a tune calling her individualistic for being an evil man, that could have been dark and satisfying.
Their affection for each other feels real and it warms the display the moment it shows. Although the movie tries its best to establish Sai as a character–he believes he has a much better chance at making it big because his garage is larger than Steve Job’s garage when he created Apple, it does next to nothing using Jaani. What’s he the one yelling at the end when Sai is heartbroken? Is he sad because of his buddy?
The matter is Priyadharshi can carry a bad script onto his shoulders to an extent with his attitude and dialogue delivery–that the bar battle is a laughing riot, however, Rahul wants a fantastic script to glow. This really is one of the reasons why Dharshi’s performance feels constant throughout, while Rahul clearly loses energy from the second-half. The supporting cast, although talented actors, feels inefficient because of the way that they are written. The Dude, motivated by the Jeff Bridges’ character from The Big Lebowski, is much more annoying than he’s insightful. A 60-year-old man with a girlfriend half his age, a great home and money to maintain himself and himself should not attempt to convince guys in their prime to relax and smoke a joint. It is empty and incorrect. To his credit, Bushan Kalyan does a good job and that he almost pulls it off.
The very best thing about this movie is its technical aspects. Ravivarman’s cinematography is innovative and the very first scene between Sai and Siddharth utilizes split-screen rather efficiently. Same with all the scene at which Siddharth and his girlfriend are conversing and her frame is divided into four parts having overlapping dialogue to indicate that her voice are moving over his head. Vivek Sagar’s songs is another and, adding flavour and momentum into the movie as it badly needs it.
Prashant Kumar’s writing is lacking, however there’s a really intriguing idea lurking behind all of the mess. Two buddies in pursuit of a thief and they fulfill bizarre characters en route…fascinating enough. Except there is not any real urgency or want to get to the burglar, except for his challenge, but we are constantly proven that both of these guys aren’t that strong-willed. That said, Kumar adds fascinating touches that speak volumes of his potential–that the strange dancing man in brightly colored clothing, or down the worn Premier Padmini and the way that it’s essentially a mirror to that Sai is–he’s nice being sporadically as long as he has to continue to his grandfather’s memory. The scene just before the intermission, in which the buddies are stealing alcohol by a sleeping man, exactly the same way he may have stolen Sai’s possessions is ironical.
The movie could have been shorter, but as a feature-length movie, it is redundant and dull. I didn’t want Kamal Kamaraju to suck and sing badly, certainly not at that point. One way to check at this movie is by taking a look at the development of Jaani’s retelling of Sai’s narrative. It was fun once he does it using all the Dude. It was okay if he can using a shop owner. It is slow and unfunny if he informs to Deepthi, the detective. And it becomes as bad as a Telugu serial if a tune is employed to turn it into a montage. The movie just gets diminished and pointless with each passing moment and I totally agree with all the folks leaving in the center of it. I would have too if I did not have to write this review.
  

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