Movie: Sundarakanda
Rating: 2.5/5
Banner: Sandeep Picture Palace, Aran
Cast: Nara Rohith, Sridevi Vijay Kumar, Vriti Vaghani, Naresh Vijaya Krishna, Vasuki Anand, Satya, Ajay, VTV Ganesh, Abhinav Gomatham and others
Music: Leon James
DOP: Pradeesh M Varma
Editor: Rohan Chillale
Production Designer: Rajesh Pentakota
Action Stunts: Pruthvi Master
Producers: Santhosh Chinnapolla, Gowtham Reddy, Rakesh Mahankalli
Written and Directed by: Venkatesh Nimmalapudi
Release Date: August 27, 2025
Nara Rohith, who recently made a comeback with a character role in Bhairavam, has now returned to lead roles with this film. The trailer hinted at an age-gap love story and piqued curiosity. But does the film truly live up to that intrigue?
Let’s find out.
Story:
Though Siddharth (Nara Rohith) enjoys every comfort in life, he remains unmarried, unwilling to settle for anyone who doesn’t possess the five traits he seeks.
Fate leads him to Eira (Vriti), a vibrant college student in Vizag, who surprisingly has all those qualities. The twist? She’s much younger than him.
Having once loved someone older, Siddharth now falls for someone far younger. But can such an unusual love story work without complications?
Artistes’ Performances:
Nara Rohith slips into the role quite comfortably, sporting a fitter look and a stylish screen presence. His character, reminiscent of a Pellikani Prasad role, suits him well, and he performs with ease.
Sridevi Vijaykumar adds charm with her graceful presence and does justice to her part.
Newcomer Vriti Vaghani is passable as the college-going heroine. Satya manages a few laughs, while Vasuki shines in the sister’s role.
On the other hand, Abhinav Gomatam is underutilized, limited to repetitive expressions. Naresh as a father does the same routine. Ajay has a limited role as well. So is VTV Ganesh.
Technical Excellence:
Leon James delivers routine tracks that are not particularly catchy, though they play pleasantly on screen. The director impresses with his dialogue writing, with a few lines reminiscent of Trivikram’s earlier films.
On the flip side, the editing could have been sharper. The film features two fight sequences, both of which feel unnecessary. This is one story that would have been better off without action stunts altogether.
Highlights:
Interval twist
Some fun moments
Dialogue writing
Drawback:
Dragged-out sequences in the first hour
The Seemantham episode and a few other portions
The final moments lack conviction
Analysis
In Venkatesh’s Sundarakanda (directed by K Raghavendra Rao), the story revolved around a lecturer pursued by his young student, who falls in love with him. He never reciprocates her feelings, and the tragedy unfolded through her terminal illness.
In the new Sundarakanda, directed by Venkatesh Nimmalapudi and starring Nara Rohith, the premise is somewhat inverted. Here, the hero carries the baggage of a past love and later develops feelings for a much younger girl, even taking up a lecturer’s job to be closer to her. There is no terminal illness this time; instead, the narrative hinges on a “unique twist,” which appears to be the main factor that attracted Rohith to the project.
The twist is indeed the film’s strongest aspect.
However, director Venkatesh Nimmalapudi handles this potentially bold storyline in a conventional manner, presenting it as a light-hearted rom-com filled with humor and situational comedy. The drawback is that he takes far too long to arrive at the central conflict.
The early portions, including Siddharth’s pelli choopulu episodes and even a cameo by Rohith’s real-life partner Siri Lella, drag on endlessly. An action sequence with Ajay also feels unnecessary.
It’s only when the story shifts to Vizag and the college backdrop that the film gains momentum. From Siddharth’s search for the girl he spots at the airport to Satya’s entry, the narrative finally comes alive. The interval twist lands effectively, raising interest.
The second half capitalizes on this rhythm, delivering some of the funniest episodes in the film. The comedy works consistently and keeps the proceedings engaging. Yet, whenever the narrative leans into drama, the pace falters.
Siddharth’s emotional realization lacks conviction and feels abrupt. Some portions, like the prolonged Seemantham sequence and the forced conflict over a name, feel contrived and fail to integrate organically.
The film also suffers from underwhelming music — catchy songs are sorely missed in a drama of this kind. Editing is another weak spot, contributing to the uneven flow.
Despite these shortcomings, Sundarakanda benefits from its comedy, which smooths over the sluggish portions and ensures the film never becomes outright dull.
Overall, Sundarakanda banks on its central twist and a handful of entertaining moments, but uneven pacing and unnecessary detours dilute its impact. Despite its flaws, it manages to be a passable watch.
Bottom-line: Passable