The story has a twist in the interval block but later loses its way in fulfilling the desire of Mahesh to find his family roots right upto the seventh generation. Rao Ramesh is the villain who harbors feelings of jealousy and ill-will towards the patriarch and wants to see his daughter Praneetha marry Mahesh, son of Satyaraj. Satyaraj shares his wealth and affection with a larger family that includes Rohini’s four sons – Rao Ramesh, Shayaji Shinde, Naresh and Krishna Bhagwan. His magnanimity and humility comes from the small help received from Rohini Hattangadi’s husband to set a small shop which grew into the conglomerate today. The basic thread of the story is not something that requires an attempt of this magnitude: Satyaraj is the founder of a Paint business last valued at Rs.400 crores. Let’s see if it can match the expectations of the audience. The film is releasing today amidst huge expectations. The promotional blitzkrieg has escalated the buzz on the film. He said Brahmotsavam is a wholesome entertainer brimmed with family values and emotions that are missing in the modern day. Mahesh Babu is very confident of film’s success and said that the concept will strike a chord with all age groups. While this is not exactly a film for his fans, the x factor that usually over-fills his films is missing even as he struggles for screen space with too many faces that sometimes freeload on the screen time making the film lag at many times. The net result of “Brahmotsavam” despite grand intentions is that Mahesh Babu gets one of the weakest films that does no justice to his potential even though the image is preserved. It doesn’t just falter, it loses a great opportunity to rekindle the emotions in needless narrative of 156 minutes with larger-than-life motifs and scenes that do not pack a punch.
But contrary to expectations, the film falters in delivering the final message of living together and seeking out our own kith and kin from far and within. “Brahmotsavam” is another film coming from those perspectives which are at once autobiographical and also commentary-like on the state of the world today. Most of his films have the touch of rustic beauty, unalloyed emotions and subtexts beyond the grasp of vocabulary.
Srikanth Addala has a unique view about life and living that is delinked from the material values that fill our daily moments.