Superstar Mahesh Babu's nephew, Ashok Galla, the son of prominent industrialist and former MP Jayadev Galla, made his debut in Telugu cinema with the film Hero. His second film, Devaki Nandana Vasudeva, comes with a story penned by HanuMan director Prasanth Varma. Given Prasanth’s recent success with HanuMan, the film carried certain expectations. So, how does Devaki Nandana Vasudeva fare?
Story:
Kansaraja (Devadatta) is a ruthless man who believes in God. In Kashi, an Aghora predicts his death will come at the hands of his younger sister's third child. Enraged, Kansaraja kills her husband and a policeman, landing himself in jail for 21 years. Meanwhile, Krishna (Ashok Galla) lives with his mother in the Godavari district, weaving sarees and helping the locals. Kansaraja's niece, Satya (Manasa Varanasi), falls in love with Krishna and hopes to marry him. But questions loom—did Kansaraja's sister have a third child? If so, who is it? What connects Krishna to Kansaraja? These mysteries unravel in Devaki Nandana Vasudeva.
Analysis:
The key to any film’s success lies in its story content and whether the hero is suited for the role. Devaki Nandana Vasudeva falters on both fronts. The film suffers from severe miscasting, which turns a potentially serious story into unintentional comedy. This misstep undermines the entire narrative and reduces it to trolling fodder.
Mythology-based stories have been gaining popularity nationwide. For example, the depiction of Lord Krishna in Nikhil’s Karthikeya 2 garnered massive applause in theaters. Against this backdrop, Devaki Nandana Vasudeva, inspired by the Krishna-Kansa dynamic, promised intrigue. However, the film fails to deliver on that promise, with interest waning as early as 15-20 minutes into the story.
Casting Ashok Galla, a lean, young actor in a role better suited to a hero with a mass image or bulkier physique is akin to dressing someone in an oversized shirt. Director Arjun Jandhyala, a disciple of Boyapati Sreenu, crafts impressive action sequences but fails to balance the emotional depth required for the story. Ashok’s character feels disconnected from the narrative, and the lack of a divine or mythological touch makes the fights feel unconvincing.
Ashok Galla attempts to play a role beyond his age and capability, which hampers the film significantly. Heroine Manasa Varanasi makes her debut, but her performance lacks maturity despite her good looks. Devadatta Nage plays a routine villain with nothing noteworthy in his portrayal. Devyani and Jhansi deliver decent performances as the heroine's and hero’s mothers, respectively, but the exaggerated climax acting undermines their efforts.
Verdict:
Overall, Devaki Nandana Vasudeva lacks a cohesive narration from the word go. Ashok Galla’s lean frame and youthful appearance make him unsuitable for the mass action image the film aims for. This is a clear example of how miscasting and poor script selection can derail a project. At a stage where he should focus on youthful, lighthearted roles, Ashok Galla's attempt at a mass image is a misfire.
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