Jagannatakam is a less-than-praiseworthy storyline.  But the film boasts of good production values.  Reasonably fair performances by the lead actors apart, the story-telling and execution are entertaining.  It’s an action-drama with a crime angle going for it, but what stands out is the hero’s characterization.  As if to underline the cosmic theme of the title, certain lines here and there come with a philosophical sensibility.

The film begins with Banti (Avinash) setting out to the cop Shivaji Raja’s residence.  As he frantically rings the house-bell and informs the cop about a person’s whereabouts, a relaxed Shivaji Raja and a bit urgent Banti travel to a construction site.  As the cop hands over a revolver, Banti trades a supposed “satire”, climbs up the site under construction and shoots down a white-collared employee.  Moments earlier, he suggests it’s an extra-phenomenal fight involving the Unseen.  The first hint of an inescapable ‘jagannatakam’ at play is thrown in.

In a screenplay that flits between the past and present, the story takes its sweet time to establish, although the pace is apparently non-sluggish.  Cut to the past, Prithvi (Sridhar) falls in love with Bhanu (Khenisha Chandran) at the first sight but the way it is narrated is thankfully not clichéd.  Cut to the present, Dr. Ajay is on his way to pick up his fiancé Bhanu, helps Prithvi with lift, only to find that Bhanu can’t forget Prithvi even for a moment.

Meanwhile, Prithvi, Bhanu and Ajay realize that all is not well with the lonely motel where they are boarding.  Danger is lurking but where is the danger coming from?

Since it is mostly unfamiliar faces, their earnest acting output (with the exception of the female lead, who may have been asked to be understated)  satisfies our ordinary expectations.  The director manages to maintain the tempo all through, never mind the not-so-novel plot and denouement.  While the suspense is much ado about something more than nothing, the crux lies in conveying Prithvi’s agony to the audience.  More than gripping, it’s more searing.  The best part is definitely not how he avenges.

It’s a film where brief but brilliant moments co-exist with pathetic ideas like a bloody fight between Pawan Kalyan’s fans vs others.  It’s idiotic that the number ‘Nee goodu chedirindi..’ has been parodied many times in TFI; this time, it is to mock at the poor PK fans who have failed to secure movie tickets for ‘Teen Maar’s first day show.  Then there is the playing to the gallery by invoking everything from Chatrapathi to Samarasimha Reddy to Indra and Aadhi- a scene which is B-grade.  If the sibling bonding needed better ideas, it’s a huge relief that there was no family song!

There is good amount of intelligence on display, for sure.  “Still in love with her” comes from Ajay, co-incidentally when Prithvi turns back to look at Bhanu who has just quoted her man.  “Premistunnava?” comes from Bhanu’s friend and in a brief time, the message is conveyed.

The small-time thief Banti finding redemption in getting the comeuppance is touching, what should have been a serious ending is trivialized by a thankless reference to the Pawan Kalyan-starrer ‘Khushi’.

Sridhar gets a good role, but it can’t be said that he has the ingredients to be a mainstream actor.  His offbeat voice would be a letdown in many genres.  Khenisha Chandran delivers a light-touch output.  Her traditional avatar is a disaster. Usha Sri as the male lead's sister passes muster.  Avinash passes muster.

Pradeep Nandan shows promise.  He seems to have been inspired by some high-brow narration style and succeeds reasonably well in replicating those influences.

The BGM is inspired, while the RR is excellent.  Overall, Ajay Arasada is OK.  Satish Muthyala's cinematography is apt and the art work good.

Verdict: An action-drama that can be watched with low expectations.  Watch out for the story-telling style and Sridhar‘s performance.