Characters re-affirm their convictions one more time and the audience are expected to have an orgasm. Just as 'SVSC', this one too has a climax not climactic enough. This character makes the things easy for our hero, besides averting the story from taking a beaten track. It's his sheer luck that he has a 'maradalu' who thinks like a philosophical character straight out of a novel espousing determinism: all world is a stage and we are spectators. Whether or not it's the most commercial aspect of the film, Mahesh falling in love with two girls in a record short time is the most exciting element. How many of the songs really had a situation going for them? It works to not have a situation when the hero is breaking into a song first time, but otherwise, songs do need some heft. Since 'Brahmotsavam' is a case of oft-repeated sentiment over substance, there comes a point where the audience feels the smart lines are showy.
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In this film full of rich characters (in contrast to the middle-class SVSC family members), Addala's ability to capture the thinking of an average middle-class person comes through via Rao Ramesh's character.Īddala's characters are hardly straightforward in their talking and this is how he peps up otherwise insubstantial scenes. The playful duels involving two sides of bride and groom is another example of witty narration, however high-class it might seem. It bears testimony to Addala's intriguing narration that one heroine is planted a kiss by the hero, while the other heroine plans a kiss on the hero - both at an inflection point in their lives. The good, charming, rich son with lots of time at his disposal goes on an itinerary with Samantha, a contrast to the modern-minded Kajal Aggarwal. To be sure, one single point is iterated, re-iterated, re-re-iterated, so on and so forth. Well, in real life, only schizophrenia can ensure this kind of recall power! See, 'Brahmotsavam' is all about celebrating 'suttam', 'beerakai suttam' and beyond! The large-hearted dad (his diary has this miraculous power to double up as a Gita-like guide to a family member with Arjuna-esque questions in her mind!), who has earned too much and who too doesn't think much, remembers the names of his daughter's friends. The son, who never told his father that he is his life, tells this much and goes on a mission. Now comes a point when Sathyaraj's 'dharma' is threatened by this apostate and Sathyaraj is shaken, stirred and more.
The long-frustrated 'bavamaridi' questions the 'Brahmotsavam' consensus. Rao Ramesh's wish to seek a marriage alliance of his daughter (Pranitha Subhash) with Mahesh is now threatened. The entry of Kashi Annapurna (played by Kajal Aggarwal) into Mahesh's life results in a platonic relationship between the two. One of Sathyaraj's 'bavamaridis', played by Rao Ramesh, has been suffering from ego problem owing to Sathyaraj's status and he, and his wife (Jayasudha) having to be in a subordinate relationship to Sathyaraj. His faithful son, played by Mahesh, doesn't waste an 'avakasham' to break into a dance.
Sathyaraj plays a rich businessman whose 'dharma' in life is to celebrate with everyone. Later, they take a stroll down a CG-enabled Vijayawada barrage, only to creatively talk about updations in the mentalities of boys and girls of today's generation. In this one-half-of-an-idea-thanklessly-stretched-into-a-modestly-over-indulgent-feature-film called 'Brahmotsavam', there is this heroine who asks the guy what if she gets excited in the presence of this ever-smiling hunk during a night's outing. Such is the wittiness of Srikanth Addala's narration.
There is this irony called Mahesh Babu (his character has no specific name, but he is allegorically Tirumala Srinivasudu) who claims to not think too much, but who puts up loaded stares one too many times.
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