A Disappointing, Painful Hinduism Saviour Story

Starring: Pawan Kalyan, Nidhhi Agerwal, Nasser, Bobby Deol, Sunil, Sathyaraj, Tanikella Bharani

Directors: Krish Jagarlamudi, Jyothi Krishna

Despite Pawan Kalyan’s star power, Hari Hara Veera Mallu ends as a boring and mixed historical fiction struggling to balance legend, patriotism and extreme heroism.

Pawan Kalyan returns with his signature charm, energy and several well -to -good action moments. Zeki begins as a thief like Robin Hood and begins by pulling slippery robbers against the British to steal diamonds. This first stretch is a little promise. However, the film soon becomes a mito-political epic and describes it as a warrior who fights against Mughals to protect Hindu temples and protect Sanatana Dharma.

The film is directed by both Krish and Jyothi Krishna, but their visions seem contradictory. A street is forced to attempt to turn a right thief into a Christ savior of Hinduism. At one point, it has been shown that Veera Malllu communicates with animals such as tigers and wolves, and even foresees climate changes by observing rivers and mountains – parody -reliability and boundaries. The script is more interested in aligning Pawan Kalyan’s personality on the screen rather than telling a story that is compatible with his real -life political ideology.

Nidhhi Agerwal plays a devadasi and brings Grace to its limited role, while Emperor Aurangzeb has several powerful memories, but often seems harsh and less used. The rest of the players, including veterans such as Nasser, Sathyaraj and Thanikella Bharani, are complete.

The story begins with something familiar – a baby floating in a river, rescued by a Brahmin family and grew up between them. This child eventually grows up as Veera Mallu (Pawan Kalyan), who finally attracts the attention of Kutb Shahi rulers. They assign him the brave task of stealing Aurangzeb in Delhi from Darbar Kohinoor Diamond. Meanwhile, it appears on the ground of a predictable love track with Nidhhi Agerwal.

Although a few good firing series-especially with expensivewans, a ruthless fight and a face-face-face against the Babur soldiers near Delhi, there is no consistency and soul. Only action cannot compensate for the absence of a strong, logical narrative.

The composer MM Keeravani contributes to two melodic parts and reasonable background points, but even efforts cannot save this film from storytelling flaws.