‘Sarangapani Jathakam’ movie review: Mohanakrishna Indraganti and Priyadarshi’s film is laughter therapy-OxBig News Network

Roopa Koduvayur, Priyadarshi in the film
| Photo Credit: Special Arrangement

Oscar Wilde’s semi-comic tale Lord Arthur Savile’s Crime, published in 1891, follows an aristocrat’s absurd efforts to commit a murder before marrying his fiancée — purely because a palm reader foretells it as his destiny. Writer-director Mohanakrishna Indraganti reimagines this premise within the framework of a contemporary Telugu household, weaving in sharp social commentary, reflections on the film industry and social media culture, while also tipping his hat to the comedic sensibilities of Telugu and Tamil cinema greats like Jandhyala and ‘Crazy’ Mohan. It may sound like a lot to pack in — but Sarangapani Jathakam is a surprisingly smooth blend of social satire and screwball comedy, anchored by an excellent cast, particularly Priyadarshi Pulikonda and Vennela Kishore.

The film dives straight into its characters. Sarangapani (Priyadarshi) starts his day fervently tracking horoscope predictions on TV and in newspapers. His unwavering faith in astrology, palmistry, and all things celestial has coloured his childhood and college years. Not even the rational voices of his parents, Pinakapani and Devaki, can dissuade him. So when he learns that Maithili (Roopa Koduvayur), his boss at the car showroom, is in love with him, he credits this twist of fate to the miracle predicted in that morning’s horoscope — rather than his own personality or actions.

Though character names carry mythological weight, the narrative is grounded and contemporary, playfully contrasting Sarangapani’s astrological obsession with Maithili’s rational, sceptical worldview. They are diametric opposites, and that tension powers much of the film’s humour and heart.

The initial portions of Sarangapani Jathakam unfold like a no-frills romantic comedy, drawing from the everyday realities of middle-class households and workplaces. The narrative picks up pace with the arrival of a high-profile soothsayer (Srinivas Avasarala in an unusually flamboyant role). Chaos ensues, and Sarangapani’s childhood friend Chandru (Vennela Kishore) is pulled into the madness.

Once the characters and their arcs are established, the film barely misses a beat. Priyadarshi brings a winning mix of innocence, vulnerability and comic timing to the role of Sarangapani, while Vennela Kishore is razor-sharp with his deadpan delivery. Together, they are riotous, especially when they are being “dead” serious. A stretch set in a house with a cantankerous elderly woman and her baffled son is a standout, delivering one laugh after another. The writing here is particularly strong — wordplay enhances the humour without ever feeling contrived.

Follow ups to comedic set-pieces often risk trying too hard, but Sarangapani Jathakam sidesteps this with fresh gags that genuinely land. The small touches in the background help define character — like the wall posters in Chandru’s home, ranging from cars and cinema to literature (Chaplin to Prabhas), capturing the varied cultural influences on urban India today. Composer Vivek Sagar, meanwhile, seems to be having a blast as his offbeat score elevates even the simplest scenes.

Indraganti’s trademark sensitivity to gender dynamics also shines through. The women address their husbands by name — a rarity in Telugu cinema’s more traditional representations — and none of them are passive. Maithili is clearly the more accomplished and emotionally grounded partner, and Roopa Koduvayur plays her with poise and precision. This is an actor who deserves far more screen time in the industry.

Screwball comedies often lose steam in the final act, but here, the momentum only builds. More characters are introduced, the confusion deepens, and the satire sharpens. A cheeky remark by Ramki (Harsha) about “elevating” a minor post-interval character serves as a smart jab at formulaic Telugu screenwriting while being self-aware enough to include itself in the joke.

As in Sammohanam, Indraganti does not shy away from critiquing media culture. If that film mocked gossip websites, this one skewers the troll economy, highlighting how anonymous rage often stems from personal dissatisfaction.

The final act takes cues from the 1990 classic Michael Madana Kama Rajan, with a flurry of characters and escalating confusion. Tanikella Bharani and Raja Chembolu make late entries that only add to the fun. Naresh, Kalpalatha, and Roopa Lakshmi are solid in their supporting roles, while even the blink-and-miss characters — like a hotel receptionist or a background waiter —deliver moments of levity.

Some sequences may lack the visual polish to match the sharp writing, but the performances and clever script more than make up for it. In an age where theatrical releases are dominated by spectacle and scale, Sarangapani Jathakam makes a compelling case for old-fashioned comedy. A low-stakes, high-reward film — it is a dose of group laughter we did not know we needed.