Buddy Comedies: A Formula That’s Lost Its Spark? Mithra Mandali Tries to Revive It, But Falls Short
Remember the 90s and early 2000s, when director EVV Satyanarayana reigned supreme with his ensemble comedies? His films weren't about big-name stars; they thrived on quirky premises, a talented cast, and guaranteed laughs. Think of them as the ultimate 'minimum-guarantee' theatrical investments. But here's where it gets controversial: while that style seemed to fade, recent hits like Jathi Ratnalu, MAD, Om Bheem Bush, and Aay suggest a resurgence. These films, centered on lovable losers, prove audiences still crave this brand of humor. Mithra Mandali, directed by debutant Vijayendar S, aims to capitalize on this trend, using pop-culture references and Telugu cultural nuances as its playground.
Mithra Mandali tackles a love story with a twist, satirizing extreme casteism. It follows a trio of wastrels whose lives spiral when the daughter of a powerful politician, Narayana (VTV Ganesh), falls for one of them. Narayana, a caricature of caste pride, goes to extreme lengths to uphold his community's honor. He commissions a book celebrating his caste's achievements, only to shred it when it falls short. He even resorts to violence when someone from another caste donates blood to one of his own. This is the part most people miss: the film attempts to address a serious social issue through humor, but does it succeed?
The plot thickens when Narayana's daughter, Sweccha (Niharika NM), elopes, prompting him to stage a kidnapping. Enter our four protagonists (Priyadarshi, Rag Mayur, Prasad Behara, and Vishnu Oi), unwittingly entangled in the chaos. A flashback reveals their connection to Sweccha, leading to a series of mishaps. The film aims for a Jathi Ratnalu meets Hangover vibe, complete with eccentric characters, witty backstories, and a romance blossoming in an English class. However, the writing lacks the punch needed to elevate the humor. The attempt to tackle serious issues with a light touch ultimately falls flat.
While the self-deprecating humor surrounding the four friends has its moments, particularly their struggles with English, the film's Achilles' heel lies in Sweccha's characterization and her love story. Her motivations feel forced, and the male lead's reciprocation is never truly explored. Sweccha often feels like a plot device rather than a fully realized character, her martial arts skills seemingly existing solely to advance the narrative. At times, it's hard to tell if she's genuinely smitten or merely using the situation to escape her father's clutches.
Mithra Mandali could have benefited from moments of genuine emotion, allowing the leads to connect with the audience on a deeper level, as seen in Aay. Instead, the deadpan humor, especially in the second half, becomes grating. Several actors seem unsure of their comedic timing, further hindering the film's impact.
There are glimpses of the hilarious film Mithra Mandali could have been: the comedic antics at a police station in Janglipatnam, the enigmatic Sathya's over-the-top dialogues, and a hilarious 'pulihora' scene at a temple. Unfortunately, these moments are overshadowed by the overall cacophony. The songs, forgettable compared to their recent success in Little Hearts, fail to leave a lasting impression. Even the attempt to inject energy with 'Jambar Gimbar Lala,' a nod to Amitabh Bachchan's classic, feels forced.
Surprisingly, even established actors like Priyadarshi, Vennela Kishore, and VTV Ganesh struggle with their timing, perhaps due to the weak script. Rag Mayur and Vishnu Oi try their best, but the comedic heavy lifting falls on Prasad Behara and Sathya, whose presence is a welcome relief. Niharika NM, unfortunately, is let down by an underwritten character, and Sathya Prakash's lisp-based humor falls flat. The excessive use of slow-motion shots only adds to the film's shortcomings.
Mithra Mandali might have looked promising on paper, but its cluttered execution and weak writing ultimately spoil the fun.
What do you think? Can the buddy comedy formula still work in today's cinema? Does Mithra Mandali successfully balance humor with social commentary? Share your thoughts in the comments below!
