Years before the advent of over-the-top (OTT) platforms, television premieres of movies were momentous events for families. Back then, it wasn’t uncommon to find the members of a household gathered in front of the TV, especially on festive occasions, to watch a popular film. The movie-watching experience, often extended by numerous commercial breaks, transformed a three-hour film into a six-hour extravaganza. Despite the interruptions, the bonding experience it fostered was cherished, testing patience but enriching relationships. It was not just about the content of the film but the shared moments that came with it. This is precisely the era that “Krishnam Pranaya Sakhi,” starring Ganesh, seems to belong to, making it feel somewhat out of place in today’s cinematic landscape dominated by streaming services.
“Krishnam Pranaya Sakhi” seems to have missed the memo on evolving with audience preferences, as modern viewers are increasingly gravitating towards more sophisticated and contemporary content. The film’s marketing strategy, or lack thereof, only adds to the nostalgia. Contrary to the current trend of hyping films with teasers and trailers, the makers of “Krishnam Pranaya Sakhi” chose not to release any promotional material, aiming to keep the plot twist a secret. This decision is reflective of an earlier time when word-of-mouth and suspense were key components to draw an audience.
Directed by Srinivas Raju, “Krishnam Pranaya Sakhi” boasts a non-linear narrative to tell a love story—an interesting choice that sparks initial curiosity. The storyline centers around Krishna, a character played by Ganesh, who owns the Krishna Group of Companies. Malavika Nair features as Pranaya, Krishna’s assistant and friend. Their unique relationship unfolds over two timelines. The film takes us back in time to show Krishna’s attempt to win over Pranaya by masquerading as a humble driver rather than a successful businessman— a ruse meant to prevent intimidating her, considering she runs an orphanage.
As the narrative weaves between past and present, the mystery revolves around what caused an apparent rift between Krishna and Pranaya. Predictably, this turns out to be memory loss, a well-trodden trope in romantic dramas that scores of films have employed. Without fresh treatment, this concept feels dated and uninspiring.
. Unfortunately, director Srinivas Raju fails to bring a unique spin to the memory loss theme, making it feel like a repetition of clichéd storytelling techniques.
The film struggles with shallow writing and underdeveloped subplots. The Krishna Group of Companies is portrayed as a sprawling business empire, but what it actually does remains a mystery. Business meetings featuring Krishna have little relevance and fail to contribute to character or plot development. Similarly, Pranaya’s orphanage looks more like a cozy homestay, devoid of the bustling activity one would associate with a child-centered institution.
Characterization issues also plague the film. Krishna’s assistants constantly remind the audience that numerous women are vying for his attention, making it seem like Pranaya is lucky to have caught his eye. Such narrative choices undermine the love story and characterize Krishna’s affections as a magnanimous favor. Pranaya’s subdued portrayal, juxtaposed with a rival company woman played by Sharanya Shetty—who is depicted as glamorous and hot-headed—reflects stereotypical thinking about women’s roles in society.
“Krishnam Pranaya Sakhi” had initially attracted attention due to the unconventional pairing of Ganesh and director Srinivas Raju. Known for romantic comedies, Ganesh teaming up with Raju, who had recently worked on the gritty “Dandupalya” series, seemed like an intriguing mix. This combination was leveraged as a marketing hook. Nonetheless, the film ultimately fails to meet expectations; it ends up feeling repetitious and contributes little to Ganesh’s repertoire.
“Krishnam Pranaya Sakhi” leaves audiences with a sense of nostalgia but fails to translate it into a compelling cinematic experience. In an age where content is king, and streaming platforms offer an unending buffet of fresh narratives, “Krishnam Pranaya Sakhi” struggles to justify a ticket to the theatres. Yet, for viewers who long for the bygone era of family TV-watching marathons, the film might offer a brief, albeit outdated, trip down memory lane.
Currently, “Krishnam Pranaya Sakhi” is available in theatres, striving to find its place in the fast-evolving landscape of Kannada cinema.
