Muddu Krishna (Posani Krishnamurali), the only son of a big industrialist (Ranganath) is dressed up as a girl, as his parents are fond of girl children. He develops a set mentality and wants to marry a girl who refuses him and not one who likes him. The obvious reason is that they do so only for his property. Satya (Satyakrishnan), the daughter of an industrialist (Giribabu) falls in love with a milk supplier, who earns a seat at an International School of Business. But does not stop his milk supplying job. At this juncture, Muddu Krishna proposes to Satya who refuses him. Satya's family agree to her alliance with the milk boy. However the alliance is broken due to some family problems from the boy's side.
Muddu Krishna's mother convinces Satya and her family and gets her married to her son. Right from the day one, Muddu Krishna harasses Satya. He declares that he is impotent and accuses Satya for cheating him. It goes to an extent of making her take a virgin test. One day, Muddu Krishna asks Satya to bed his friend (Brahmaji) so that he would get a child. This forces Satya to return to her father. In the climax, Muddu Krishna calls the media and accuses Satya of her extra-marital relation with the milk vendor. At this juncture, Satya's father and brother admit that they had separated Satya and her lover. Now they get Satya separated from Muddu Krishna and marry her off to her lover. Muddu Krishna's father then reveals that it was a drama enacted by Muddu Krishna to unite the lovers. He reveals that all this was done to convince the boy of Satya's virginity as Muddu Krishna is impotent. The film ends on a happy note with Muddu Krishna blessing the couple.
Krishnamurali has given a nice performance, so as Satyakrishnan. The entire movie revolves around these two characters. With Krishnamurali himself directing the movie, he had a clear vision on how the character should behave and he has done complete justice to his role. Satyakrishnan, who has not got an opportunity to play heroine has got the chance to play solo heroine and has utilized it well. The writer-turned-director has prepared a nice storyline but while expanding the story, he has chosen to spend more time on unnecessary things. The only notable point as far as technical features are concerned is the use of steady cam to shoot the entire film without going for any other cameras.
The director has miserably ignored the entertainment part in the film. While using histrionics in harassing his wife, it appears embarrassing to the audiences. The purpose of keeping comedians like MS Narayana, Brahmanandam and others is not known. Likewise, Nagababu's police commissioner appears unnecessary. The director has gone a little overboard in a bid to unite lovers. There is absolutely no need to harass a woman mentally and torture her to such an extent. Moreover, the director did not establish the love between the heroine and her lover properly as well
Directing a film is like a penance. Everyone cannot direct films. Being a writer is not a qualification to become a director. A director should have a grip on all the 24 crafts in the film industry. Mere capability to pen a story and screenplay won't serve the purpose all the time. It would be better that writers like Krishnamurali just write scripts and not test their hands in direction.
Cast: Posani Krishnamurali, Satyakrishnan, Nagababu, Kota Srinivasa Rao, Brahmanandam, MS Narayana, Giribabu, Ranganath, Dharmavarapu Subrahmanyam, Raghubabu, Sivaji Raja, Brahmaji, Prabhakar, Pragati, Delhi Rajeswari, Surekha Vani, and others.
Music – Vandemataram Srinivas
Camera – Gadiraju Srinivas
Editing – Mohan-Rama Rao
Art – Babji
Producer – Mohan Vadlapatla
Story, screenplay, dialogues and direction – Posani Krishnamurali.
Banner: Mohan Media Creations
Posani Krishna Murali has penned scripts for several successful films, highlighting the social problems of the day. He turned a director with Sravana Masam. His latest venture Mental Krishna places the audience in an embarrassing situation by portraying how a husband harrases his wife and later justifies everything in the climax as an act to unite lovers.