Manu

Great stories are told, great films are made on-screen when the form complements its content adequately. Here's one film, Manu

Every frame in Manu reeks of a poetic interpretation in an idyllic backdrop, unveiling a newer dimension to its characters

Cinematographer Vishwanath Reddy remains the film's unsung hero, making the most of the lights, nature, art, towering above the production limitations for a film of this scale. 

Manu is a different attempt comes with an excellent cinematography and BGM but the huge drag and the slowness throughout the three-hour long film tests patience. 

 Raja Gautham (Brahmanandam’s son) and Chandini Chowdary are new names to the Telugu audiences and there is no conventional producer as the movie is crowd funded. 

Manu second half started with Gautham – Chandini’s poetic love track.

 

The premise of Manu is quite interesting as there are only four to five characters in the film. The effect that the film generates through its arresting visuals makes it quite different from regular Telugu films.

So much was said about the film’s screenplay that it would be quite new and different. But that same screenplay is the biggest villain of the film as the director fails to generate a clarity of what is happening in the film.

Manu is technically very strong as the visuals are of international standard. Camera work by Vishwanath Reddy needs to be credited as the film has a different color palette and looks quite cool.

Manu has a strong and interesting premise on paper. Director Phanindra Narisetty attempts to showcase this film as an unconventional and unusual one by juxtaposing elements of mystery

Both Gautham and Chandini Chowdary get their career best roles, but the lackluster narration and tedious screenplay blind their subtle performances.

On the whole, Manu is a hotchpotch of different ingredients that fall very short of expectations.