‘Kothapallilo Okappudu’ movie review: A bittersweet tale to savour, ponder and debate

A man creates a myth. It spirals into a monstrous illusion, far beyond his control. Can reason untangle such a delusion and help others see the truth? Debut director Praveena Paruchuri’s Telugu dramedy Kothapallilo Okappudu (Once Upon a Time in Kothapalli), presented by Rana Daggubati, opens with a quote by French-American writer Anaïs Nin: “We see things not as they are, but as we are.” It is a line that frames how the characters view the world around them. There are no easy answers here.

Written by Guru Kiran Bathula, the story explores complex themes through a light-hearted, engaging lens. As the narrative slowly reveals itself, it becomes hard to look away.

New York-based cardiologist Praveena, who previously produced the much-loved indie C/O Kancharapalem, now steps into the director’s role to tell a story inspired by real events from rural Andhra Pradesh.

Set a few decades ago, Kothapallilo Okappudu roots itself in nostalgia, with references to Chiranjeevi’s Gang Leader, Gharana Mogudu, and the stardom of Vijayashanthi and Bhanupriya grounding it in a specific cultural moment.

Director of photography Petros Antoniadis brings rural Andhra Pradesh alive in warm, vivid tones — ochre earth meets lush green fields with hills fading into the horizon. His visual framing finds poetry in the everyday. A motorbike, a painted wall, or a shirt in striking turquoise cuts through the muted palette, offering moments of visual relief.

At the heart of Kothapallilo Okappudu is a simple premise. Ramakrishna (debutant Manoj Chandra), who runs a local dance recording studio, heads out to meet the woman of his dreams, Savitri (Monika T), near a haystack. What unfolds is chaos, of the kind that upends an entire village’s routine and reveals its fault lines.

The narrative merits attention. A prologue shows Ramakrishna lamenting beneath a tree. In an early scene, a moneylender, Appanna (played menacingly by Ravindra Vijay), is shown under the tree — a visual echo that later becomes meaningful. His actions in the next few minutes establish his character. An actor who makes a brief appearance here returns later to reveal a new layer.

In another scene, a seemingly throwaway line — “nuvvu devudu anna (you’re God, brother)” — deepens as the story unfolds.

There is an ongoing tussle between Appanna (a nod to the Telugu word appu, meaning debt) and the zamindar, Reddy (Benerjee), layered with commentary on caste, class and privilege. Gandubabu (Prem Sagar) is fighting for a water tank contract, and in between these village power plays, Ramakrishna is smitten by Reddy’s daughter, Savitri.

Adhi Lakshmi (Usha Bonela), whom he uses to reach out to Savitri, is a standout character. The film uses the barbs thrown at her dusky skin and her nickname ‘Andham’ (beauty) to critique society’s obsession with fairness. While some of the offensive jibes at her maybe reflective of the society’s bias, it would have helped to have a strong counterpoint. Usha Bonela is a quiet revelation, playing the role with affecting realism.

While the first few scenes may feel uneven, the narrative eventually settles into a confident rhythm. Unless you’ve dissected the promotional material, the twist comes as a surprise, shifting the film from a romantic comedy into a layered social drama.

The background score by Varun Unni and Mani Sharma’s songs — some of which nod to vintage Telugu hits — elevate the drama. Jitendra Mourya and Vishal Gyanchandani keep the production design pared down, highlighting the rustic charm.

The script does not spoon-feed its audience. It discusses what people believe in — is belief a lie or simply a need? These ideas are introduced gently. The smaller moments hint at clues hiding in plain sight. For instance, look out for what Ramakrishna says after an incident featuring a bedridden man.

There is even a cheeky moment when the film pokes fun at commercial cinema’s writers, who are accused of letting their imagination run wild. But this is not a cynical film, it is an earnest one. It asks if power, backed by wealth, should only be with those who inherit them.

Supporting characters enrich the tapestry. Ramakrishna’s friends are not generic sidekicks. Their lives — much like the village constable who moonlights as a priest — feel specific and lived-in.

Manoj Chandra brings a freshness to Ramakrishna and convincingly portrays his arc. Monika’s performance is restrained yet impactful. Praveena Paruchuri plays a brief role that asks tough questions. But it is Ravindra Vijay who steals the show with his effortlessly convincing sinister act.

They say destruction is easy and creation is hard. But what if the reverse were true? Kothapallilo Okappudu explores this inversion with conviction. The final portions allow room for discussion and debate. Despite its rough edges, this film is a welcome addition to the Telugu indie landscape.

Published – July 18, 2025 07:31 am IST