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‘Bimbisara’ review: Intriguing film that needed a tighter treatment

Kalyan ram impresses in director mallidi vassishta’s socio-fantasy telugu film.

Published - August 06, 2022 04:35 pm IST

A still from the film | Photo Credit: NTR Arts

Bimbisara is not an ordinary period film. It seems as if debutant director Mallidi Vassishta built a theme park period narrative around an idea that is straight out of his childhood fantasy. What seems like a period time-travel film that puts on the guise of a masala hero-vehicle, acquires heft with Nandamuri Kalyan Ram’s presence.

The film begins in the year 500 B.C when Bimbisara (Kalyan Ram) is the emperor of the Trigartala empire. A vile egomaniac, his violent antics have no limit. However, his ego trip ends when his banished twin brother Devadatta ambushes him and teleports him — through a magical mirror — to the present-day world. Bimbisara's arrival favours Subramanya Sastri (Vivan Bhatena) and godman Kethu (Ayyappa P Sharma), who have their eyes set on an Ayurveda book titled Dhanwanthari which is safely locked in Bimbisara's treasure vault, which only he can open.

The film doesn’t shy away from dealing with magic and is not brimming with realism and logic. Unfortunately, the setting up of this world is uninspiring. Scene after scene keeps reestablishing Bimbisara’s might and viciousness, to the point that you begin to worry if the film will celebrate this anti-hero. The tacky set designs and visual effects also do not help. To add to the misery, we get an item number featuring Warina Hussain that once again sings the praise of Bimbisara’s might. In retrospect, these sequences actually do no justice to what good is to follow.

Things do take a turn for the good once Bimbisara finds himself in the present-day world. So we have a lost medieval king strutting down a busy Hyderabad highway —reminiscent of earlier Telugu films featuring Lord Yama on earth — making for amusing situations and eliciting chuckles.

The subtext in these scenes truly stands apart. Given how most popular cinema likes to bank on the morbid nature of the reality we live in, Bimbisara makes a case for all the good in our times. It puts a ruthless, barbaric king in our world and makes him witness this goodness. With Bimbisara , we too remind ourselves of how far the civilised society has moved forward.

The writing of Bimbisara’s character is fascinating as well. It is no mean feat to make the audiences buy the redemption of someone as vile as this character. He doesn’t even flinch before killing a child! Yet, Mallidi Vassishta manages to build the character progression gradually and convincingly. If not for a performer like Kalyan Ram, there is a high chance that a character with such an arc would have fallen flat, and with it, the film. Kalyan uses the big screen to its full potential and owns it all. He also draws a subtle distinction between Bimbisara and Devadutta in scenes featuring the siblings.

On the flip side, with the titular character consuming so much space, little is left for the female leads. Catherine Tresa, who plays a princess held captive by Bimbisara, vanishes for most parts of the film. Samyuktha Menon's SI Vyjayanthi also suffers the same fate. With no forewarning, the latter falls in love with Bimbisara but the romantic track goes nowhere. Srinivas Reddy as Bimbisara's lackey Zubeda, Vennela Kishore as constable Prasadam, and Brahmaji as private detective Brahmalokam add the much-needed levity.

Bimbisara is filled with intriguing ideas that could have made for an engaging watch. It's definitely a refreshing take on an age-old formula. However, the screenplay struggles to get to its points throughout the film. Even when we see where an idea is leading, we are asked to wait for it until the drama finishes unfolding. Add the unnecessary melodrama and the plotholes that the film doesn't address, it becomes a rather tedious watch. A tighter narrative would have worked wonders.

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Bimbisara Movie Review : Kalyan Ram exudes brilliance in this epic fantasy tale of transformation and time travel

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Users' Reviews

Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Guest 1 180 days ago

Bimbisara Is a Very Good film It is a good narrative story

Aarav Aman Aarav Kumar 2 325 days ago

There should be a new movie in which Bimbisara return again

rishitborra 12 437 days ago

This movie looks awful with serial vfx and bad emotions between characters... But they tried to pull off a time machine adventure fantasy film...

obulustar 454 days ago

Rajini musi 549 days ago.

It's very interesting movie .extreme acting.

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Bimbisara Review: The Kalyan Ram-Starrer is an Intriguing Time Travel and Visual Treat

Curated By : Entertainment Bureau

Local News Desk

Last Updated: August 05, 2022, 18:32 IST

Hyderabad, India

Bimbisara features a host of artists playing interesting roles.

Filmmaker Mallidi Vassisht wrote the story of his directorial debut.

Kalyan Ram-starrer Bimbisara has hit the theatres and the first few reviews from Twitter users hint at an intriguing historical drama with some brilliant elements of time travel. The Mallidi Vassisht directorial also stars Catherine Tresa, Samyuktha Menon, Warina Hussain, Vennela Kishore, and others. Let’s talk a deep dive into what the film is all about.

What’s it about?

Bimbisara (Nandamuri Kalyan Ram) is the emperor of Trigartala empire. The cruel ruler goes to any length to achieve what he wants. He has a twin brother Devadatta (Kalyan Ram), who is the total opposite of Bimbisara. After a scuffle between the brothers, Bimbisara comes across Mayadarpini (a Magical mirror), and as he touches it without releasing its powers, Bimbisara time travels to the current time, 2022. The rest of the story is about how he adjusts to the current world and gets his redemption.

Filmmaker Mallidi Vassisht wrote the story of his directorial debut after taking inspiration from comic books like Chandamama and Balamitra. Not only did writing a story, but Vassisht also succeeded in executing the screenplay the right way. Notably, he succeeded in engaging the audience from the beginning to the end of the film. Especially the characterisation of Kalyan Ram, that’s just remarkable.

Music and Other Departments?

MM Keeravani, who provided the background score for the film, gave life to this movie with his re-recording. However, the songs could have been better. After Vassisht, the special mention can go to Chota K Naidu for cinematography, which was adequate.

It would have been better if more attention was paid to the graphics work. Editing by Tammi Raju is fine.

Performances by Actors

Bimbisara features a host of artists playing interesting roles. Speaking of Nandamuri Kalyan Ram, he has shown a new kind of fantasy role, something not done before in his acting career. His performance in the scenes where he realises the mistakes he made as a king in the past during his time in the modern-day period is impressive.

On the other hand, both female protagonists– Catherine Tresa and Samyuktha Menon — didn’t leave much of an impression that needs to be talked about.

Story, Screenplay

MM Keeravani’s re-recording

Chota Ke Naidu’s camera work

No strong female character

Zero impact by other characters

Final Word: An intriguing time travel visual thriller.

Rating: 3/5

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Bimbisara review: A fantasy film saved by Kalyan Ram’s performance

Mallidi Vashishta’s debut film Bimbisara is about a king from 500 BC who arrives in our current world against his wishes. Full of ego and manic energy, he doesn’t spare anyone who stands in his way, be it a sparrow or a child. But unceremoniously removed from his position as the emperor of Trigarthala, he begins to discover humanity and the meaning of dharma.

Now this sounds like a very profound idea but Bimbisara , at its heart, is a masala film. For the first 20 minutes or so, it plays out like a terrible stage play. The visual effects are tacky; the sets look like they were borrowed from a school annual day. I was worried that a strong breeze would be enough for the whole palace to collapse on the actors. There’s also an item number with Warina Hussain – apparently, women dancers were gyrating in 500 BC in the exact same way as they do in our cinema now. There’s a historical fact I did not know. 

Also, Bimbisara (Kalyan Ram) has a bunch of ‘Cherokee’ tribal warriors guarding a secret cave of treasures. The descendents of these ‘Cherokee’ tribal people continue to guard the cave in our time too. I didn’t understand how any of this happened considering the Cherokee are indigeneous people who live in the Americas. The Cherokee people in the film also looked Indian, adding to my puzzlement. This cave has blood analysis and handprint and voice recognition as security measures. It’s almost like Tom Cruise time travelled to 500 BC and built it for Bimbisara. 

But there’s something to be said about Kalyan Ram’s conviction as an actor. When he walks over a crocodile that looks like it’s from Chhota Bheem , he does so with a certain regal air that makes you buy into Bimbisara’s character. Srinivasa Reddy as his lackey is quite hilarious with his caricaturish moustache. The film becomes a lot better when it escapes the no-budget Baahubali sets and lands in present day Hyderabad. Kalyan Ram brings his comic timing to the fore, and there are some moments in the film that are laugh-out-loud funny. The conduit between the past and the present is a mirror and director Vashishta uses this well to generate humour. 

Vivan Bhatena plays Subramanya Shastry, a modern day doctor who desperately wants something from Bimbisara’s cave of treasures – a book on Ayurveda called Dhanwantari . Assisting Subramanya in this mission is a scary-looking man in saffron robes called Ketu (Ayyappa P Sharma). Vashishta airdrops Ketu on us; we don’t know where he came from or how he knows so much about Bimbisara. 

The careless writing extends to the other characters too. Samyuktha Menon plays a senior police officer but she’s never in uniform; are those short dresses meant to be ‘mufti’, and if so, why is she in disguise to begin with? More remarkably, when Bimbisara kills people around him like an expert pest control operator with an electric mosquito bat, she does nothing at all. Catherine Tresa gets a blink-and-miss role as a princess. Warina probably got more screen time than her with the item number. 

Bimbisara is enjoyable when it doesn’t take itself too seriously, and the hero bumbles around his new world. When it tries to pull off something beyond that though, it falters. There are simply too many holes in the plot that cannot be compensated for by MM Keeravani’s bombastic music. Sample this: Prakash Raj is a super rich royal family descendent. Yet, when his family is threatened, he is completely helpless and just stands around fatalistically. We’re also told that the ancient Dhanwantari has an ‘antidote’ for a new age virus called ‘D-40’ that can instantly cure a patient. It can be argued that it is part of the fantasy but it seemed more like an earnest inspiration drawn from pseudo science. 

Bimbisara is entertaining in parts, and is anchored mainly by Kalyan Ram’s performance. It would have worked better if Vashishta hadn’t tried to tick every box in the masala film genre and trusted the material more. 

Disclaimer: This review was not paid for or commissioned by anyone associated with the series/film. TNM Editorial is independent of any business relationship the organisation may have with producers or any other members of its cast or crew.

Sowmya Rajendran writes on gender, culture and cinema. She has written over 25 books, including a nonfiction book on gender for adolescents. She was awarded the Sahitya Akademi’s Bal Sahitya Puraskar for her novel Mayil Will Not Be Quiet in 2015.

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Bimbisara Movie Review

Article by Suman M Published by GulteDesk --> Published on: 1:25 pm, 5 August 2022

2 Hrs 27 Mins   |   Socio Fantasy   |   05-08-2022

Cast - Kalyan Ram, Catherine Tresa, Samyuktha Menon, Warina Hussain

Director - Mallidi Vashist

Producer - Harikrishna K

Banner - NTR Arts

Music - MM Keeravani

Kalyan Ram is always inclined towards versatility in films. The actor-producer once again picked a unique concept to execute. Kalyan Ram acted and produced Bimbisara, the movie claims to be based on time travel concepts, and many more. The trailer of Bimbisara is interesting with mythological fantasy concepts. The movie was released today in theaters. Here is the review.

What Is It About?

Bimbisara (Kalyan Ram) is a ruthless emperor of Trigarala in 500 BC. In unexpected circumstances, Bimbisara travels in time and reaches the current day not knowing that a power-thirsty doctor Subramanya Sastry and Kethu (Ayyappa P Sharma) are already waiting for him to come. What made Bimbisara travel in time and what did he do? The answers to these questions are all about Bimbisara.

Performances

Kalyan Ram had to appear as the same person in two different worlds. He did justice for the role.

Catherine Tresa is confined to a limited role and a song. She is alright as the princess.

Srinivasa Reddy gets a meaty role and he did very well. He reminds us of the comedy from great fantasy films from the past.

Samyuktha Menon’s role is small and there is nothing much for her to perform. Prakash Raj, Rajeev Kanakala, and Vennela Kishore were given routine roles. For a story like Bimbisara, a powerful villain would be great, but here the villain character is too weak and hollow.

Technicalities

The first thing that impresses Bimbisara is the graphics. Just like the trailer hinted at good VFX work, the movie has got the graphics part done very well. Though the movie did not have any foreign technicians, Bimbisara has got that visual effects part done well.

Bimbisara’s storyline starts as a unique line, but the commercial elements in the second half pull the graph down a bit. The screenplay is good. There are many dragged scenes in the second half. The cinematography is fine. The background music is very good, but the songs are just okay.

Sci-fi storyline Kalyan Ram Keeravani music

Thumbs Down

Weak villain Rushed climax

Besides Aditya 369, not many Telugu films have the time travel concept for a full-length movie. Bimbisara uses the idea of traveling in time and blends some commercial and fantasy elements.

The director cleverly made it uncomplicated with the parallel worlds concept. He also chose a simple mirror as a medium of non-stop travel. The logical question arises on why the travel is specific to two particular times, but the answer is just the relevance to the story.

The first half has got a few surprises that worked well. Though the introduction to the brutality of Bimbisara took a while, it slowly falls in track with the story until the interval.

The second half hardly touches the 5th century BC because the story goes completely into the commercial mode. Though the little girl’s sentiment is linked to the treasure from a parallel world, it slows down the pace at times.

The curiosity factor from the first half slowly falls back after the interval with the commercial formula approach dominating after each scene. The loud but weak villain remains one of the main drawbacks of the movie.

There are few scenes and dialogues that immediately remind us of Yamagola and Yamaleela, except that Bimbisara has the time travel theory. The villain gang kidnapping the whole family to get things done by the protagonist is a vintage idea that our filmmakers could avoid for good.

Overall, Bimbisara is a storyline that has a new concept of time travel that starts good but slows down with routine narrative later on. With the sci-fi storyline and Kalyan Ram’s performance, Bimbisara has got fair chance to impress the audience.

Bottom Line: Box Office ki Aasara

Rating: 3 /5

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Bimbisara Movie Review: It Feels Like An Abandoned Rajamouli Film

Cast:   Nandamuri Kalyan Ram, Vennela Kishore , Samyuktha Menon , Catherine Tresa

Director: Mallidi Vasishta

I know the heading sounds harsh, but I partly mean it as a compliment. And as for the other part, I meant to be, well, harsh. I think you'll agree with me, too. Here's the story writer-director Vasishta has chosen to tell. 

A ruthless king Bimbisara gets rid of his opponents, including his own twin brother Devadatta to rule the Trigartala Kingdom. He doesn't stop even if he has to kill children. He's a despot, but he also leaves you in awe with the sheer power he commands. One day Devadatta reemerges and dethrones Bimbisara and sends him through a magical portal into the modern world. This despot now must adjust and learn to be human in today's Hyderabad, while also protecting his descendants. The anti-hero finally becomes the hero Trigaratala and his descendants need. 

Bimbisara lacks a powerful enough villain and it's near impossible for the stakes to be high once Bimbisara transforms. Oddly, that happens at the interval mark. Worse, one can sense the change coming early on in the first half. 

The biggest reason this film feels like a let down probably has nothing to do with Vasishta and his vision. Because if told like a folk tale and narrated by a storyteller, this story would have been powerful as it has all the makings of a masala film. But the production values never match the director's vision. The CGI is too tacky. The sets are awkwardly constructed. There's a scene involving a hidden treasure that once belonged to an emperor. So nearly two thousand years later when his modern descendants rediscover the spot, the film wants to show that the place is now covered in moss, weeds and grass. But the sets are so badly staged that the moss looks like blotches of green paint often found after a paintball fight, and the grass and weeds look like rejected set décor from a school play. 

Even when the production values meet his vision, Vasishsta chooses to mount the film almost similarly to Baahubali . The costumes during battle are similar. The way the kingdoms of Asmaka and Trigartala are imagined seem like second drafts of Maahishmathi kingdom. The courting scene between Ira (Cathere Teresa) and Devadatta (Kalyan Ram) is too similar to the first time the elder Baahubali sees Devasena in Baahubali 2 . Even Bimbisara feels eerily similar to Bhallala Deva. At some point, it feels so similar to Rajamouli's vision that it feels like the film Rajamouli rejected before he went on to make Yamadonga . 

If I was being bitter, I would have said it feels like a straight-up copy, but because Vasishta shows some flair and creativity in the first half, I'll assume that like most young storytellers in the Telugu states, Vasishta is just too influenced by Rajamouli. It might take him a film or two to shake it off. 

But is in the second half that you see Vasishta begin to lose control of the film. With a fantastical movie like this, there are obviously some physical laws that are broken, and as an audience member, you accept them. For example, this film argues that one of the mirrors in Salarjung Museum is the other end of a portal that connects the modern world to Trigartala. But at least early on, the mirror is hidden so that explains why others haven't accessed it. Later on, the same mirror is in full display and for the sake of a 'fat-kid-eats-anything' joke, the laws of this universe are bent, which makes us want to question the film's own universe. Similarly, Bimbisara is shown to not understand any modern lingo, but close to the climax he understands what viruses are, how touch-screens and most modern equipment functions. 

I understand this film in particular faced a lot of production issues — they started shooting in 2019 and the rising budget costs would have made life harder for debutante Vasishta. But there's only so much leeway I can give for the film it wanted to be and not the film it is. 

Kalyan Ram in particular struggles to maintain consistency in character, never getting the balance between villain and anti-hero. And as the straight-faced Devadatta, he is a bore. Because the film adores Bimbisara, there isn't much growth for anyone else. All the characters set up in the first half such as Ira, Vyjayanthi (Samyuktha Menon) and Subramanya Sastry (Vivan Bhatena) are wasted and have no pay offs. 

But the one person who manages to do his best to stitch together the difference between the film's vision and its execution is MM Keeravaani. I've always felt that he gives his best for Rajamouli. Not that he gives others a bad album, but he seems to go the extra mile for his younger brother.  The music he composed for this film feels a grade above most of his recent non-Rajamouli masala work. It's as if he doesn't know it's not a Rajamouli film. The Eeshwara song is excellent and it needed more creatively imagined visuals when the lines are as deep as Bhikshuvayye Bimbisaarude  (Bimbisara himself has become a beggar). Even the rap on Bimbisara has those classic Keeravaani rap elements, where he just repeats the word 'Bimbisara' until you realise there's a tune in there somewhere, breaks the word into pieces, and rhymes words like 'plethora' with Bimbisara. It starts off as somewhat cringy, but he's so committed to it you walk out of the theatre humming the tune. 

This is a film that makes you realise how far the difference between a director's vision and execution can be. But luckily for Vasishta, Keeravaani saves the day. A little at least. You might not be thinking about Bimbisara the character as much, but you definitely walk out humming BIMB BIMB BIMB BIMB BIMBISAARA. It's Bimbing Time. 

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Bimbisara movie review: தெலுங்கில் தயாரான திரைப்படம், தற்போது தமிழ் உள்ளிட்ட மொழிகளில் ஓடிடியில் ரிலீஸ் ஆகியிருக்கிறது. .

Mallidi Vassishta

Nandamuri Kalyan Ram, Catherine Tresa, Samyuktha Menon, Prakash Raj

பிம்பிசாரா... பெயரே டெரராக இருக்கிறது அல்லவா... படமும் அப்படி தான். படம் ஆரம்பிக்கும் போதே, கிரடிட் கார்டில், நன்றி ராஜமெளலி என பெயர் போடப்பட்டது. ஆனால், அது ஏன் என, படம் தொடங்கிய சிலநிமிடங்களிலேயே தெரிந்து விடும். 

கிட்டத்தட்ட பாகுபலி ஃபார்மட்டில் பயணிக்கிறது கதை. ட்ரிக்கர்தல சாம்ராஜ்யத்தில் மகா மன்னன் பிம்பிசாரர். ஆட்சியை விரிவு படுத்துவது மட்டுமே அவன் எண்ணம். அதற்காக எதையும் செய்வான். தன் ஆட்சிக்கு கீழ் உள்ளவர்கள் தனக்கு கட்டுப்பட்டு, தன்னை பார்த்து பயந்து நடுங்கி வாழ வேண்டும் என்பது அவன் எண்ணம். அப்படி தான் ஆட்சியும் நடக்கிறது. இரட்டையர்களாக பிறந்த அவன், தன் ஆட்சிக்கு பங்கம் வந்து விடக்கூடாது என தன் தம்பியை கொலை ஆணையிடுகிறான். அவன் இறந்ததாகவும் ஆட்சியை நடத்துகிறான். 

இதற்கிடையில், தன்னிடம் காயம் பட்ட எதிரிகளுக்கு தன் ஆட்சிக்கு உட்பட்ட தன்வந்திரிபுரம் மக்கள் சிகிச்சை அளித்ததை அறிந்து அங்கு வரும் பிம்பிசாரன், அங்கிருக்கும் அனைவரையும் கொலை செய்கிறான். அப்போது, அவர்கள் பாதுகாக்க நினைக்கும் தன்வந்திரி புத்தகத்தை கைப்பற்றி, தன் செல்வங்களை பதுக்கி வைத்திருக்கும் ரகசிய அறையில் வைக்கிறான். 

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இதற்கிடையில், இறந்ததாக எண்ணப்படும் பிம்பிசாரனின் தம்பி, உயிர் பிழைத்து, ஒரு பூதத்திடம் இருந்து மாயக்கண்ணாடி ஒன்றை பரிசாக பெறுகிறான். எதிர்காலத்தை நோக்கிச் செல்லும் அந்த கண்ணாடியை அரண்மனைக்கு எடுத்து வந்து, தன் அண்ணன் பிம்பிசாரனை எதிர்காலமான தற்போதைய காலகட்டத்திற்கு அனுப்பிவிடுகிறான். 5ம் நூற்றாண்டில் இருந்து 21ம் நூற்றாண்டிற்கு வந்த பிம்பிசாரன், உடை, நடை என அனைத்திலும் மக்களிடம் இருந்து வேற்றுமையை உணர்கிறான். இதற்கிடையில் பிம்பிசாரனின் பொக்கிஷத்தில் உள்ள தன்வந்திரி புத்தகத்தை அபகரிக்க தலைமுறைகளாக காத்திருக்கும் மருத்துவர் ஒருவர், பிம்பிசாரனை வைத்தே அதை திறக்க முடியும் என்பதால் அதற்காக காத்துக் கொண்டிருக்கிறார். 

கலியுகத்தில் சிக்கிய பிம்பிசாரன் என்ன ஆனார்? ட்ரிக்கர்தல சாம்ராஜ்யம் என்ன ஆனது? தன்வந்திரி புத்தகத்தை கெட்ட எண்ணம் கொண்ட மருத்துவர் அபரித்தாரா? என்பது தான் கதை. ‛வந்துட்டான்... வந்துட்டான்... வந்துட்டான்...’ என்பது மாதிரியான வழக்கமான தெலுங்கு பில்டப் உடன் தான் படம் முழுக்க பயணப்படுகிறார் பிம்பிசாரராக நடிக்கும் நந்தமுரி கல்யாண்ராம். அவர் ஜூனியர் என்.டி.ஆர்.,யின் தம்பி என்பது கூடுதல் தகவல்.

‛அவர் அப்படிப்பட்டவர்... இப்படிபட்டவர்... பயங்கரமானாவர்... படுபயங்கரமானவர்...’ என டயலாக்குகளை அடுக்கி அடுக்கியே கல்யாண்ராமை தூக்கி நிறுத்த பார்த்திருக்கிறார்கள். கிட்டத்தட்ட பாகுபலி பிரபாஸை தான் இமிடேட் செய்திருக்கிறார் கல்யாண். ஆனால், என்ன செய்ய பிரபாஸ் மாதிரி உடல் கட்டு இல்லையே. குறைந்த உயரம், மெலிந்த உடல் என ஆஜானுபாகுவிற்கு தேவையான முக்கியமான இரு மைனஸ்களோடு அதை கடக்க வேண்டியிருக்கிறது. 

இருந்தாலும், குளோஸ்அப் காட்சிகளை வைத்தே படம் முழுக்க பில்டப் ஏற்றிவிட்டனர். லாங் ஷாட் மாளிகை, டைட் ஷாட் கோபம் என எல்லாமே பாகுபலி காஃபி! அதை உறுதி செய்வதற்காக பாகுபலி இசையமைப்பாளர் கீரவாணியின் பின்னணி வேறு. மனிதர், பாகுபலி, ஆர்ஆர்ஆர் போல, பாடல்களையும், பின்னணியையும் தூவி விட்டு ஒரு வடிவேலு ஊத்தப்பத்தை உருட்டி எடுத்திருக்கிறார். வழக்கமாக காலத்தை பின்நோக்கிச் செல்லும் கதைகள் தான் அதிகம் வரும், இவர்கள் முன்நோக்கிச் செல்ல வைத்திருக்கிறார்கள்; அந்த வகையில் ஆறுதல். தொய்வில்லாமல், சுவாரஸ்யம் குறையாமல் நகர்த்திய வரை இயக்குனர் மல்லிடி வசிஸ்தா ஜெயித்துவிட்டார். 

5ம் நூற்றாண்டையும், தற்போதைய காலத்தையும் வேறுபடுத்தி காட்டிய வகையில் ஜோடா கே.நாயுடு ஒளிப்பதிவு சிறப்பு. கேத்ரினா தெரிசா, சம்யுக்தா மேனன் இவர்கள் எல்லாம் ஒரு நூற்றாண்டுக்கு ஒரு காதலாக வருகிறார்கள். அப்புறம் இருக்கும் இடம் தெரியாமல் போகிறார்கள். அதே போல தான் பிரகாஷ் ராஜூம். பிம்பிசாரரின் வாரிசுகள் என வரும் குடும்பம், க்ளைமாக்ஸ் காட்சிக்கு மட்டும் பயன்படுகிறது. குழந்தைகளோடு ஜாலியாக லாஜிக் இல்லாமல் பார்த்து ரசிக்க, பிம்பிசாரா சரியான தேர்வாக தான் இருக்கும். Zee5 ஓடிடி தளத்தில் வெளியாகியிருக்கும் இத்திரைப்படம், 40 கோடி ரூபாய் பட்ஜெட்டில் எடுக்கப்பட்டு, 65 கோடி ரூபாய் வரை வசூல் செய்ததாக கூறப்படுகிறது. தெலுங்கில் தயாரான திரைப்படம், தற்போது தமிழ் உள்ளிட்ட மொழிகளில் ஓடிடியில் ரிலீஸ் ஆகியிருக்கிறது. 

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