Mirai has been running in theatres for three days now. The first day excitement has cooled down, and this feels like the right time to look at what the film really offers beyond the hype.
The first thing that stands out in Mirai is the visual
scale. For a film made on a modest budget, the VFX work is surprisingly strong.
The Sampati sequence, where the mythical bird guards a divine weapon, is one of
the best designed visual moments in recent Telugu cinema. It is the kind of
sequence that stays with you even after the film ends. Larger productions have
spent much more and yet failed to bring this kind of impact on screen.
Music is the second pillar that holds Mirai together. Gowra
Hari’s background score gives the film its energy. It drives the action forward
and keeps the audience engaged even when the narration slows down. The action
scenes themselves are also put together well and combine effectively with the
music and visuals.
When we look at the story, Mirai has a fresh idea at its
core. The film imagines that centuries ago, after the Kalinga war, Emperor
Ashoka transferred divine powers into nine books and entrusted them to
guardians to protect the world. Generations later, the conflict arises when
someone tries to steal these books to become godlike. This is a strong and
original line that immediately sparks interest.
But the narration does not maintain that freshness. The film
falls back on a familiar structure. A hero in a modern city suddenly learns
about his destiny and steps into the fight against evil. Since the story is set
in the year 2000, it feels even more routine. It is easy to imagine how much
more unique the film could have felt if this same story had been placed in an
earlier time, before technology shaped our lives.
The villain, Mahabir Lama, also does not have the strong
foundation that such an antagonist requires. For a character meant to carry so
much weight, the backstory feels weak. The conflict with the nine guardians of
the books is also underdeveloped. Instead of epic confrontations, the books
change hands far too easily, which lowers the tension.
Performances keep the film steady. Teja Sajja plays his role
with confidence and looks stylish on screen. Manchu Manoj, usually known for
energetic or comic characters, surprises in the antagonist role with his
powerful eyes and commanding delivery. Shriya Saran has a solid role and brings
depth and grace in crucial scenes. Ritika Nayak could have been given more to
do, especially in action, but she makes an impression. The supporting cast
including Jagapathi Babu, Jayaram and Getup Srinu deliver what is expected,
with Srinu’s scenes adding a smile here and there.
As for the audience response, much of the early interest has
been because of the glimpse of Lord Shri Ram shown in the trailer. But inside
the theatre, that impact does not land as strongly as it was expected to. The
divine moments do not create the emotional high that viewers hoped for. When
compared to Teja Sajja’s previous film HanuMan, where the portrayal of divine
elements was breathtaking, Mirai feels like a missed opportunity in this
aspect.
Overall, Mirai is worth watching for its visuals and the
strength of its central idea. The technical work is outstanding for the scale
of the production and deserves credit. But the narration and climax do not
reach the same level, and the film does not leave you with the emotional high
that it promised. Personally, I feel the concept of the nine books would have
been even stronger if explored as a web series, with each book given its own
episode. That would have allowed the story to breathe and reach its full
potential.
