Majili Full Movie Story:
A drunkard and a fizzled cricketer, Poorna is an irritation in his neighborhood, trouble for his dad and an injury that should be breast fed for his better half. His injury runs profound as its not physical, however an enthusiastic injury brought about by a romantic tale which transforms him until the end of time.
Majili Full Movie Review :
Love, tragedy and cricket is the reason around which Shiva Nirvana manufactures his most recent romantic tale Majili. He constructs his characters gradually around this, yet for the substantial piece of the film, there’s a ton of deplorability and less love, while cricket is essentially appeared as an aside — a large portion of it is misrepresented and imperfect. For some odd reason, for a romantic tale like Majili, there are a great deal of activity successions.
It appears individuals in Vizag, where the film is based, are happy to pummel each other immediately. Also, there’s rare any conclusion to all the brutality. Everything appeared to be a piece of a legendary ‘enchantment equation’ that the chief was endeavoring to discover. But then, regardless of the majority of this, Majili keeps you intrigued and engaged for most piece of it.
The film rotates around Poorna (Naga Chaitanya), a fizzled cricketer, who turns into a heavy drinker and gets cash from his significant other Sravani (Samantha) to get his every day liquor fix. He’s an aggravation to his neighborhood and a steady wellspring of stress to his father (Rao Ramesh). In any case, Sravani stays persuaded that he’ll come around, that his injuries will in the end recuperate. But his injuries are not physical — they are passionate ones that run so profound, it about crushes him.
It’s a fizzled romantic tale (no curve balls there), including Anshu (Divyanka Kaushik), the little girl of a maritime officer (Atul Agnihotri). As a maturing cricketer, Poorna succumbs to Anshu (in an ordinary, emotional loathe turns-love circumstance) and exactly when things appear to go easily, he gets engaged with a break with his chief, stops the group and chooses to work for a degenerate legislator Bhushan (Subbarao. What’s more, much the same as that, one terrible choice changes his life for eternity.
Regularly, the executive is by all accounts in two personalities and is uncertain whether he needs to break generalizations or tick each crate that he supposes is expected to make the film work. From multiple points of view, the film is invigorating. Each character has profundity and appears to have been supported with a ton of thought, the music is brilliant, and the agony of the hero is depicted without transforming the film into a sobfest. The executive is helped by some splendid exhibitions from the lead cast.
Samantha surpasses every other person with a downplayed yet incredible execution. Chaitanya appears to be more in his component when he’s playing the whiskery, crushed alcoholic as opposed to the more youthful cricketer that is appeared in the flashback groupings. Rao Ramesh and Posani Murali Krishna are the ones who lift this film past the hero’s gloomy romantic tale, with awesome exhibitions.
For every one of its snapshots of brightness, the imperfections in Majili are too glaring to even consider ignoring. For example, the executive is by all accounts befuddled about how to manage Subbbaraju’s character. First he’s appeared as this underhanded goon. He at that point turns out to be all the more dominant however is then made insignificant to the film or the plot. The film turns into a story of two parts.
From a sudden end to one romantic tale, it begins another one, and it doesn’t generally persuade — neither does the peak. However, as Majili plays out, you identify with the hero, feel his anxiety and identify with his torment. The film has enough in it to keep you stuck to the screen, and regardless of the poorly planned melodies and pointless battles, Majili merits a watch.