Nani: From soft to rugged…versatile all the way

A banner of Some Nani movies

An overview into how Nani has evolved as an artist over the years with roles that have covered different spectrums. His rise from a midbudget hero to a major star actor and the various aspects that have contributed to his success both as an actor and producer

There is an interesting moment in Hit 3 when the antagonist Pratik Babbar meets Nani’s Arjun Sarkar unaware of being him a police officer in the homicide intervention team. He looks at Nani and talks about him having a soft face. To this Nani replies that the audiences also think the same but there’s a different personality to me. This serves as a self referential dialogue on how Nani began as an actor with roles like Ashta Chamma, Ala Modalaindi and Bale Bale Magadivoy among others and how he has gradually expanded his repertoire by doing a wide variety of roles, for example in 2023 there was Dasara and Hi Nanna both extremely different from each other.

Hi Nanna and Dasara two very different roles

In Dasara he played a rustic young man stealing coal for a living along with his friend. Nani’s character of Dharani starts off as more of a coward unlike the friend who is more desirable with leadership qualities. However as the movie progresses the personality of Dharani undergoes a major change with different shades. Nani completely shed his boy next door persona getting into the skin of the character, whether it was the dialect or the overall body language, Dasara was the first glimpse of Nani going more rustic with choice of roles. Hi Nanna on the other hand is a very different territory. In this movie Nani’s role goes from a young lover to a father who can do anything for his daughter, his chemistry with the brilliant Mrunal Thakur whether it is the scenes of love at first sight or the more emotionally charged ones were the biggest ace of the movie. In spite of certain similarities with the national award winning Jersey the actor made the viewers root for Viraj to have a happy ending.

Starting from his debut movie Ashta Chamma in 2008 Nani has acted in at least 37 movies so far. Apart from acting Nani has also forayed very successfully into production with Wall Poster Cinema. Under the banner Wall Poster Cinema Nani has produced 6 movies so far. Prashanti Tipirneni also plays an active part in this production house. The first movie produced under Wall Poster Cinema was Awe directed by Prashanth Varma. The movie is by no means perfect still it was a daring experiment dwelling into themes of sexual abuse, lesbianism etc. With his very first production venture Nani showed his intention of backing new voices who are off mainstream. Even in the case of Sailesh Kolanu the director of the hugely growing Hit franchise, he was neither an assistant director to someone nor coming from a filmy background. But still Nani still trusted him based on what he wrote and the rest as they say is history. The latest example of Nani’s risking taking ability is the movie Court about the misuse of POCSO. The film’s director Ram Jagadeesh is also a debutant like the above mentioned ones and he completely justified the faith of Nani. A big reason for the movie’s success were the active promotions and the confidence with which Nani backed the movie, it is easily one of the biggest hits of 2025 in terms of money invested and the returns got.

Nani from Ashta Chamma movie

Awe the first movie produced by Nani

Before making his acting debut Nani was a popular radio jockey in world space radio with his own set of fans, he hosted a show called Non-Stop Nani and true to its name it was a nonstop success. He has also worked as an assistant director under the likes of late Bapu among others. One of Nani’s major strengths is his voice modulation, the way he modulates the voice perfectly according to the scene makes him a very good actor apart from a big star.

Following are some of my most favorite Nani performances starting from Ashta Chamma across different genres.

1 Ashta Chamma: In this Indraganti Mohankrishna directorial Nani played a village head burdened by the responsibilities of delivering justice. In order to make his life more enjoyable the character Rambabu often goes to the city leading a dual life. Nani impressed everyone with a skilful performance particularly in the scenes of desperation. He raised ample chuckles in the combo scenes with Srinivas Avasarala. It was a very confident performance without any rawness of a debut actor.

2 Yevade Subramanyam: Nag Ashwin’s directorial debut was a very daring one with the themes of materialism and self discovery among others. In this movie Nani played a young man obsessed with numbers and climbing the social ladder. Nani’s character of Subramanyam resonates with many young men even today. Nani portrayed the role of Subramanyam in a very mature manner whether it is his initial attitude of success at any cost and the eventual transformation that Subramanyam goes through. Although it isn’t a crowd pleasing role still Nani made the character relatable maybe for every generation.

A still from Yevede Subramanyam

3 Jersey: In Jersey Nani played the role of an ex cricketer making a comeback after a long time. The role of Arjun comes with numerous shades and a lot of emotional turmoil, Nani did a fantastic job in bringing alive the different emotions whether it is the helplessness of a father who doesn’t have much money or inner turmoil Arjun goes through at various stages. The scenes between Nani and the child actor played by a wonderful Ronit Kamra were a major ace of the film.

Nani and child actor Ronit Kamra

4 Bhale Bhale Magadivoy: In this comic entertainer Nani was an absolute riot as a happy go lucky guy suffering from major memory loss. He brought the house down on multiple occasions like the scene where Murali Sharma character comes to the house. The way he covers the memory loss in front of the heroine was truly a laughter ride. Apart from humorous scenes Nani also shined in the emotional ones where Lucky losses the trust of the heroine. A specific emotional outburst between Nani and the mother showed the actor’s all round ability.

Nani was an absolute riot

5 Ninnu Kori: Ninnu Kori saw Nani in a grey shaded role. An hurt ex lover who firmly believes that the heroine played by Nivetha Thomas has not gotten over him. In the second half there are numerous scenes of hurt along with bitterness and Nani made the viewers feel the pain of Uma. He did a fantastic job in portraying the grey areas getting empathy from the viewers in spite of the not so likeable actions.

6 V: Indraganti Mohankrishna’s V didn’t completely satisfy the fans of action thrillers. The movie suffered from predictable character arcs, having said Nani truly had a blast with his character. It was very clear that he relished the dark shades and the freedom of not playing a hero bound by morality. Nani’s performance majorly uplifted the movie. A specific mention must be made of the scenes with the passengers. The dark humor in them and the way Nani portrayed it was a delight to watch.

Nani in V

7 Hit 3: Hit 3 saw Nani in his boldest avatar a psycho cop known for brutal violence. There is a lot of violatilness to the role and Nani simply aced it. He carried the movie on his shoulders with brilliant intensity. At the same time what makes the performance stand out is Nani’s ability to generate humour through serious dialogues. The actor’s Hindi in a scene where he interrogates a Kashmiri criminal is a very good example of this. Nani also turned the charm on in the romantic track with Srindhi Shetty, it was very smartly integrated into the main plot.

Nani as the psycho cop Arjun Sarkar known for his brutal violence

Going by his career graph so far it’s clear that Nani has long term goals in satisfying both himself and the audiences. A clear indication of this is him backing new talent and promoting diverse stories both as an actor and producer.

Bollywood actors through the lens of South Indian directors

A rundown into some of the Telugu and Tamil directors who have successfully presented Bollywood actors in a different light and gave major hits       

As the wave of pan India has caught in a huge way, the crossover between Hindi film actors and South Indian directors, particularly those belonging to Telugu and Tamil cinema (also known as Tollywood and Kollywood) has resulted in some successful collaborations. One of the earlier examples is Aamir Khan’s Ghajini (2008). Director AR Murugadoss made a significant impact with this Tamil remake.

Ghajini

Ghajini opened the 100-crore club in Bollywood; it was a major money spinner in those times. For Aamir Khan Ghajini was altogether a different film from what he was doing till then, it presented him in a massy avatar. In spite of the obvious comparisons to Suriya’s stellar acting, Aamir also left his own imprint particularly the physical part of it. He looked like a wounded tiger out on an avenging spree.

In spite of the obvious comparisons to Suriya’s stellar acting Aamir also left his own imprint particularly the physical part of it.

Kabir Singh

Before Kabir Singh, again a remake of a south (Telugu) movie Arjun Singh, Shahid Kapoor did not have a major solo hit. The likes of Jab We Met, Udta Punjab and Haider were hit movies no doubt but not commercial blockbusters. Though Padmaavat did more than 300 crores Ranveer Singh walked away with all the accolades and rightly so. But Sandeep Reddy Vanga gave Shahid a big spectrum to play with in Kabir Singh and the actor didn’t disappoint. Whether it is portraying the highly toxic and passionate love of Kabir or in the breakdown scenes Shahid did his best. Although the movie was pretty much a carbon copy of the original Shahid brought his own intensity to the role. Much like Ghajini this remake also did far bigger numbers than the original. It is a separate matter that Shahid could not capitalize on this blockbuster success later in his career.  

Kabir Singh gave Shahid Kapoor a big spectrum to play with and the actor didn’t disappoint

Jawan

It is a well-known fact that Shah Rukh Khan was going through a very rough patch both professionally and personally before the release of Siddarth Anand’s Pathaan and Atlee’s Jawan. For Atlee Jawan was a huge leap given that he had mostly collaborated with Vijay Thalapathy till then. For someone like him directing a megastar like Shah Rukh Khan is not a piece of cake.

But Atlee more than rose up to the challenge, he passed with flying colours. Atlee’s presentation of SRK particularly the father character of Vikram Rathore erupted huge cheers among the moviegoers. Shah Rukh also effortlessly slipped into the universe of Atlee having a lot of fun in a movie that has essentially 50 shades of SRK.

For SRK too it was a very profitable film both in terms of expanding his fan base and box office numbers. It was almost like a king size comeback with more than 700 crores.

Shah Rukh Khan also effortlessly slipped into the universe of Atlee

Animal

Animal directed by Sandeep Reddy Vanga is easily the most polarizing movie of Ranbir’s career, more than even Sanju. Ranbir’s previous movies have also featured strained father and son relationships, but Animal took it to a whole new level. Animal showcased Ranbir in his darkest avatar till date, as Ranbir himself confessed that he was scared when he heard the script and had severe doubts about doing the role. However, to Ranbir’s credit he went full throttle and delivered a power packed performance though the story itself was highly controversial.   

Ranbir Kapoor’s darkest avatar till date

Kalki

Lastly there is this year’s Kalki directed by Nag Ashwin, a Telugu language epic science fiction film. The last few outings of Amitabh Bachchan have varied from just average to good. While he had solid roles in Jhund and Uunchai, in Bramhastra and Ganapath he didn’t have much to do. He was particularly wasted in Bramhastra as just a mere guru. But his fans and neutral audiences got the opportunity to see vintage Amitabh Bachchan with Kalki 2989 AD.

Bachchan had the best written role by a long margin and the senior actor just chewed the scenery with a stellar performance. The way he takes on the character of Prabhas was a sheer delight to watch. On many occasions he overshadowed the other cast members with just his towering screen presence. With his performance of Ashwatthama Bachchan showed that he can give any young actor a run for their money even at the age of 81.

For someone like Nag Ashwin too handling a film of this scale and directing someone like Amitabh Bachchan is a major achievement.

The fans and neutral audiences got the opportunity to see vintage Amitabh Bachchan in Kalki 2989 AD

Not so lucky ones

At the same time, it has to be said that working with south directors or in remakes of south films hasn’t proved to be so lucky for other Bollywood actors. Case in point is Akshay Kumar’s Sarfira, a remake of the Tamil hit Soorarai Pottru directed by Sudha Kongara. She also helmed the remake. Soorarai Pottru got both rave reviews and major awards. Suriya got the best actor award in the prestigious national awards; the movie also won an award for best film. Later Soorarai Pottru was also dubbed into Hindi with the name of Uddan. Hence it makes no business sense to remake it and not surprisingly Sarfira got added to the long list of commercial failures of Akshay post pandemic. Before Sarfira there was Bachchan Pandey, a remake of Jigarthanda. That was also a major commercial failure. Hrithik Roshan and Saif Ali Khan’s Vikram Vedha also turned out to be a box office turkey. Though Hrithik Roshan got good reviews for bringing his own touch to the role of Vedha, but it wasn’t enough for the movie to sail through.

Kalki 2898 AD: A gutsy attempt at mixing dystopian world with Mahabharata

Nag Ashwin proves his capability as a versatile director, the movie works best when it focuses on Prabhas and Amitabh Bachchan

  • Starcast: Prabhas, Amitabh Bachchan, Kamal Haasan, Deepika Padukone, Saswata Chatterjee, Pashupathy, Anna Ben and others
  • Special appearances: Mrunal Thakur, Dulquer Salman, S.S Rajamouli, Vijay Devarakonda, Ramgopal Varma etc.
  • Story, direction, screenplay and dialogues: Nag Ashwin
  • Additional screenplay: Rutham Samar
  • Additional dialogues: Sai Madhav Burra and B.S Saewagna Kumar
  • Producer: C. Ashwini Dutt
  • Production Company: Vijayanthi movies
  • Cinematography: Djordge Stojilijkovic
  • Music: Santhosh Narayan
  • Genre: Science fiction
  • Running time: 3 hours and 1 minute

The track record of Indian cinema with science fiction/futuristic worlds is pretty abysmal. A major reason for it is the necessity of masala elements where the hero has to do romance, comedy and action while saving the world. Rakesh Roshan’s Krrish movies though not seamless did a good job in mixing Hollywood tropes with Indian Masala. Ayan Mukherjee’s Bramhastra was high on visuals, but a weakly written love story coupled with erratic characterizations made the movie just about an average watch. Last year Vikas Bahl made an attempt at directing a movie set in a futuristic world where the society is divided into two and poverty is at an extremely high level. Ganapath ended up being more about Tiger Shroff’s somersaults and was roundly rejected by the audiences.

Now you have Nag Ashwin’s Kalki 2898 AD also set in a futuristic world. The two-film old director has already created a niche for himself with Yevade Subramanyam and the biopic Mahanati on the legendary actress Savitri. Mahanati in particular is a challenging movie given that it is based on a very beloved actress who is admired by many, but he did complete justice to her life. With Kalki 2898 AD the director has pushed himself even more and let his imagination fly high. For example, he makes you believe that there would be a future where women would have zero autonomy over their bodies and the need for capitalistic gains will wipe out cities. In spite of obvious similarities to Dune and the Mad Max films Nag Ashwin delivers an impressive concoction of sci fi elements with mythology. But the women characters are a major weak spot, and the random love story of Prabhas with Disha Patani is a major speed breaker.

Kalki 2898 AD moves along multiple timelines starting from the Kurukshetra war. Amitabh Bachchan is Ashwatthama who is cursed with immortality by lord Krishna. On the other hand, there is the dystopian landscape of Kashi, the world’s last city. However, it is in complete shambles. The mighty Ganges is in a parched state and food is naturally scarce. There is a towering structure called Complex governed by Yaskin played by Kamal Haasan. He rules the place with an iron fist. Inside the Complex there are many fertile women who have been put on an experiment. Deepika Padukone’s SUM-80 alias Sumathi is an employee who is supposed to make sure that these fertile women get sufficient food and medicine. But there is a twist here; Sumathi who has been considered infertile for ages is now five months pregnant. Then you have Shambala a place for refugees from different faiths and cultures. They are putting their lives at stake for a better future.

Bhairava (Prabhas) wants to escape from the dreariness of Kashi and get into the Complex. He has AL car Bujji (with a fun voiceover by Keerty Suresh). There is a constant banter between them which gradually develops into a strong bond. Bhairava is a selfish man who is unaware of his destiny. As the story progresses Bhairava’s life gets intermingled with Ashwatthama, Sumathi and the people of Shambala.

For a movie like this a seamless blend of special effects and cinematography is very necessary and Kalki 2898 AD scores full marks in this department. The high-octane action sequences between Amitabh Bachchan and Prabhas in particular is a major highlight. Thankfully Nag Ashwin doesn’t show Bhairava as invincible, on more than one occasion we see him getting hurt. These scenes are also sprinkled with humour that bring a smile. Nitin Zihani Choudary’s production design also deserves a particular mention in how he creates an imaginary landscape that immerses the audiences.

Director Nag Ashwin also deserves distinction marks for how he integrates the Kurukshetra episode in the film. The emotional turmoil of Ashwatthama and his quest for repentance strikes a chord. Amitabh Bachchan delivers a stellar act overshadowing Prabhas on occasions.

Prabhas as Bhairava has a role that comes with different shades. There is humor, and he also comes across as not so likeable. Prabhas does complete justice to both. His interactions with Keerty Suresh’s Bujji add a lot to the movie.

Kamal Haasan as the evil Yaskin has a brief role but he sends down a chill with his intimidating act.

Santhosh Narayanan’s music lacks good songs but he more than compensates it with a powerful background score.

Kalki 2898 AD has many cameos from actors and directors. Out of these Ramgopal Varma and S.S Rajamouli are fun to watch. There is a Baahubali reference where Prabhas jokingly says about how he gave 5 years to that project, it definitely raises a chuckle. Among others Mrunal Thakur is impressive in her brief role.

A big flaw of Kalki 2898 AD are the two female leads. Disha Patani is only used for glamour and one completely out of place song. Deepika Padukone on the other hand plays a pregnant woman mirroring her real life. She is mostly required to look petrified, and the expressions irritate after a point.

The movie’s runtime could have been crisper with lesser cameos. For example, Dulquer Salman and Avasarala Srinivas don’t add anything significant with their presence.

A caution: Too many good directors going into the dystopian landscape is something that the industry should be careful about.