Srikant Odela is clearly a man of big ideas, and this is evident in numerous scenes. But the problem lies in the haphazard execution relying more on violence than strong emotions. The beginning stretch exploring the fictional Savari tribe and their fight for identity is the movie’s strongest suit, but soon things go downhill and the movie never fully recovers its ground. For Nani it’s high time that he makes a comeback to the genre of family entertainers’/love stories. Something along the lines of the recent Malayalam blockbuster Bethlehem Kudamaba Unit would be good
Starcast: Nani, Sonali Kulkarni, Mohan Babu, Kayadu Lohar, Raghav Juyal, Priyadarshi and others
Genre: Action/drama
Story, direction and screenplay: Srikant Odela
Additional screenplay: Vinay Sagar Jonnala
Dialogues: Thota Srinivas, Arjuna Paturi, Vasanth Masadi etc
Music: Anriudh Ravichander
Cinematography: CH Sai
Producers: Sudharkar Cherukuri and Ishan Saksena
Production Companies: Sri Lakshmi Venkateswara Cinemas and IVY Entertainment
Running time: 2 hours and 54 minutes
The DNA of Srikant Odela’s The Paradise is similar to Buchi Babu Sana’s Peddi. The fight for identity and the slurs endured by a marginalized tribe is reminiscent of that but in terms of execution the latter is more cohesive. Peddi had its issues in terms of the Rangasthalam hangover and an abysmally written female character; but it had a more gripping narrative with solid emotional blocks for Ramcharan. The Paradise on the other hand has immersive world building but as viewers you don’t feel much for the characters. This is mainly because of Srikanth’s excessive reliance on high pitched melodrama and thinly written characters
The story of Paradise revolves around a marginalized fictional tribe named Savari. They live without any legal rights terrorized by a ruthless feudalistic man Shikanja Malik (a towering Mohan Babu). Nani is Jadal, he shares a thorny equation with the mother Samakka (Sonal Kulkarni bringing in some emotional resonance). How Jadal becomes the hope of Savari tribe bringing down Shikanja Malik’s era forms the core plot of this exhausting ride.
Among the few positives a special mention must be made of Avinash Kolla’s production design. The slum area of the Savari tribe and the contrast with the palace like place of Shikanja and the son Vikram Malik (a criminally underutilized Raghav Juyal) has been well designed. It has a lived-in feel in spite of a KGF hangover. CH Sai’s cinematography is also in complete sync with the film’s rustic tone.
Anuridh Ravinchander’s score has its moments too. Aya Sher appears twice in the movie, the rustic vocals coupled with the background score does give the film some much needed energy. The special dance number Yeshangula with guest star Keerty Suresh also makes for a good watch. Here the Telangana flavor contributes significantly coupled with the fluid moves of Nani and Keerty Suresh. However the standout number is Sammakka, Anirudh’s singing coupled with the soulful composition is heart touching.
The film has a large ensemble, but many are reduced on the sidelines. Nani as Jadal gives more than hundred percent committing to the films over the top masala with gay abandon. The effort is commendable, but the writing doesn’t give the actor a standout moment. It relies a lot on over-the-top histrionics with Nani trying very hard to fit himself. The Telangana diction doesn’t completely work either.
Mohan Babu in comparison fares much better in spite of disappearing for long stretches. The extreme feudalistic attitude of Shikanja has been brought out well. Raghav Juyal as already mentioned is criminally underutilized. His only job is to get defeated by Jadal and a hasty exit. Sonali Kulkarni turns out to be the best performer delivering an emotionally resonant act. There is a strong inner strength to Sammaka which the actress has brought out well. Priyadarshi has an extended special appearance as the fictional KCR. The competent actor nails the mannerisms and the dialogue delivery in his usual manner.
One of the major issues with The Paradise is the track of Kayadu Lohar as Jadal’s love interest. Her character Subbu is a soft porn actress, her explanation for taking this route is well established by Srikant Odela. There is enough scope for emotional heft here given the reasons but the lens instead of empathy is voyeuristic. From mid second half Subbu just becomes another Jadal supporter making it one of the worst written female characters of 2026.
The extreme action too leaves the viewers unaffected because its violence for the sake of violence. It gets mind-numbingly dull after a point making you wish that Jadal had killed off both Shikanja and Vikram at once.
Final word: The Paradise once again shows how blood-soaked heroes and stories of suppression has reached a saturation point. For Nani and Srikant Odela as well its time to go back to the drawing board.
