Cast: Pawan Kalyan, Niddhi Agerwal, Bobby Deol, Satya Raj, Vikramjit, Kabir Duan Singh, Ayyappa Sharma, Raghu Babu, Sachin Khedekar, Subba Raju, Sunil, Dalip Tahil and others
Music Director: MM Keeravani
Cinematographers: Gnana Sekhar, Manoj Paramahamsa
Dialogues: Burra Sai Madhav
Director: Jyothi Krishna
Producer: A. Dayakar Rao
Rating: 2.5/5
Suresh Kavirayani
Pawan Kalyan headlines Hari Hara Veera Mallu, which finally hit theatres this Friday after nearly five years in the making. Marking his first period drama set against a historical backdrop, the film underwent a major change in direction when Krish Jagarlamudi, who began the project, exited midway. Jyothi Krishna then took over the reins. Produced by AM Rathnam, known for backing several successful films, the movie features Niddhi Agerwal as the female lead and a massive star cast including actors from the Hindi film industry.
Significantly, this is Pawan Kalyan’s first film to release after assuming office as the Deputy Chief Minister of Andhra Pradesh. Taking full charge of the film’s promotions himself, Pawan Kalyan generated massive hype around the project. After several postponed release dates, Hari Hara Veera Mallu has finally arrived on screens. Here’s how the story unfolds:
Story:
Set in the 16th century during the Mughal rule in India, the film opens in Machilipatnam. Veera Mallu (Pawan Kalyan), a fearless warrior, steals diamonds from the British. A local feudal lord (Sachin Khedekar) plans to offer these diamonds to the Nawab of Golconda (Dalip Tahil) and assigns Veera Mallu the task of intercepting them. Veera Mallu agrees, and also sets out to rescue Panchami (Niddhi Agerwal), a courtesan held captive by a landlord.
However, Panchami betrays him and escapes with the diamonds. Veera Mallu is captured by the Golconda army, but surprisingly, the Nawab tasks him with a bigger mission — to steal the legendary Kohinoor diamond from Delhi’s Red Fort, where it’s fiercely guarded by Mughal Emperor Aurangzeb (Bobby Deol).
Veera Mallu embarks on the treacherous journey to Delhi, becoming the eighth person to attempt the heist — all seven before him having met fatal ends. Along the way, he faces numerous challenges. But there’s more: Why did Veera Mallu accept this mission? What is his real identity? What happened to Panchami? And how does Aurangzeb react upon learning of Veera Mallu’s intentions? The answers to these questions unfold on the big screen.
Analysis:
The journey of Hari Hara Veera Mallu spans five years in the making. While Krish directed the initial portions, Jyothi Krishna completed the film. Pawan Kalyan’s changing look — bearded in some scenes, clean-shaven in others — clearly reflects the timeline of the shoot, exposing the old and new footage.
Being a period drama, the core storyline didn’t require major changes over time. It begins with a boy finding a diamond in Kolleru near Machilipatnam, which then travels through feudal hands to Golconda, eventually pushing Veera Mallu on a mission to Delhi. The director portrays how Mughals oppressed Hindus during their reign — levying taxes on non-converts and banning idol worship. Veera Mallu is shown as a rebel hero, fighting against such feudal tyranny and standing with the poor.
While this premise is compelling, the narrative takes a significant ideological shift in the second half. The initial story about a daring diamond heist gives way to themes centered around Sanathana Dharma. The focus turns to religious oppression, forced conversions, and idol worship bans under Mughal rule — with Veera Mallu becoming a symbol of resistance and a savior of Hindu dharma.
Though the first half engages with its action and storytelling, the second half slows down and veers into a preachy, ideologically loaded direction. The emotional connect weakens, the narrative becomes predictable, and the visual effects — especially in the latter part — appear substandard and poorly executed. It’s evident that the story was altered midway to amplify ideological messaging. This may reflect the personal beliefs of Pawan Kalyan, rather than Jyothi Krishna’s original directorial vision. Unfortunately, this shift doesn’t serve the film’s overall impact or success.
Performances:
Pawan Kalyan shoulders the entire film. His screen presence, commanding dialogues, and stylized portrayal of Veera Mallu are bound to thrill his fan base. He looks sharp in action sequences and even choreographed one involving animals like a tiger and a wolf — aligning with the film’s Sanathana Dharma themes. His varying look — youthful without a beard and rugged with one — is noticeable.
Niddhi Agerwal, as Panchami, delivers a decent performance in a limited role. She shines in the song sequences, appearing both glamorous and graceful. Bobby Deol fits the bill as Aurangzeb, but his character weakens in the latter half. Supporting actors including Thanikella Bharani, Subbaraya Sharma, Raghu Babu, Subba Raju, Ayyappa Sharma, Kabir Singh, and Satya Raj contribute in various roles.
Technical Aspects:
The soul of Hari Hara Veera Mallu lies in MM Keeravani’s music. His powerful background score enhances many scenes and significantly elevates Pawan Kalyan’s heroic moments. Cinematographers Gnana Sekhar and Manoj Paramahamsa do a commendable job, capturing the grandeur and scale. Dialogue writer Sai Madhav Burra pens impactful lines, some of which echo Pawan Kalyan’s real-life persona.
However, the biggest letdown is the visual effects in the second half — noticeably below par and cheap-looking, which hampers the immersive experience. The film does boast decent production values overall, but more attention to VFX and tighter editing would’ve helped.
Verdict:
Hari Hara Veera Mallu is strictly a fan service film — a visual treat for Pawan Kalyan admirers. The narrative starts off strong with Veera Mallu championing the oppressed and challenging the Mughals. But the second half derails, heavily leaning into ideological messaging around Sanathana Dharma and Hindutva — possibly reflecting Pawan Kalyan’s political stance. Had the makers retained the original adventurous tone, the film could’ve been a sure-shot winner. Still, it’s worth a watch for Pawan Kalyan’s charisma, performance, and return to the big screen post his political elevation.
