Generation gap is a well known phenomenon. But any drama built around a direct conflict between father and son will always be an interesting cinema proposition. Though this theme is not very often taken up by most film makers, the father-son confrontation is as old as Prahlada and Hiranyakashapa. The most popular film on this concept was ‘Trishul’ where Amitabh Bachchan and Sanjeev Kumar, play son and father. Even Ajay Devgan’s debut film had the same theme. In Telugu, Munna explores the entire gamut of the father-son divide.
Kota Srinivasa Rao and Prakash Raj are the sworn opponents in the political arena. While Kota represents the good and brighter side of politics, Prakash Raj wants the entire situation to be totally under his control and he would go to any length to achieve his evil ambitions. Munna, the hero is a student in the University where the heroine and son of Prakash Raj also are studying. The hero being an active students’ union leader, Kota utilizes him to oppose Prakash Raj. It is obvious that the hero is terribly angry with Prakash Raj and the reason is revealed to the audience as an interval bang. The hero is the son of Prakash Raj.
In a flash back, we are shown that Prakash Raj remarries the hero’s mother and ditches her. Presently he is married, having a son and daughter, politically powerful, rich and wealthy with many business interests.
Prakash Raj, known as Kaka, creates Rahul Dev as one of his antagonists to counter Kota and Munna. The heroine is frustrated by her parents, who want to somehow marry her off with someone. Kaka’s son wants to marry the heroine. Munna uses his brain power to thwart his step brother’s attempts to marry the heroine. Meanwhile, Kaka’s daughter approaches the hero to help her in her marriage. The hero gives his word and keeps it by taking the help of a minister.
All the while the hero wages a war against kaka destroying his factories and damaging his political equations. Finally Prakash Raj decides to do away with the hero and in the ensuing confrontation Rahul Dev is killed by the hero. Munna gives the gun to Prakash Raj, his father and tells him to do the right thing. The climax eulogises the power of students.
The story and narration gave ample scope for Prabhas to show his acting prowess. Being an action-masala film, it has given him a lot of scope to show powerful emotions with matching dialogues.
Prakash Raj excels in his role and brings in a new level of deceitful knavery to the position of villain. A clever crook versus an intelligent hero is always a good prospect to watch. Kota and Rahul Dev also enhance their roles with some fine acting. The heroine, Ileana, doesn’t have much scope except to prominently display her sensual wares to the delight of the audience.
The screenplay is very good with the twists, turns and bangs coming at the most appropriate time, giving a prominent impetus to the narration speed. The characterization of Prabhas, Prakash Raj and Kota greatly helped to have a controlled grip over the narration. The placement of songs suited the narration style. The songs ‘Manasaa’ an enchanting melody and ‘Koncham Koncham’ the fast paced folk number are outstanding. Re-recording created the proper moods. The fights are very well designed and executed.
The Director struck to his theme without any disturbing deviations. The incidents with supporting cast added weight to the progress of the principal characters. The film is a clear reflection of the minute planning and absolute control of the director. The camera work is pleasing to the eye and the editing took care of the smooth transition of scenes.