Dhandoraa Movie Review: A thought-provoking film backed by strong writing

On Christmas, several small films hit the big screen, and Dhandoraa is one among them. The promotional content looked promising, and the film boasts a strong cast. Murali Kanth makes his directorial debut with this film, choosing a rooted and raw subject for his first outing. In our society — especially in the Telugu speaking states — caste discrimination and honour killings still frequently make headlines.  Generally, films based on such subjects are more common in Tamil and Malayalam cinema, while Telugu cinema explores them occasionally. Sekhar Kammula’s Love Story, Karuna Kumar’s Palasa 1978, and the recent Court are some examples. Now, Murali Kanth joins this list with Dhandoraa.

Director: Murali Kanth D

Cast: Sivaji, Navdeep, Shree Nandu, Ravi Krishna, Bindu Madhavi, Mounica, Manika, Raadhya

The title Dhandoraa immediately reminds us of R Narayanamurthy, known for films with revolutionary and socially relevant themes. The story unfolds in two timelines. In 2004, the plot revolves around an upper-caste girl falling in love with a lower-caste boy. Though the boy is wealthy and well-settled, the elders of the upper caste refuse to accept their relationship. Conflicts arise not just between castes, but even within the upper caste members, leading to tragic consequences that ruin many lives. In the present timeline, Sivaji (Sivaji), an upper-caste landlord, passes away. His son Vishnu (Shree Nandu) is estranged from him, as the father and son have not spoken for years. The village sarpanch (Navdeep) tries to pacify everyone and manage the tense situation. As more details unravel about Sivaji’s life, it also leads to more questions — Why was his body denied burial in the caste cemetery? Why is Vishnu distant from his father? What happened to Sivaji’s daughter Sujatha (Manika), who falls in love with a lower-caste man Ravi (Ravi Krishna)? How does the sarpanch handle the escalating conflict? These questions form the rest of the narrative.

Director Murali Kanth deserves appreciation for choosing such a sensitive subject for his debut. He presents heavy themes like caste discrimination and honour killing by balancing seriousness with subtle humour, and conveys the gravity of the issue with clarity. Usually, caste discrimination is shown between upper and lower castes, but here the director adds an interesting twist by portraying how even an upper-caste individual can become a victim, highlighting the emotional and social consequences.

The first half progresses at a steady pace, with Sivaji’s death bringing villagers together. In a small village, a death becomes a major event, and the sarpanch immediately takes charge. Even during such tense moments, the director injects dark humour. Despite being the sarpanch, Navdeep’s character often finds himself powerless, as he must obey the upper-caste leaders. The second half takes a more serious and emotional turn. The songs and romantic portions in the first half feel like a drag, but once Sivaji’s court scene begins, the film becomes gripping. Sivaji’s realisation and decision to reveal the truth in court is one of the film’s best moments. As the film approaches its climax, emotions intensify for every character. Vishnu’s journey back to the village to perform his father’s last rites, and his eventual realisation, stand out strongly. The climax is exceptionally well executed, driven by impactful dialogues. 

Performance-wise, the film shines. Sivaji delivers a terrific performance, and after Mangapathi in Court, this is another strong role for him. His courtroom scene is outstanding. Navdeep is perfectly cast as the sarpanch, offering a refreshing and mature performance. His dialogue in the climax, addressing Sivaji, is one of the film’s highlights. Shree Nandu gets a performance-oriented role unlike anything he has done before, and does full justice to it. Ravi Krishna brings good energy to his role. Mounica, as Vishnu’s wife, is very natural. Manika looks good and performs well as Ravi’s love interest. Raadhya, though appearing briefly, plays a crucial role, especially in the climax, and leaves a strong impression with her surprising performance. The supporting cast contributes effectively, making the village setting feel realistic.

But the biggest strength of Dhandoraa lies in its writing. Director Murali Kanth deserves full credit for his strong narration and confident execution, especially as a debutant. The cinematography captures the rural atmosphere authentically, and Mark K Robin’s music works well. The title song is particularly impactful and one of the best in recent times.

Finally, Dhandoraa is a thought-provoking film driven by strong writing and performances. Kudos to debutant director Murali Kanth for handling such a sensitive subject with conviction, and to producer Ravindra Banerjee Muppaneni for backing it. It’s an honest attempt and a well-made Telugu film. After a long time, it feels good to watch a meaningful Telugu film with strong performances.