Our cinema has for long flirted with superheroes, but apart from Krrish, the affairs ended in heartbreak. Drona vanished, Flying Jatt crashed, Ra.One short-circuited, and Brahmastra fizzled out.
Interestingly, Karan Johar's Dharma Productions, which left no stone unturned in pushing its own Brahmastra to its technical limits, is now presenting Mirai. Say what you will, but the man steering the ship at Dharma has a sharp instinct. He had backed the Hindi version of Baahubali too, so naturally Mirai, a mytho-superhero drama, had my curiosity.
Starring Teja Sajja, who played a similar role in the smash hit Hanu Man, the story revolves around Veda. An evil force is out to destroy humanity by stealing nine scriptures that can turn any human into God. Only Veda can stop the destruction, but here is the catch: he has no memory of his past. Enter Veda (Rithika), a mysterious girl who leads him back to the destiny he was meant to fulfill.
Written and directed by Karthik Gattamneni, the vision is ambitious right from the opening frames. The attempt is clearly to create something on par with Marvel's Shang Chi and the Legend of the Ten Rings.
{{/usCountry}}Written and directed by Karthik Gattamneni, the vision is ambitious right from the opening frames. The attempt is clearly to create something on par with Marvel's Shang Chi and the Legend of the Ten Rings.
{{/usCountry}}What weighs it down is the template. The viewer has seen this arc many times before, which makes the first half drag in places. A laugh here and there keeps things alive, but Mirai rarely grips until the interval. Even the VFX struggles to impress.
Thankfully, the second half finds its footing. The pace picks up, the comedy lands better, and the film finally begins to engage. The showdown between Veda and Mahabir Lama (Manchu Manoj) is staged with flair. The VFX steps up several notches, and Gowri Hari’s background score deserves mention for elevating the action sequences.
It is the climax, however, that justifies the ticket price. Much like Hanu Man, Mirai gets the mythological blend right, something Brahmastra faltered at. South cinema seems to have cracked this code, weaving divinity seamlessly into spectacle. Kalki 2898 AD (2024) and Hanu Man both closed on rousing climaxes, and Mirai continues that streak.
Teja fits such roles like a glove now. He gives it his all. Mahabir's character begins on an unimpressive note, but the backstory in the second half gives his villainy a solid reason. Shriya Saran as Veda's mother too plays her part well, and pulls off a critical emotional sequence. Jagapathi Babu lends star power and is convincing.
Overall, Mirai manages to keep it turning with a finale that lands. For every stumble in the first half, the second half compensates with energy and heart. It's not flawless, but it’s proof that South cinema continues to lead the charge in making Indian history feel cinematic.