What is Mithai ? What connection does it have to the story?
The primary character Venkat Sai (Rahul Ramakrishna), somewhere in the beginning of the story with a distinct sartorial choice, announces quite firmly not to get into the comfort and trap of a corporate set up, it’s like a sweet bait ( mithai ) and makes you feel this is the only life. To be more clear, it tells like-minded people not to work like a donkey in a corporate job for the money it offers and as a consequence forget the real life... of biryani, beer and friends. Venkat Sai is set to marry his girlfriend in three days when he is kicked out of his job. He is robbed of his laptop, television, the necklace he wanted to gift his future wife; he is now crestfallen and seeks solace of his partner in crime, his alter ego Jani (Priyadarshi).
- Mithai
- Cast: Rahul Ramakrishna Priyadarshi
- Director: Prashant Kumar
- Music: Vivek Sagar
Moving back to the prelude, the director tells us the Nizams did leave Hyderabad but they left a few behind and the camera pans on these two friends. Jani is a lazy man and is often criticised by his wife who is only audible reeling of choicest epithets, yet he comforts Sai when he is faced with burglary and shaken in confidence. Jani and Sai embark on a journey to find the lost necklace and bump into umpteen useless characters who have no strong character sketch. Through these people the director throws light and pays tribute to samosas, mutton, chicken and even Sushi which is threatening to invade our local cuisine. In a rib-tickling episode, we are shown how a few people boast of their knowledge of Sushi and how they treat waiters when they go to a restaurant.
The first half is engaging, the Telangana dialect is indisputably delightful with Rahul Ramakrishna and Priyadarshi driving the story ahead. But after a point, when the necklace is retrieved, there is nothing to talk about. We don’t understand why Rahul wants to catch the thief and only then get married when he has already found the necklace.
The story is deliberately extended, and the characters are downright painful. Sometimes a story without logic is termed as a timepass but here one can easily walk away in the break and not return. An elderly man advocates carpe diem in the climax and tells people to enjoy beer and life. We see a woman smoking in a petrol bunk and some more irresponsible scenes that got away from the notice of the censor board. Watching Mithai is like eating a sugarfree sweet. It satiates your sugar craving but after that it serves no purpose. The comedian duo ensure you buy a ticket and get you seated but they can’t stop you from leaving. The background score, the music and cinematography are however good. But we wish the second half had something strong to rave about.
