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Prakash Raj, who plays Nayanthara’s father with grey hair and geeky glasses, looks far younger and fitter than Balakrishna. Compared to other two, Nayanthara has a slightly stronger character in this hero-worshiping film. In the second half, the story gets depressingly predictable and we are left struggling for reasons to care about the characters in the film.īalakrishna gets to romance three heroines in the film, including Nayanthara, Natasha Doshi and Hariprriya. But, he crosses paths with her in Kumbakonam, where she is running a nursery for kids with her father. Narasimha is hopping from one state to another to stay away from Gauri (Nayanthara), his ex-girlfriend in Visakha. He gets a lengthy monologue arguing why only Brahmins are qualified to the job of priests. In one scene, Narasimha leads a protest for the Brahmin community against the high-handedness of a police officer. And he takes in Narasimha and his toddler son, gives them a job and place to stay. She is the daughter of Murali Mohan, the dharmakartha of a temple. The catch is she lives in Kumbakonam, a bad backdrop to place a character like this. Natasha Doshi’s character is that of a party girl, who snorts cocaine.

His writing is so outdated that he comes up really short on building any tension into the narrative to set up the audience for a big revelation. Ravikumar seemingly wanted to create Rajinikanth’s Baasha-like interval sequence but fails terribly. And just before the end of the tedious first half, we finally get to see the true power of Narasimha. And the director has written some preposterous sequences that pushes Narasimha to show off his action chops. We here get the sense that he definitely had a violent past and has turned over a new leaf for the sake of his son. He always tries to keep away from violence and turn the other way even when trouble comes calling. Narasimha (Balakrishna) travels from one city to another and one state to another in search of a peaceful life for him and his newborn child.

Balakrishna jai simha narasimhan