A Boyapati Sreenu movie kicks off with a caution. As soon as he appears on screen and declares, “Babu ready babu, start camera, action,” you instantly realize two things: logic is absent from this cinema, and physics has already been dismissed. This is Boyapati's way of stating that the film is entirely constructed on elevation, extraordinary exaggeration, and his unmistakable confidence. This confidence resurfaces, more pronounced than ever, in Akhanda 2: Thaandavam, where Balakrishna once again embodies the man, the myth, and the superhero.
The narrative centers on a neighboring country scheming to devastate India by targeting what they perceive as its spiritual core, Sanatana Dharma. Their strategy involves a large-scale biowarfare attack on the Maha Kumbh Mela, plunging the nation into turmoil. The DRDO is assigned the job of creating an antidote, and the duty unexpectedly lands with Janani, a 16-year-old genius with an IQ of 266, who manages to develop the vaccine but becomes the main target of the adversary.
As peril approaches, Akhanda, her uncle who vowed to come back whenever she required his help, reemerges to safeguard her, halt the biowar, and reestablish peace. The ensuing events are a blend of divine wrath, supernatural action, black-magic diversions, geopolitical humor, and Boyapati’s trademark solo-war scenes where Akhanda fights off hordes with only a trishul in his possession.
Akhanda makes an early appearance this time, right at the beginning, which is a change from the first film and most of Boyapati's usual patterns. What distinguishes a Boyapati film is not its grandeur, but its intensity. Every character in this universe talks as if they're giving a powerful speech at a pre-release event. Even ordinary conversations come across as profound declarations. This time, the dialogues are even more striking.
The movie embodies all the elements typical of a Boyapati film — showcasing Telugu traditions, festivals, temple chimes, exaggerated action sequences, ornate jewelry, sarees, intense reaction shots, and lengthy speeches. While it lacks comedic scenes, it includes a few self-referential jokes like “seize the booze.” The action sequences, a hallmark of Boyapati's style, take center stage when Akhanda appears. He performs feats like bending guns, halting helicopter blades with a trident, and sending fifty men flying with a single punch, illustrating that the usual Indian governance structures are irrelevant in this narrative. The Prime Minister, police, RAW, geopolitics, and national security are all respectfully sidelined upon Akhanda's arrival.
In one scene, individuals armed with guns opt to stab the protagonist instead. There's a snow chase where the gunmen appear to be in a contest to see who can miss their target in the most imaginative way. Within nearly every action sequence, you're bombarded with ten to twelve concepts simultaneously — some absurd, some creative, some downright funny, yet all undeniably captivating. Boyapati's style of 'illogical action' has evolved into its own genre. You can mock it, criticize it, or turn it into memes, but its commitment is impossible to overlook.
However, this doesn't necessarily make it a more powerful film. Akhanda 2 approaches its subject matter with a gravity that its script doesn't quite support—assuming there is a script to begin with. The film incorporates elements of Sanatana Dharma, ritualistic symbolism, and attempts to delve into themes of faith, alongside a geopolitical backdrop and a medical crisis linked to a biowarfare plot, all of which are handled with intense dramatic emphasis. The issue lies in the fact that the emotional moments rely on grandiose mythological logic rather than substantial narrative depth, rendering the drama more convenient than convincing.
The geopolitical tension, featuring an unnamed yet unmistakable neighboring country, unfolds like a Boyapati-style blend of Uri and Avengers but in this scenario, there is no military, only Akhanda. The concept of biowarfare seems grand, yet its portrayal is delightfully ridiculous. At the heart of it is Janani, who develops the antidote and keeps it in a small handbag.
The DRDO facility resembles a tutoring center enhanced with superior visual effects lighting, and the Army appears so bewildered that when Akhanda offers to venture solo into hostile territory, they just step aside for him. When intricate national dangers are elucidated through divine speeches to officers in uniform, it becomes clear that Boyapati is not crafting a patriotic film; instead, he is creating a Boyapati-verse film where everyone, from the Prime Minister to the Indian Army, is part of the applauding crowd.
In the midst of all the turmoil, the movie offers instances of sheer unintended comedy. Antagonists intended to be menacing act like caricatured military leaders, highlighted by the unintentionally funny scene where a senior officer is informed of his son's death in the war. When he inquires about the cause, the response — given with earnest seriousness — is: “He died from a single punch by an Indian soldier.” Such lines provoke more laughter than any deliberately comedic moments.
Despite its shortcomings, the film is held together by one individual: Thaman. This is his year, and Akhanda 2 gains significantly from his contribution. His damru beats, chants, powerful percussion, and ritualistic soundscape enhance scenes that might otherwise falter. Without Thaman, the film simply wouldn't succeed.
Balakrishna dominates the screen as Akhanda, with his commanding dialogue delivery, physical presence, and strong conviction driving the film forward, even when the script falters. Harshaali Malhotra delivers a sincere performance in a role that could benefit from more depth. Samyuktha makes a short appearance, attempting something new, though her character's development isn't entirely successful. Aadhi Pinisetty shines as the standout performer, delivering a grounded and intense portrayal that surpasses the constraints of his limited screen time.
From a technical standpoint, the movie is merely adequate. The cinematography is proficient, the editing could be more precise, and the production quality is strong. However, no level of polish can conceal the reality: the plot is weak, several characters are not fully developed, and the essence is too similar to the original film, lacking the same strength in writing.
Despite its imperfections, contradictions, and unintended humor, Akhanda 2 still exudes the unique, captivating energy of Boyapati and Balayya. This film doesn't invite contemplation; it insists on complete immersion. Enter with expectations of logic, and you'll be let down. However, if you anticipate noise, divinity, explosions, and a lone man battling an army with a trident, Boyapati has fulfilled his promise.