Nari Nari Naduma Murari review: Sharwanand and Naresh deliver a brilliantly written comedy
A lesser-talked-about Sankranti release, Nari Nari Naduma Murari quietly presents a smart, clean-cut family entertainer that relies on situational comedy, strong character writing and a fresh original idea rather than noise or scale.
This Sankranti proved to be an unpredictable season for family entertainers. Instead of the usual barrage of large-scale masala action films, Telugu cinema saw a dominance of domestic dramas and light-hearted comedies.
From Chiranjeevi to Prabhas to Naveen Polishetty, almost every major release was based on a family location. Although it initially seemed like it was a trend started by last year’s success Sankrantiki VasthunnamThe results have been surprisingly encouraging. except Raja SaabMost of the films have received appreciation. The final entrant of the season, Nari Nari Naduma MurariQuietly continues that trend, without noise or hype, but with a surprisingly solid product.
Gautam (Sharvanand) and Nithya (Sakshi Vaidya) are in love. While Gautam’s father (Naresh) supports the relationship, Nitya’s father (Sampath Raj) initially opposes before agreeing to the marriage, but with one condition: the marriage must be a registered marriage, scheduled for a month later. Before that day arrives, Gautam’s past comes back to complicate his present when his ex-girlfriend Diya (Samyukta) unexpectedly re-enters his life. What follows is a series of complications induced by unresolved emotions, awkward timing, and an inconvenient situation, which form the main conflict of the film.
Director Ram Abbaraju has once again proved that a strong original idea can do half the work of storytelling. After the success of social gatheringHe returns with another comedy built around a concept that allows for many situational twists. A clear love for cinema is also reflected through the film. Both Gautham as a character and Ram Abbaraju as a filmmaker seem to be influenced by Telugu and Tamil films from the last two decades. The film is full of references, from the posters of Chiranjeevi placed in the background to the overt nods to the films Remo Shaping the love track, especially taking inspiration from Mani Ratnam Alaipayuthey And inverting its emotional perspective.
What feels fresh for Telugu cinema is not the presence of the ex-lover or the romantic conflict, but how that conflict is treated. This is not a story of rekindling old feelings or choosing between two women. Both characters have moved forward. Stress arises entirely from circumstance, time and emotional burden. They do not seek to reunite, but gradually realize that they need each other to sort out their current lives. Once this idea succeeds, the narrative finds its rhythm. The film is also refreshingly self-aware, laying out the protagonist’s goal early on and hinting at the nature of its climax without pretending otherwise.
What works in the film is that it slowly figures out where its true comic strength lies. Rather than relying on one large set piece, the humor grows from interdependent situations. The Naresh track built around the idea of a second marriage becomes the first strong indication. It’s played for laughs but written with enough self-awareness to avoid being uncomfortable. Satya’s Lavakusa acts as the ignition point, which propels the narrative forward without stopping the love story.
Even when the film loses momentum for a while, especially during Kerala, it recovers by falling back on situational humour. The registrar office episode from Gautam and Diya’s past becomes the turning point of the film, giving it a clear narrative backbone. Instead of increasing the conflict in the second half, the film revolves around it, leading to some repetition. However, Ram Abbaraju compensated for this by changing the comic context.
The court scenes, the family celebration and Vennela Kishore’s exaggerated “Guru Bhakti” track repeat the same problem from different angles, and while they feel familiar, the comedy works mostly because of the performances. The film avoids becoming heavy or dramatic even when emotions come to the fore, and the climax stays firmly within this light, playful register rather than forcing a tonal shift.
Sharwanand has played the role of Gautam with ease and restraint. It’s a relaxed, youthful performance and it’s refreshing to see him in a spontaneous comedic role after a while. If he continues to choose scripts in this field, it may help him well. However, Naresh is the scene stealer. His performance as Karthik is full of sharp sarcasm and self-awareness, and the film makes excellent use of “bro daddy” humor without overdoing it. Many of his lines, especially the lines poking fun at generational hypocrisy, hit theaters.
Samyuktha’s role, though limited, carries emotional weight and escapes routine writing. Sakshi Vaidya is confident and comfortable, showing marked improvement compared to her previous visits. Sunil contributes regular laughs, while Satya and Vennela Kishore make the most of their screen time. Even the brief presence, including a cameo of Sri Vishnu, adds flavor rather than seeming decorative.
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The music is where the film falters a bit. Although the background score is playful and supportive, none of the songs really stand out or add to the narrative flow. For a romantic comedy, this feels like a missed opportunity. On the technical front, the cinematography is enjoyable and colourful, especially in the Kerala parts, and the production values are clean without being excessive. The dialogues deserve special mention; They are situational, character-driven, and avoid forced rhymes or cheap punchlines.
Overall, despite the inconsistencies in the second half, Nari Nari Naduma Murari A clean, well-written family entertainer that understands its strengths and limitations. It offers consistent humor, relatable characters, and a refreshingly original idea.