Attarintiki Daredi movie review

Attarintiki Daredi is a 2013 Telugu comedy-drama film starring Pawan Kalyan and Samantha in lead roles. B.V.S.N. Prasad produced the film under Sri Venkateswara Cine Chitra banner and Trivikram Sinivas has written & directed it. Attarintiki Daredi released worldwide on 27th Sep, 2013.
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Attarintiki Daredi Story:

Gautham Nanda, the grandson of Billionaire Raghunandan, promises that he will bring back his aunt for the 80th birthday of Raghunandan. Gautham joins as a driver at their home as Siddhartha and helps the family from several problems. Sunanda recognizes him but refuses to return to her father. The rest of the movie is about Gautham’s efforts in bringing back his aunt.

Story inspirations:

The basic storyline is based on the movie, Nuvvu Naaku Nachav (2001) for which Trivikram Srinivas himself provided story and dialogues. Although several elements of the film are strikingly similar, Attarintiki Daredi has completely different execution. There are some similarities with Chiranjeevi starrer ‘Bavagaru Baagunnara?’ too but they are limited.
The stories of reunion are a goldmine in Telugu film industry. There are Hundreds, if not Thousands, of movies made with this formula and most of them are successful. The stories range from reuniting people, families to even villages. In most cases, the core problem is a marriage not approved by the family or families. The protagonist has to impress everyone by solving problems of the family. However, the concept of reuniting aunt with grandfather with romance being the subtrack is completely fresh take on the genre.

Story analysis:

The beginning of the movie establishes the nature of protagonist and the core conflict within first 15 minutes which includes a fight and a song too. This can be considered a good beginning as several key elements are handled within a short span. The core problem is about an arrogant billionaire who accomplishes everything through brute-force is to compromise to bring back his aunt.

First Half – 

The majority of first half sets the tone of the film but does nothing to take the story ahead. It’s only after the fight with Posani Krishna Murali that the story escalates. And immediately after a song and fight, the interval episode happens in the form of Nadhiya telling Pawan Kalyan that she won’t return to her father. Although it’s pretty good interval block, it’s not that exciting. Pawan Kalyan saves Rao Ramesh from heart attack, forces Posani Krishna Murali to return hotel documents and stops Pranitha from eloping in first half but there are no conflicts.

Second Half –

The second half starts when Pranitha tells about her love and asks Pawan Kalyan to bring back her lover, Rohit, from a forced marriage. The next subtrack has nothing much to do with the story. Pawan Kalyan travels to Chittoor with Ali and Samantha and brings back Rohit. Nadhiya offers her daughter’s hand in marriage in return for the failed marriage of Kota Srinivasa Rao’s daughter. However, Rao Ramesh asks Pawan Kalyan to leave as his presence may become a hurdle for marriages. Boman Irani is sick on his death bed and Mukesh Rishi asks Pawan Kalyan to return immediately. This is a point of no return and it should have been an effective interval episode.
Samantha confesses her love to Pawan Kalyan. Brahmanandam arrives into their home as Baddam Bhaskar. Pawan Kalyan uses the opportunity and joins as his assistant. Another subtrack follows that provides ample entertainment but has little importance to the story. Pawan Kalyan is told to leave again after Brahmanandam gets beaten. Samantha elopes with Pawan Kalyan and they both are confronted by Rao Ramesh and Nadhiya. Pawan Kalyan convinces his aunt by narrating repercussions of her leaving and tells her that parents would react same in such a situation. The family reunites and all the subtracks are closes towards the climax.


Opening sequence



The screenplay is an asset to the film as it handles many things without going too far from the central theme. The segmented flashback is a brilliant idea as it provides the necessary information without giving away the spoilers. The placement of songs and fights is perfect except for the Kirraak song which comes right after Boman Irani is hospitalized. The Baddam Bhaskar episode is entertaining. Pawan Kalyan narrating his backstory (as Siddharth, a driver in Dubai, lost job after a fire accident etc) using the cues in hospital is good.


The characterizations of Gautham and Sunanda are an asset to the film. Sunanda is a stubborn lady who demands for more which is evident in several scenes. This has been equally supported through the dialogue that her opinions are well respected in the family, so she never thinks about returning to her father. Gautham is an arrogant man who solves his problems through brute-force. He beats his assistants and comedians through out the film, but that actually helped the characterization. The central theme of the film is to compromise wherever necessary leaving your arrogance and ego behind. The characters of Gautham and Sunanda convey this message which results in several similarities in their characters.

Connections between scenes

There are several connections throughout the movie. Nadhiya recognizes Pawan Kalyan as her nephew when he leaves without asking for money to fuel the car. She figures it out when Posani Krishna Murali returns her documents that Pawan Kalyan is behind it. However, she confronts him only after he rescues Pranitha. Trivikram Srinivas handled these scenes very well with subtlety. The movie starts with Samantha getting kidnapped, then board meeting about company shares, Boman Irani asking Pawan Kalyan to fill dining table with people and the director concluded all these things in climax.


The dialogues have elevated many scenes in the film. Pawan Kalyan narrating the story of a man who left his family to survive the flood sets the tone of the movie. Rao Ramesh narrating his experience of heart-attack worked out very well. Posani Krishna Murali dialogues while returning the hotel documents are interesting as well. The climax scene depends entirely on dialogues and performances. There are several other instances where dialogues have been effective.



There are 2 major subtracks which fill majority of the second half. The first is bringing back Rohit from arranged marriage and the second is Brahmanandam episode. Both are entertaining but add little value to the main story.

Family members

The family members of Rao Ramesh fill the screen all the time. But we never get to see their background or relationships in the movie. However, Rao Ramesh narrates the flashback of his sister. But the rest of the family remains as a padding to combined family.

Illogical scenes

Samantha getting amnesia after falling into the jeep is cliched. She becomes normal within a day.  When Rohit and Pranitha are travelling in the car and the car stops, Rohit breaks the glass and pops out of the car while Pranitha happily sits in the car. While this is completely illogical, it would have been a little better if Pranitha wears a seat belt. Pawan Kalyan holding the son of Kota Srinivasa Rao by hair in mid-air is another illogical scene.


Pawan Kalyan delivered a very good performance in crucial scenes. His expressions and body language in several scenes of second half reminds us of Kushi. He elevates the climax scene with his performance. Samantha is good in a type-casted role. She has done similar roles several times, so she pulls it off with ease. The variation in scenes where she forgets her past is good. Pranitha is good in her part with a limited role. Nadhiya played a key role and her performance is impressive. The subtle differences she has portrayed as a young and stubborn daughter arguing with her father and as a matured woman is commendable. Rao Ramesh raised many eyebrows with his performance. The audience and critics praised the realistic portrayal of his character.
Boman Irani has limited screen space but he leaves his mark. His performance in the scene where he stands up from his wheelchair is very good. Brahmanandam entertains as Baddam Bhaskar with his attitude. Mukesh Rishi and Kota Srinivasa Rao has limited roles and they justified.

Technical Analysis:

The production values are excellent and the film looks rich. This is probably the only film of Trivikram Srinivas with a balance of writing and direction. He excelled at everything and entered the top league with this film. The background score by Devi Sri Prasad is remarkable and the songs are equally good. Cinematography by Prasad Murella is good and the visuals are rich in every frame. Editing by Prawin Pudi is good. The stunts are good but some shots are cliched. The choreography of mall fight is excellent.


Attarintiki Daredi has more entertainment than substance. Moreover, the film has enough commercial elements to treat the fans of pure family dramas. Overall, it’s old wine in a new bottle.
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