Hari Hara Veera Mallu Review: Pawan Kalyan And Bobby Deol Shine In Parts, But Film Fails To Impress

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Hari Hara Veera Mallu Movie Review: Pawan Kalyan shines in parts, but film stumbles with weak visuals, patchy writing, and a sluggish second half that dulls the spectacle.
In Hari Hara Veera Mallu, Pawan Kalyan steps into the shoes of a swashbuckling outlaw tasked with impossible missions across the Deccan and Mughal empires. Positioned as a historical action epic and loaded with political undertones, the film attempts to blend mythology, freedom and folklore into a sweeping narrative. Unfortunately, while the ambition is sky-high, the execution wobbles on too many fronts to soar.
Set during the Mughal era, the film follows Veera Mallu (Pawan Kalyan), a master thief whose skills catch the attention of a regional king (played by Sachin Khedekar). Entrusted initially with stealing a set of rare diamonds, Veera's mission escalates when he's asked to retrieve the famed Kohinoor from the clutches of Emperor Aurangzeb (Bobby Deol). The setup promises tension, adventure, and spectacle but the screenplay never quite delivers the momentum such a tale demands.
Pawan Kalyan brings charisma to the titular role, and his persona carries weight, especially during moments that align with his larger-than-life political image. However, the lengthy production cycle is visible both in his inconsistent physical appearance and the film's uneven pacing. His presence commands attention, but the emotional beats needed to root for Veera Mallu are absent.
Nidhhi Agerwal plays Panchami, a devadasi who briefly intersects with Veera's journey. Her role, though potentially rich in narrative value, is largely decorative. Apart from a key twist, her character lacks depth, making her arc feel underutilised. Bobby Deol's Aurangzeb, on the other hand, offers a silver lining. Channelling restraint and menace, Deol stands out with a performance that's dignified and quietly threatening which is also one of the few highlights in a film otherwise low on intensity.
Technically, Hari Hara Veera Mallu is a mixed bag. Thota Tharani's production design recreates parts of the Mughal world with flair, especially the Charminar sequences, but elsewhere, the visuals falter. The CGI, particularly in action-heavy scenes like the lion sequence and the journey to Delhi, ranges from jarring to downright laughable. These effects undercut the seriousness of the story and make the film feel less like a period epic and more like an outdated TV fantasy.
The music by MM Keeravani is another missed opportunity. For a genre that thrives on rousing background scores and memorable songs, the soundtrack lacks punch. The score supports the film but never elevates it. Editing too feels patchy, with abrupt transitions and sluggish pacing that drag the second half down significantly.
Narratively, the film starts slow, picks up briefly around the interval, thanks to an engaging Charminar chase and then slides into monotony in the latter half. The stakes are high, but the storytelling lacks urgency. Attempts to insert spiritual and patriotic layers don't feel organically woven in, leaving those moments emotionally hollow.
In the end, Hari Hara Veera Mallu has flashes of grandeur and a few compelling ideas, but it's weighed down by poor execution, dated visuals and a script that never fully taps into its potential. Despite the star power and scale, the film lands as an underwhelming experience.
First Published:
July 24, 2025, 11:24 IST
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