Mrithyunjay Review

Sree Vishnu seems to be having a gala time. Just last week we saw Vishnu Vinyasam, and now comes Mrithyunjay. It's quite rare for an actor to have two releases within a span of just one week. What truly stands out however is the contrast between the two films - while the previous one was a comedy, this one ventures into the thriller genre, and does it fairly well.

Mrithyunjay may not be a well-rounded film by any stretch. It carries its share of flaws (more on that later), but it still manages to keep you on the edge of your seat. Despite its imperfections, it engages you enough to make the experience worthwhile and rewards you for the time invested.

Mrithyunjay, also called Jay (Sree Vishnu), works for a newspaper. His job is to collect details about people who have recently died and convince their families to place obituary advertisements in the paper. Though he is good at the job, Jay is unhappy with it, and dreams of working in the newspaper's crime bureau.

One day, while attending the funeral of a man whose death was reported as an accident, Jay begins to suspect something is wrong. He believes the man may have actually been murdered. Curious and determined, Jay starts investigating the case on his own.

As he digs deeper, he realizes that this was no ordinary murder. The killer is a highly skilled hitman. Worse still, the hitman soon becomes aware that Jay is trying to track him down, turning the investigation into a dangerous game of cat and mouse.

Let's first talk about the film's flaws, because the opening portions are filled with them, most of them tied to the story. The narrative glosses over several important details. The death that Jay suspects to be a murder - initially treated as an accident by the police - has a lot of unexplored layers. The victim's backstory, the bank scam he was about to expose, the people behind the scam, and even the nature of the scam itself are merely touched upon and quickly brushed aside. Even Jay's character doesn't get a strong arc or much personal depth.

However, things begin to change a few minutes before the interval, when the actual cat-and-mouse game between Jay and the hitman begins. From that point onward, the film suddenly finds its footing. In hindsight, some of the earlier shortcomings start to feel almost deliberate. Director Hussain Sha Kiran seems to have intentionally avoided dwelling on the larger conspiracy, choosing instead to focus entirely on the tense battle of wits between the hero and the villain.

There may not be much story on paper, but the cat-and-mouse chase is crafted brilliantly. Each sequence in this stretch feels gripping, and the investigation unfolds with convincing detail. In that sense, the film resembles Kill, which focused almost entirely on combat inside a train. This movie similarly zeroes in on the relentless pursuit - Jay chasing the hitman, the hitman outsmarting Jay, and this cycle continuing right until the final frame. After the interval, the film keeps you constantly on the edge of your seat.

One of the refreshing aspects of Mrithyunjay is that it keeps out much of the usual baggage seen in a typical Telugu movie. For example, there is no forced romance track. The female lead is a police officer, and she functions strictly within that role. She does her job, investigates, and interacts with the protagonist only as required by duty. Whatever exchanges happen between them feel professional and transactional, rather than artificially romantic.

The film also avoids the usual song-and-dance interruptions. There are no full-fledged songs - only a few rhyming lines that play briefly in the background, without halting the narrative. More importantly, the movie steers clear of unnecessary hero or villain build-ups. There are no exaggerated macho moments. Both the hero and the antagonist are simply good at what they do and driven by dogged persistence. Their actions feel largely grounded and human.

As mentioned earlier, the story itself is quite thin, revolving mainly around the chase. However, the film compensates for this with impressive investigative detailing. A striking example is the sequence involving the death of a man (Balaaditya), which is initially declared an accident caused by electrocution. The killer has carefully studied the victim's routine. The man regularly stops at a roadside temple, removes his slippers and prays. On a rainy day, with water pooled on the ground, the killer lays an electric wire in the water, expecting it to electrocute the victim. But ordinary rainwater is not a strong conductor. So the murderer deliberately adds enough salt to the water to ensure the current passes through effectively. It's a small but fascinating detail - one that very few films have paid attention to before.

Performance-wise, Sree Vishnu and Veer Aaryan dominate the screen. Vishnu's character reveals very little about his personal life or even his professional background. But once he starts pursuing the hitman, the character gets much more intense as the hunt turns into a personal obsession for him. Known mostly for his comedic roles, Sree Vishnu takes a noticeable leap here and delivers a solid performance in a more serious, restrained role.

Veer Aaryan's character is equally intriguing. In fact, the film never even reveals his name - he remains simply a nameless hitman. The movie also avoids explaining why he does what he does, but instead focuses on the meticulous nature of his work. His careful planning, his constant efforts to erase evidence after the job, and his chilling, cold-blooded efficiency make the character compelling. Aaryan pulls off this role very effectively.

The supporting cast also fits well into the narrative. Comedians Sudharshan and Raccha Ravi get moments of situational humour, and their roles never feel forced. They are not inserted purely for comedy; instead, they naturally support the story and the lead characters.

Reba Monica John, playing a police officer, avoids the typical filmy cop stereotype. Her portrayal is believable. She gets a significant moment toward the climax, where she leads her team in the effort to capture the villain. Even the action she performs feels realistic rather than exaggerated.

Technically, the movie's editing stands out the most. At times it may feel like a few relevant moments have been trimmed, but the advantage is that the film never drags or wastes time. The cinematography is also impressive, capturing the tension of the chase effectively. The background score works in parts, though at times it becomes a bit loud and excessive.

Overall, everything is in the chase. Even though the story itself isn't particularly novel, the tight execution keeps you invested. The movie respects your time and delivers a gripping experience, making it a decent one-time watch.