Kannappa Movie Review: A Mythological Spectacle with Visual Grandeur but Uneven Storytelling
Director Mukesh Kumar Singh’s Kannappa was marketed as a grand retelling of one of Indian mythology’s most emotionally resonant stories — that of Kannappa, the legendary devotee of Lord Shiva. With a star-studded cast and stunning visuals shot in international locations, the film seemed poised to be a major cinematic event in 2025. But despite its towering ambition, the final product ends up being visually rich yet emotionally disjointed, struggling to blend substance with spectacle.
Plot Summary: From Hunter to Devotee
At the heart of the story lies Thinnadu, a fierce, atheist hunter from the Chenchu tribe, portrayed by Vishnu Manchu. He has no faith in the gods his tribe worships and actively mocks their rituals. However, his life turns when he encounters a vayulingam — a self-manifested form of Lord Shiva deep in the forest. This divine experience sets him on a path of transformation, culminating in his eventual deification as Kannappa, the epitome of selfless devotion.
While the premise is timeless, the execution in this version is plagued by inconsistent tone, awkward pacing, and questionable creative choices, particularly in the film’s first half.
Early Missteps: Costumes, Tribes, and Clarity
From the opening scenes, Kannappa suffers from a jarring aesthetic disconnect. The costumes and set design — meant to represent tribal communities of ancient India — often feel more like cosplay from a low-budget fantasy convention. Garish body paint, stylised weapons, and loud mystical rituals dilute the sincerity of the film’s emotional core.
“The portrayal of the Chenchu tribe feels heavily stereotyped, veering toward caricature,” says cultural critic Ananya Rao. “It’s unfortunate, especially when the tribe’s real history and customs are so rich and nuanced.”
This exoticisation not only undermines the credibility of the setting but also draws attention away from the story’s more grounded, spiritual themes.
Performance Watch: Vishnu Manchu’s Passion, But Is It Enough?
Vishnu Manchu clearly treats Kannappa as a passion project. His dedication shows, particularly in action sequences and scenes of devotion. He is also credited with co-writing the screenplay. However, his performance falters in high-emotion moments, especially in the climactic scenes that demand a deep emotional range.
The supporting cast, including R. Sarathkumar, Mukesh Rishi, Madhoo, and others, perform to the script’s demands but aren’t offered much narrative weight. Preity Mukhundhan, as Nemali, is underutilized and often framed in a way that feels unnecessarily objectifying.
Star-Studded Cameos: Saving Grace in Parts
What undeniably works in Kannappa is its surprise cameos. While the marketing campaign didn’t hide their presence, Prabhas, Mohanlal, and Akshay Kumar each make brief but impactful appearances. These moments anchor the film in mythological gravitas and provide much-needed emotional depth.
One particularly memorable scene involves Thinnadu’s interaction with a Brahmin priest, sparking a conversation about caste, purity, and accessibility to divine spaces. It’s a rare moment where the screenplay reaches beyond spectacle and strikes a chord of philosophical and social relevance.
Direction and Writing: A Case of Second-Guessing?
Director Mukesh Kumar Singh attempts to balance spiritual reverence with cinematic scale, but ends up hedging his bets. There’s a persistent sense that the film is unsure of its tone — unsure whether it wants to be a faithful mythological epic or a fantasy-action blockbuster.
“The film’s lack of narrative urgency is its biggest undoing,” says film analyst Rahul Mehta. “It finds its emotional resonance too late into its 182-minute runtime.”
The film’s screenplay is overstretched in the first half, weighed down by repetitive visuals and vague world-building. When it finally does pick up, the viewer has already endured over 90 minutes of incoherent buildup.
Visuals and Music: A Tale of Two Halves
Shot extensively in New Zealand, Kannappa spares no expense in showcasing sweeping landscapes, verdant meadows, and cascading waterfalls. These elements look stunning but lack cultural grounding, making it difficult to believe in the film’s setting.
The background score by Stephen Devassy is effective in parts, especially during moments of divine revelation and transformation. However, the songs themselves don’t leave a lasting impression, and some feel forcibly inserted to pad the runtime.
What Works in Kannappa
- Lavish production values and beautiful cinematography
- Cameos by Prabhas, Mohanlal, and Akshay Kumar elevate select scenes
- Thought-provoking themes on faith and caste (albeit too briefly explored)
- The final act offers some emotional payoff
What Doesn’t Work
- Unconvincing world-building and exoticised portrayal of tribal culture
- Vishnu Manchu’s performance lacks emotional depth in key moments
- Poor pacing and a dragging first half
- Female characters objectified or sidelined
- Disjointed tonal shifts between fantasy spectacle and devotional narrative
The Takeaway: Mythological Ambition Undone by Style Over Substance
Kannappa could have been a powerful spiritual saga that blended mythology with modern cinematic tools. Instead, it’s a film torn between spectacle and soul. Its emotional and philosophical potential is buried under over-the-top visual flamboyance, predictable storytelling, and thematic indecision.
Still, the story of Kannappa — a non-believer who becomes the ultimate devotee — is powerful enough to shine in parts, even if the packaging often undermines the message.
Kannappa Movie Verdict
- Director: Mukesh Kumar Singh
- Cast: Vishnu Manchu, Prabhas, Mohanlal, Akshay Kumar, Kajal Aggarwal, Mohan Babu, R. Sarathkumar, Madhoo, Preity Mukhundhan
- Streaming/Theatrical: Theatrical Release (2025)
- Duration: 182 minutes
- Language: Telugu (dubbed in multiple languages)
⭐ TheTrendingPeople.com Rating: 2.5 out of 5 stars
Kannappa aspires to be a mythological epic for modern India, but falters in execution. While there are moments of grace and grandeur, they are few and far between in a film that needed more spiritual depth and narrative discipline.
