Coastal Karnataka film enthusiasts looking for a fresh dose of Tollywood comedy might find themselves disappointed with "Donga Naa Koduku" (DNK), the latest offering from director Sreenu Kambala. Released on November 13, 2026, the film, starring YouTuber-turned-actor Mouli Tanuj Prasanth in his second lead role, struggles to deliver the promised laughs, despite initial audience anticipation at venues like Allu Cinemas.
Mouli, who previously charmed audiences in "Little Hearts," plays Eshwar, a Visakhapatnam resident ensnared by a betting addiction. His habit leads him to borrow extensively, even pawning his girlfriend Deepu's (Sushmitha Shetty) gold rings. Buried under mounting debts and a tarnished reputation, Eshwar enlists his friend (Babloo) to execute a major robbery, hoping to clear his financial woes. This desperate plan forms the core of the narrative.
While the concept of merging crime with comedy holds promise, Kambala's direction falters in execution. The film manages a few genuine laughs in its initial half, but quickly descends into a confusing, drawn-out experience. The primary issue lies with the script; an abundance of twists, intended to surprise, largely fall flat. Unnecessary scene extensions and an reliance on crude, double-meaning humour, alongside stale social media memes, detract from any comedic potential. A particularly uncomfortable track involving a gay character further tests viewer patience.
Mouli Tanuj Prasanth demonstrates decent comic timing, yet the endearing innocence that defined his "Little Hearts" performance is noticeably absent here. He strives to carry the film, but weak writing and poor dialogue choices undermine his efforts. Babloo offers a decent supporting turn, while Ali, Gundu Sudarshan, and Rajitha fulfill their limited roles. Sushmitha Shetty, as Deepu, has minimal screen presence.
Technically, "Donga Naa Koduku" is merely adequate. Sinjith Yerramilli's background score is jarringly loud, and none of the songs leave a lasting impression. Suriya Balaji's cinematography serves its purpose, though the editing, especially in the latter half, could have been significantly tighter. Despite a couple of interesting twists and a moderately effective laughing Buddha motif, these elements fail to salvage a production marred by needless slow-motion, over-the-top acting, and a generally weak script. Tollywood audiences, clearly yearning for simple, hearty comedies, will likely continue their wait.
Image: siasat.com
đź“° Source: Siasat Gulf