Mahavatar Narasimha is a film with no star cast, featuring animation reminiscent of standards from five to ten years ago. Yet, it has suddenly taken the box office by storm. Despite a humble start, the word of mouth has spread wildly.
The film grossed a whopping Rs 18 crore on its second Saturday and came close to Rs 30 crore on its second Sunday. This is phenomenal. No film in recent memory has collected this much — many times more than its first weekend — in the second weekend.
Coming to the content of the film: it features not just one, but two Mahavatars. The story of Varaha Avatar, which is not widely known to the majority, is also woven into the narrative.
The two demon brothers — Hiranyakashipu and Hiranyaksha — create havoc for Lord Vishnu and his devotees and eventually meet their fatal end. Additionally, Holika’s death is also portrayed in the film.
The killing of Hiranyaksha by the Varaha Avatar is shown in the pre-interval episode and is executed exceptionally well. Bhoodevi is beautifully depicted as a metaphor for nature—intertwined with plants, flowers, and greenery.
The story itself is known. But what director Ashwin Kumar has done is encapsulate it in a way that appeals strongly to kids and teens.
Interestingly, Mahavatar Narasimha is originally a cameo in the Prahlada story, appearing only at the climax to kill Hiranyakashipu without much of a fight. However, in this film, the climax is extended into a long, intense sequence featuring an epic battle between the demon and the Lord. Though at times a bit over-the-top, there are some truly impressive moments.
One such scene shows Hiranyakashipu growing so enormous that he covers the entire universe, only to realize Lord Vishnu is even larger — with the entire universe reflected in his eye. That scene is captivating — not just for children, but even older viewers were visibly impressed.
The final killing of Hiranyakashipu is brilliantly shown, with a proper explanation of how each aspect of Brahma’s immortality boon is bypassed. It’s fascinating and well-conceived.
Throughout the film, the dialogues are strong and fitting. While showing all rakshasas with two protruding teeth may seem unnecessary, it's clearly intended to make a visual impact for younger audiences.
At first, a few flaws and elements of low aesthetic taste may catch the eye. But as the captivating drama unfolds — elevated by a stirring background score—even elders find themselves drawn deeply into the narrative. There are moments so emotionally charged with divine intensity that they bring tears to the eyes.
Theatres are packed with kids and families. It feels like a Sankranti season atmosphere—something rarely seen these days. This clearly shows that families are eager to watch such films when given the right content.
Filmmakers should stop lamenting that audiences aren’t coming to theatres due to OTT platforms. Instead, they should reflect on the kind of irrelevant and uninspiring content they are offering. Understanding the pulse and mood of the audience and making the right kind of films is crucial.
What’s currently ruling the Indian box office are Hindu devotional and divine subjects. When handled properly—with strong background music, emotional depth, and genuine devotion—the chances of success are significantly higher.
The director’s next offering, Mahavatar Parashuram, was announced at the end of the credits. It will be interesting to see how that film is received. With AI advancements now in place, we can hope that Mahavatar Parashuram will be far more superior and realistic in execution compared to Mahavatar Narasimha.
Radhakrishna Nekkanti
