His conviction to execute the most insane of his ideas is a lesson for future filmmakers. There’s no stopping an uncaged Boyapati Sreenu in Akhanda. In Akhanda, though, all the sequences of sadism play out in a span of 10 minutes. Legend, for instance, had a scene where four dozen fishermen are stabbed and diced an equal number of background artists are killed in Sarrainodu, Simha, Vinaya Vidheya Rama, so on and so forth. There have been several gory sequences involving mass murders in the director’s filmography. With Akhanda, Boyapati has reached a new high in savagery: A hospital where sick children are being treated explodes, a truck runs over dozens of poor men, some more men are set on fire, an entire community of labourers is gunned down. What has changed, though, is the way his barbaric villains mercilessly murder dozens of junior artists. Ever since his debut with Bhadra, Boyapati has refused to evolve as a storyteller. This is neither a criticism nor an appreciation I’m merely stating a fact. A khanda is a true-blue Boyapati Sreenu film.
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