Premam Movie Review: A Timeless Malayalam Classic

The film charts the life of Vikram (Naga Chaitanya), a young man from a middle-class background, as he navigates three distinct phases of love. First, there’s the innocent, schoolboy crush on Suma (Anupama Parameswaran), a pretty classmate who barely registers his existence. Years later, as a college student, he falls deeply for the fiery, independent Sithara (Shruti Haasan), a relationship that will teach him about passion, heartbreak, and growth. Finally, in his late twenties, he meets the composed, mature Sindhu (Madonna Sebastian). Each chapter reshapes Vikram, transforming him from a lovesick teen into a man ready for real commitment. The narrative is essentially a coming-of-age romance, with the three women acting as milestones on his emotional timeline. The film also leans heavily on the comic relief provided by Vikram’s friends, particularly Vasu (Praveen) and Siva (Chaitanya Krishna).

Let’s start with the positives: the performances. Naga Chaitanya is a revelation here. He doesn’t have the raw intensity of a Mahesh Babu, but he embodies Vikram’s awkwardness, vulnerability, and eventual maturity with a natural, understated grace. He’s especially effective in the college segment, where his giddy, puppy-dog infatuation with Sithara feels unsettlingly real. Shruti Haasan, as Sithara, is the film’s secret weapon. She brings a fierce, almost uncomfortable energy to the role-a woman who knows what she wants but is still figuring out how to love. Her scenes with Chaitanya crackle with a tension that is both romantic and volatile. Madonna Sebastian, as the eventual love interest, brings a quieter, steadier warmth, though her character is underwritten compared to Sithara. Anupama Parameswaran, in her brief screen time as Suma, is pure, breezy charm.

The film’s structure is both its strength and its weakness. The three-part narrative allows for a natural exploration of how love changes us over time. Each segment has its own tone: the school chapter is almost comically innocent; the college chapter is raw and intense; the adult chapter is calm and mature. This gives the movie a novelistic feel. However, the pacing is a significant issue. At 157 minutes, “Premam” is at least 20 minutes too long. The middle college section drags, with repetitive scenes of Vikram pining and his friends offering over-the-top comic relief. Harsha Chemudu, as Vikram’s friend, is a one-note jester whose antics grow tired. The film also struggles with tonal whiplash-one moment we’re laughing at a slapstick gag, the next we’re meant to be moved by a heartfelt breakup. The director, Chandoo Mondeti, shows a decent hand for emotional beats, but his command of pacing is lacking.

Technically, the film is competent. The cinematography captures the coastal Andhra setting with a sunny, inviting warmth. The music, by Gopi Sundar, is pleasant, though only the song “Evare” truly sticks with you. The TMDb rating of 6.5/10 feels about right: it’s a solid, watchable film that doesn’t try to be anything more than a gentle romance. But for a movie that runs nearly two and a half hours, you’d hope for a little more depth. The character arcs are sketched rather than fully drawn. Vikram’s growth feels implied rather than truly earned. And the third love story, with Sindhu, feels rushed and conveniently neat after the bombast of the college chapter. It’s a soft landing, but not a very satisfying one.

Pros

• Naga Chaitanya delivers his most nuanced performance to date, especially in the college segment.
• Shruti Haasan is magnetic and brings welcome complexity to the often one-dimensional “love interest” role.
• The episodic structure effectively conveys the passage of time and Vikram’s emotional evolution.
• The comedy from Praveen and Chaitanya Krishna is genuinely funny in patches.
• The film has a warm, nostalgic sheen that will appeal to anyone who has ever had a crush.

Cons

• The runtime is bloated-at 157 minutes, the middle act drags considerably.
• The third love story (with Sindhu) is rushed and less emotionally compelling than the second.
• Comic relief (especially from Harsha Chemudu) feels forced and repetitive.
• The film relies heavily on tropes (the “manic pixie dream girl,” the “love at first sight” cliché) without subverting them.
• The ending is too neat, wrapping up Vikram’s journey with a bow that feels unearned.

“Premam” is a likeable, flawed film that knows exactly what it wants to be-a soft, nostalgic rock for the heart-and mostly succeeds despite its excesses. It’s a showcase for Naga Chaitanya’s growing range and a reminder that Shruti Haasan is a genuinely compelling screen presence. You won’t leave the theater feeling changed, but you might leave smiling. For fans of Telugu romantic dramas, it’s a decent entry. For newcomers, start with a shorter film first. Recommended with reservations.