At a time when most filmmakers prefer familiar formulas, franchise films and predictable storytelling, veteran filmmaker Singeetham Srinivasa Rao has chosen to walk in the opposite direction. At 94, the legendary director returns with Sing Geetham, a musical fantasy where almost every important emotion and narrative turn unfolds through songs. It is an ambitious experiment that very few directors would even attempt today, and for that courage alone, the film deserves appreciation.
Now streaming, Sing Geetham isn’t a film that tries to impress with massive visual spectacle or high-budget action. Instead, it leans on imagination, mythology and music to tell a story about greed, kindness and humanity. While the execution doesn’t always match its wonderful ideas, the film still manages to leave behind a warm impression by the time the credits roll.
A fantasy rooted in music and emotion
The story follows Prathap, played by newcomer Ayaan, who arrives at his family’s ancestral village, a remote mining settlement hiding more than just precious minerals. Strange personalities, mysterious traditions and unusual incidents slowly begin to surround him, making it clear that this is no ordinary village. During his journey, he meets Gauri, portrayed by Ahilya Bamroo, a young woman determined to protect a tree that carries deep emotional value because it was planted by her late mother.
The situation takes an unexpected turn when an unusual curse spreads across the village, forcing everyone to communicate through singing. What initially feels playful gradually becomes the heart of the narrative as Prathap and Gauri search for a way to lift the curse. Their mission becomes increasingly difficult as greed begins consuming the villagers, making personal wealth more important than compassion or community.
The film also introduces mythological references involving Lord Kubera and his companion, the mongoose, giving the fantasy world an additional layer of intrigue. These elements blend surprisingly well with the emotional core of the story, even if some narrative stretches feel underdeveloped. Children may find themselves completely absorbed by this imaginative universe, while older viewers may appreciate the film’s symbolic storytelling more than its fantasy itself.
Performances and music keep the film alive
Among the cast, Ahilya Bamroo leaves the strongest impression. The role requires expressive acting because much of the storytelling depends on musical performances rather than conventional dialogue, and she handles that challenge with confidence. Her facial expressions communicate emotions naturally, while her screen presence suggests she has considerable potential for future roles.
Ayaan delivers a sincere performance that fits the innocent nature of Prathap’s character. Although there are moments where greater emotional depth would have elevated key scenes, he remains convincing throughout the journey. Shalini Kondepudi also performs effectively as Renu, portraying a daughter desperately seeking acceptance from a father who continues believing daughters are less valuable than sons. Nigerian-Indian content creator Agu Stanley Chiedozie adds welcome humour with surprisingly good comic timing, bringing some lighter moments whenever the story becomes emotionally heavy.
Music naturally becomes the backbone of Sing Geetham. Devi Sri Prasad’s composition “Emaindhi Emaindhi” easily stands out as the film’s finest musical piece, both visually and emotionally. It blends beautifully into the narrative instead of feeling like an interruption, reminding viewers why songs can still be powerful storytelling tools when used thoughtfully. Cinematographer Ankur C also deserves praise for making the film look visually pleasing despite its limited locations, often relying on natural lighting to highlight the softer emotional moments. Editor Sankalp Gora manages the film’s unusual structure well, ensuring the musical format never becomes confusing.
A refreshing idea that deserved a stronger screenplay
Where Sing Geetham struggles is consistency. The opening portion does an excellent job introducing its magical world and establishing the mining village, but the momentum gradually becomes uneven. Several scenes feel genuinely magical and emotionally satisfying, yet they are separated by stretches where the screenplay loses energy. The central concept remains fascinating throughout, but not every sequence reaches the same creative standard.
Even so, the film deserves recognition for the themes it quietly explores. Beneath its musical fantasy lies commentary on environmental conservation, unchecked human greed, blind obsession with wealth and the unfair treatment of women in certain sections of society. Rather than delivering heavy-handed messages, the film wraps these ideas inside folklore and fantasy, allowing audiences to interpret them naturally.
In today’s landscape dominated by hyper-masculine action spectacles and franchise filmmaking, Sing Geetham feels refreshingly different. It may not become everyone’s favourite musical fantasy, and its restrained scale could disappoint viewers expecting grand visual effects, but its sincerity is impossible to ignore. More importantly, it stands as proof that creativity has no age limit.
Singeetham Srinivasa Rao has once again shown that storytelling doesn’t always need to follow established rules. Sing Geetham may not be a flawless film, but it is an honest, heartfelt experiment that deserves appreciation for daring to try something few filmmakers would risk today.
PopcornRealm Rating: 3.5/5
