‘Gurram Papireddy’ Review:
By anrwriting [Film critic]
Rating: 2.5/5
Writing a crime comedy is deceptively simple yet inherently complex. Crime is everywhere around us open a newspaper or switch on a news channel, and there’s always a new, bizarre incident waiting to be told. The real challenge lies not in choosing the crime, but in how engagingly it is narrated and how organically the comedy is built around it. When this balance falters, the crime itself begins to look like a joke—and the film ends up becoming the biggest crime of all.
Gurram Papireddy is built on an intriguing premise: a gang that exhumes dead bodies from graveyards. What do they do with these corpses? That question itself sparks curiosity. But does the film develop this idea with enough wit, thrill, and narrative grip? Unfortunately, the answer is only partial.
Story…
Papireddy (Naresh Agastya) plans a crime, with Saudamini (Faria Abdullah) as his partner. To execute it, they rope in three unlikely accomplices Goyya (Jeevan), Military (Kasi Reddy), and Chilipi (Vamsidhar Goud). Their mission is to steal a corpse from a Srinagar Colony graveyard and rebury it in Srisailam.
Why this bizarre exchange? What lies behind this operation? How is it connected to the Kalinga royal lineage? These questions form the crux of the narrative and are meant to unfold gradually.
Execution…
On paper, the idea is bold and refreshingly quirky. The setup feels new, and corpse theft naturally carries an inherent thrill. The use of three “not-so-bright” helpers and the absurd logic behind involving them is amusing in theory. However, the film struggles to extract consistent comedy or tension from this setup.
The story opens in a courtroom, with Brahmanandam appearing as a judge who repeatedly utters the word “stupidity.” Ironically, this becomes a self-referential commentary on the film itself. When the judge introduces the tale as a “misguided story,” the film inadvertently reveals its own weakness—and the narrative that follows sadly lives up to that description.
The opening gold shop robbery sequence introduces most of the principal characters, but the scene feels silly rather than smart. It lacks cleverness and fails to establish the director’s narrative intelligence. The subsequent graveyard theft sequence fares better there are a few genuinely funny moments, especially involving Military being accidentally buried alive. This is where the film briefly finds its footing.
Once the larger conspiracy behind the corpse exchange is revealed—and its connection to the Kalinga estate involving wealth worth thousands of crores the film regains some intrigue. Goyya’s sudden rise as a supposed heir and his courtroom journey inject some dramatic weight. The interval twist, though interesting, is stretched out too long, testing the viewer’s patience despite rekindling curiosity for the second half.
Second Half & Courtroom Drama
The second half largely unfolds inside a courtroom and revolves around proving Goyya’s lineage. Unfortunately, the courtroom proceedings are excessively silly and painfully prolonged. The DNA test episode, in particular, feels like a never-ending farce.
While the first half manages sporadic laughs, the second half is almost entirely devoid of effective comedy. Scenes drag endlessly, circling the same narrative point, leading to boredom. A final twist is introduced, but by then, viewer fatigue has firmly set in. Even the hint at a sequel fails to generate excitement.
Performances…
Despite Naresh Agastya’s prominence on the poster, Gurram Papireddy treats all characters equally. Agastya remains largely subdued for most of the film and only transforms into a “hero” figure towards the end due to the final twist.
Faria Abdullah has substantial screen time, but her role lacks impact. Jeevan, Kasi Reddy, and Vamsidhar Goud manage to entertain in bits and pieces. Surprisingly, seasoned comedians like Brahmanandam and Yogi Babu are unable to elevate the humor. The antagonists also fail to register as threatening or memorable.
Technical Aspects & Direction
The film had ample scope for outrageous, laugh-out-loud episodes, but the director fails to tap into that potential. Except for a few light chuckles, the comedy never truly lands. The absence of songs is a small relief. However, neither the production values nor the directorial vision leave a strong impression.
Verdict…
Gurram Papireddy starts with a promising and unconventional idea but falters in execution. The film neither commits fully to crime nor to comedy, resulting in a confused narrative that lacks sharpness, pacing, and payoff.
A missed opportunity that could have been hilariously outrageous but instead settles for being mildly amusing at best.
