Divorce. Thunders the love-lorn damsel in dire straits. Done. Accedes the blithe beau bestowed with benign 24 carat heart. Well, the raffish soul with sunshine smile too has lost the love of his life. But like a Rainmaker he tries to bring rainbow in the lives of other cupid-stricken couples. At home, it’s battle of wits for this puckish prince of goodness, who wears the RJ beret, as he tries to fan reason into a wistful wife Anjali who wallows for a vagabond Hemanth than her own humble hubby at hearth.
So, as they say, Love Actually, does not run a smooth nor straight course on celluloid. Milana too is no different from the mundane, malodorous movies, that preceded it. The Midas man who gave Kushi (literally and figuratively at box office) returns to test his metier at turnstile. But, woebegone, Prakash’s fulsomely formulaic Milana simply wilts under weighty wantonness Prakash vapidly heaps on in self-belief that he is telling a tale and entertaining.
After an haitus of eight months Sandalwood’s winning duo of director-cousin Prakash and Puneet Power Star Rajkumar return to marquee to rake in the moolah again. But with emphasis more on ensuring that Power Star packs punch in every frame he fills, afterall he is Akash, and literally sky is the limit, Milana is no meaty proposition for the discerning.
If first half is as tiresome and tenacious as trekking on a treadmill as Prakash tries to tie up all players together, the second half, is a teary, treacly affair with Prakash at preachy best and Puneet, the parson, delivering the sermon with his signature flair and flamboyance. Pooja Gandhi & Parvathi Menon add the glamour quotient, while Mano Murthy still soaks in his Mungaru Male mood though Milana is not easy on the ears except for two scores Ninindale and Male Ninthu Hodha Mele (note the Male refrain).