Entertainment
On the ‘Laguna Beach’ reunion, this former love triangle is back for nostalgia, not drama
It feels like a relic from a bygone age of simplicity: an entire season of reality TV hinging on the social lives of a group of unpolished teenagers. They gossiped, cried, partied and fought. They worried about college admissions and which shade of polish to choose at the nail salon. They cast longing looks from across the room.
That was “Laguna Beach.”
Series creator Liz Gateley had just started working at MTV in 2003 when she pitched an unscripted series following a real group of high schoolers in Southern California.
“The logline was, ‘90210’ and ‘Heathers’ meets ‘Dawson’s Creek,’’’ because we knew we wanted music to be a big part of it,” Gateley said. “We didn’t know it would be the phenomenon it became.”
Shot more like those glossy dramas than a reality series, every “Laguna Beach” episode opened with Hilary Duff’s “Come Clean” playing over the sun–kissed credits and a title card that let viewers know “the people, the locations and the drama are real.”
For the most part, they were.
At the heart of the first season was a quasi-love triangle between on-again, off-again Laguna Beach High School couple Stephen Colletti and Kristin Cavallari, and Colletti’s close friend (possibly more), Lauren Conrad.
The cast of MTV’s “Laguna Beach,” from left: Stephen Colletti, Kristin Cavallari, Morgan Olsen, Christina Schuller, Trey Phillips, Lo Bosworth, Lauren Conrad and Talan Torriero.
When the series premiered on MTV in 2004, it became an instant (and controversial) hit, made millennial household names out of Cavallari, Colletti and Conrad, and led to the spin-offs “The Hills,” “The City” and “Newport Harbor.”
Now, 10 original cast members, including those stars, have reunited for “The Reunion: Laguna Beach” premiering Friday on the Roku Channel. (The special was originally planned to coincide with the cast’s 20th high school reunion in 2024 but is now loosely timed to the anniversary of the show’s 2006 finale.)
Hosted by actor Casey Wilson, the reunion is an upbeat, feel-good affair, highlighting some of Season 1’s most memorable moments and faces. Cavallari, Colletti and Conrad all served as executive producers and wielded a degree of “creative control,” Colletti said.
“We didn’t want it to be this dramatic, ‘Housewives’-type reunion,” Cavallari said. “We wanted to do it for the nostalgia.”
Ahead of the reunion’s premiere, Colletti and Conrad, both 40, and Cavallari, 39, convened for a lengthy interview with The Times at a beachfront hotel restaurant in Santa Monica. Nestling into a corner booth with the trio felt like sitting with the cool kids you’d only ever watched from afar.
Yet, the three — even Cavallari and Conrad, who were pitted against each other in the 2000s — were warm and chummy, cracking jokes and enthusiastically agreeing with one another.
They’ve come a long way from their high school drama. Conrad has returned to Laguna Beach where she and her husband, the Something Corporate guitarist turned attorney William Tell, are raising their two sons. Cavallari oversees a lifestyle brand in Nashville and shares three children with her ex-husband, the former NFL quarterback Jay Cutler. And Colletti recently appeared on “The Traitors” and stars in the upcoming second season of the comedy “Everyone Is Doing Great.” He and his wife, NASCAR host Alex Weaver, are currently expecting their first child.
These are edited excerpts from the conversation.
How did the reunion come about? Did anyone require convincing?
Cavallari: I credit Stephen for all of this, because the [“Back to the Beach”] podcast [co-hosted by Cavallari and Colletti] was his idea, and then from there, the reunion.
Colletti: When I first called Lauren about it, she was like, “Alright, I have a few questions.” You didn’t shoot it down right away, but you could tell there were some things that we needed to work through for this to make sense, and rightfully so.
Conrad: For me, just the idea of bringing cameras back into my life was very nerve-racking, but we were all executive producers. We all had a say, so we felt like we had a bit of control, which, in the past, we haven’t.
Conrad, Colletti and Cavallari are all executive producers on “The Reunion: Laguna Beach.”
(Jason Armond / Los Angeles Times)
The “Laguna Beach” producers chose your high school for the show in 2003 and then began selecting interested students to star. What do you remember about your applications?
Cavallari: I just remember trying to make myself stand out. I was competitive. I didn’t even have the foresight to be like, “Do I want to be on TV?” It was more like, “I want to win this thing,” like I’m competing to be on TV. Everybody was vying for it.
Colletti: I remember doing some of the interviews [with the producers], and I’m freaking mumbling. I’ve got this pineapple hair. I’m trying to be like Freddie Prinze Jr. I didn’t know who I was.
What was your understanding of what being on reality TV entailed?
Conrad: Well, they put together a package for us. They had filmed for maybe a week, and they showed it to us and our parents before we signed on — and that was pretty different from where we landed.
Cavallari: It was more PG. No real drama, more like a documentary.
Colletti: No s— talking.
Conrad: Just like, “What’s it like to live in a beach town?”
Cavallari: I remember my dad being like, “Well, this is going nowhere. They’re really boring.”
When did you realize that your love triangle was going to be the central storyline of Season 1?
Cavallari: Pretty quickly. In my [audition] interview, a lot of the questions were geared toward it. Obviously, once we started shooting, we got a pretty clear idea.
Colletti: They started to hone in on certain things, or they fed our friends a question to ask us.
Cavallari: I remember having to be very careful about what I said — but not careful enough because I didn’t think about editing. I was just like, “Well, if I don’t say it, what are they going to do?”
Conrad: A look says it all. They’ve admitted to me that in the pilot, at the hotel, they used a scene where I’m looking at a tray of food, and they made it look like I was looking at Stephen.
Lauren and Kristin, you don’t ever really speak face-to-face on “Laguna Beach.” Were there more interactions happening at that time that we didn’t see?
Conrad: No, that was it.
Cavallari: We really did not.
“I have a lot of respect for Lauren, and I think it’s been really nice to get to know this version of her, as adults, as moms, as business owners,” says Kristin Cavallari about her former castmate Lauren Conrad.
(Jason Armond / Los Angeles Times)
You two share a really mature conversation in the reunion. How have your perceptions of each other changed over the years?
Cavallari: I have a lot of respect for Lauren, and I think it’s been really nice to get to know this version of her, as adults, as moms, as business owners. We have a lot more in common than I ever thought. I’m just really thankful that we can close this “Laguna Beach” chapter this way. It does feel really therapeutic.
Conrad: I echo everything you said. So much time has passed and pretty quickly after the show ended, we sort of squashed everything, but we’ve lived separately and we don’t see each other ever. So, this was a nice excuse to do it on camera because I think that actually is meaningful for people who were invested in that storyline to see — you grow up and you move on and these things are not that important.
The fashion on the show was pretty iconic during that era. Were you putting much thought into your TV outfits?
Conrad: Not in Season 1. I had to buy all my own clothes, so I’m mostly in a C&C tank top and Miss Sixty [jeans] that I saved up for. It’s all the same outfit, I’m just reversing tanks.
Colletti: For me, it was board shorts all the time. In Season 2, for some reason, we started wearing sports coats over hoodies. Not good.
Cavallari: I wish I cared more in Season 2. That was my senior year, and I was over high school in general, so that carried through to the show and my appearance. Maybe that was part of the appeal, as well. There was this innocence with us just being normal kids.
There were no false lashes or full faces of glam.
Conrad: Oh no, no, no. A lot of it’s, like, last night’s eyeliner.
Cavallari: I always had a zit.
Conrad: Oh, yeah, I know! Not for you, but for me. My skin wasn’t very good.
The cast in 2004, from left: Lo Bosworth, Trey Phillips, Kristin Cavallari, Lauren Conrad, Talan Torriero, Christina Schuller, Morgan Olsen and Steven Colletti.
(MTV)
You were all 16 and 17 when you were cast on “Laguna Beach.” Were there any discussions around, “Be mindful of what you do on camera,” or “This might follow you for the rest of your life”?
[All laugh]
Cavallari: Honestly, no.
Colletti: The only media training that we got was like 30 minutes before the VMAs [Video Music Awards] in Miami right before [the first season of] the show was about to air. They’re like, “If anybody asks, it’s all real.” That’s what we were told. “Don’t say this. Say this,” and “Good luck.”
The show was more tame than most of today’s reality TV, yet there was a lot of on-camera underage drinking.
Cavallari: Oh, yeah. A lot.
Conrad: [The producers] were very aware. They couldn’t buy us alcohol, but they were aware we were drinking.
Did anyone ever step in and say, “Hey, maybe we shouldn’t be filming these teenagers in an inebriated state”?
All: No.
Cavallari: I don’t even remember it ever being a conversation.
Colletti: There was a moment where producers said, “You know you guys are underage, so you can’t be drinking.” But they said it so casually and while the cameras were rolling —
Conrad: — Oh, liability.
Colletti: Yes. I actually felt for a moment, should we put [the drinks] away? And everyone’s like, “No, dude. It’s fine.”
Cavallari: In no way, shape or form was MTV ever pushing it. We were just naturally doing that, like most high school kids back then.
Conrad: On “The Hills,” they had to start filming morning scenes of us hungover because they showed so much drinking. They were like, “We have to show the consequences of drinking.”
Gateley noted that the “Laguna Beach” producers “would have, for sure, stepped in if anyone was not safe.”
Kristin, during the reunion you said that you didn’t realize saying “no” to the producers was an option. What would you have done differently?
Cavallari: I don’t regret anything, it just never crossed my mind. Maybe because I’m a high school kid, and I have these adult producers saying, “Hey, show up here and do this,” and I just assumed that was what I was supposed to do. I wised up later in my reality TV career, but not for a while.
Conrad: I remember [castmate] Lo [Bosworth] used to say no to a lot of stuff. She’d be like, “I’m just not going to go,” and I was like, “I don’t think we can do that!” I was very like, “I signed up, I need to show up.” I can’t remember ever saying no. I questioned stuff sometimes, like the voiceover. I would reword stuff because it would feel a little harsh.
Colletti: They never forced anything on us, but when you’re 17 years old and you’ve signed this contract with MTV, you felt that responsibility.
Cavallari: I realized too that they were going to get what they wanted no matter what, whether you put up a fight about a line or not.
Conrad: I went into the [production] office once and they had a storyboard on a big wall. I realized we were only halfway through the wall, and there was a card like, “Story continues.” I was like, “Oh, my God, what’s going to happen? What comes next?” It felt very “Truman Show.”
In a memorable Season 1 episode, the teens journey to Mexico to spend spring break in Cabo San Lucas. While there, they get drunk at a club. Kristin gets close with another boy and dances on a bar, while Stephen repeatedly yells that she’s a “slut.”
The first Cabo episode —
Colletti: It looms large.
Stephen and Kristin, how do you look back on that now?
Cavallari: We were so young. At 17 and clearly being intoxicated, my go-to was to pop off. So, when I watched it back, I was proud of myself for trying to remove myself from the situation. I can totally appreciate what Stephen was going through. Not everyone has a camera in their face at age 17, and we had to grow up in front of an audience.
Colletti: I had fully locked that away. I don’t even know if I even watched it all the way through [when it aired]. But, ultimately, it boils down to just not [being] proud of the way I acted.
I look at it feeling sorry for us, for those two kids, that this is an embarrassing moment that’s on camera. You wish it’s not there for them, but at the same time, look how far they’ve come from that time and that moment.
Did MTV show you the episodes before they aired?
Conrad: They came the day before.
Colletti: Sometimes, strategically, I think that they ended up arriving the next day. It was like, “Oh, we didn’t get it in the mail to you on time!”
Were they on DVD?
Conrad: VHS! [Executive producer] Adam DiVello bought me a VHS player for my dorm in San Francisco so that I could watch them.
When the show premiered, did your lives change instantly?
Conrad: It felt immediate for me. The first week I arrived at college, [MTV] came out with these posters that said, “They really are this rich and beautiful.” That was the tagline. And I was, like, at art school. I never got to have a college experience because pretty immediately it was like, “Oh, I’m that girl.”
Colletti: The irony is, I wanted to do the show to no longer conform to the trends of high school. I made the choice to go to San Francisco State because not a lot of people from Laguna were going there, and then [everyone] saw this version of me on the show. It was a lot to process — people in the dorm trying to take pictures of you when you’re walking to the shower, or guys at parties trying to fight you just because you’re a guy from a reality show.
Cavallari: I was sort of in a bubble still being in high school. Life felt fairly normal, but then they would call me and be like, “Hey, we need to get on a plane tonight to be on ‘TRL.’ tomorrow.”
The castmates say their lives changed after “Laguna Beach” aired: “It felt immediate for me. The first week I arrived at college, [MTV] came out with these posters that said, ‘They really are this rich and beautiful,’” Lauren Conrad, far left, says.
(Jason Armond / Los Angeles Times)
Do you remember what you bought with your first paycheck? It was around $2,000 for the whole first season.
Conrad: I bought a pair of Chanel sunglasses.
Cavallari: I bought a little Chanel purse. I think that was probably the second season, though.
Colletti: I blew it on some golf clubs. I’d always had hand-me-downs from my brother, so the fact that I could buy new golf clubs, I was on top of the world.
Cavallari: I would have done the show for free. I was like, “We’re going to get paid for this?!”
Would you let your kids be on a reality show when they’re in high school?
Cavallari: No, I would never let them do a show like we did. Those are such precious years. When you graduate and you turn 18, that’s one thing. But while you’re a kid, just be a kid.
Conrad: If we were going back and doing it during the time we did it and in that environment, maybe it’s a conversation. Now, with social media, I would have a hard time letting one of my children do it. It’s just so much pressure.
Colletti: I’ve got this master plan of telling my kid that his dad was on a TV show that was really cool back in the day. And then, when he sees his dad on it, he’ll be like, “It’s not cool. I don’t want to do what Dad did.” It’ll deter him or her.
Why do you think “Laguna Beach” continues to resonate?
Colletti: It represents a very specific time in society, and it was [showcasing] kids who were not trying to become famous. The whole fame machine that is reality TV these days, we really did not think we were getting ourselves into that.
Conrad: Nowadays, people do a show and they’re like, “This is going to kickstart my career.” I was looking to make some connections in the fashion industry, but besides that, I wasn’t looking to create a brand or do any of those things. We didn’t seek it out.
Are there any other paths you’d like to pursue that you haven’t? [“The Hills” star] Spencer Pratt is running for L.A. mayor — any chance you’ll have a political career?
Cavallari: No. I feel pretty fortunate that I’ve been able to do a lot of really exciting things over the years. I feel pretty content.
Conrad: Me too. I worked so hard in my 30s. I wanted to do everything, but I’m in a place where I’m so lucky to have my family, and I just want to be present for them.
Colletti: I’m excited to become a dad. It’s such an exciting time. Everything feels right where it should be.
Movie Reviews
The Beautifully Handcrafted Rose of Nevada Is a Ghost Story Like No Other
Photo: 1-2 Special/Everett Collection
The English director Mark Jenkin works a bit like a local artisan from another era. Filming in and around his native Cornwall, he shoots his pictures himself on a 16mm Bolex, the kind of camera that might have been used by film students decades ago and that produces tactile, slightly grainy images. He also edits the movies himself, and records his sound later, layering in dialogue and effects and music (sometimes composed by himself) with an austere, handcrafted precision. This gives Jenkin’s work a certain timelessness, as if it belongs to the past but not to any specific period of the past. True, such an old-fashioned approach could feel performative, like an unusually well executed Instagram filter. But Jenkin’s style ties directly to his subjects and his expressive philosophy. His latest, Rose of Nevada — which stars two name actors, Callum Turner and George MacKay, and opens in New York today after doing the festival rounds — has the beguiling simplicity of a fable and the captivating textures of a dream. It stays with you like an unexpected and unanswerable question.
Jenkin privileges atmosphere through the collection of minute, sometimes abstract details. Set in a sparsely populated and depressed fishing village, Rose of Nevada opens with the unexpected return of the empty boat of the title, thought lost decades ago. Its arrival is announced by close-ups of barnacles, of rusty edges on ancient metal, of curious plant growth and moldy, tangled coils of black rope, as if its return was just part of a broader natural order. The Rose of Nevada clearly has a tragic history, which perhaps explains the psychological paralysis of the few remaining townsfolk. But it’s here, and so it must set off on a new fishing voyage.
Joining the journey, almost as if they were pulled towards it, are Nick (MacKay), a downcast man who needs money and seems incapable of meeting his young family’s most basic needs, and a drifter, Liam (Turner), whom we first see running down a road as if he were fleeing something. Both men are alienated from their environs, though for different reasons: MacKay conveys Nick’s quiet awkwardness well, and Turner has a charming, freewheeling energy that suggests he’s up for anything. When they return from the fishing expedition, however, the two men find that they’ve transported back several decades in time, and they’re mistaken for — or rather, they appear to be inhabiting the bodies of — two young deckhands who died long ago. Now that it’s the 1990s again, the fishing village is thriving, its local pub crowded with people and blaring pop. Nick and Liam see the younger, happy versions of the broken townspeople they’d left behind. Liam (now known as Alan) suddenly has a family, and Nick (now known as Luke) suddenly has parents. It’s almost as if the young men have been offered to the harvest gods as a sacrifice. And it’s worked.
So, it’s a ghost story, and a time travel story, and a folk tale, and something of a kitchen sink drama, but it’s also none of these things, really, and that’s where Jenkin’s formal gambits come in. His filmmaking has a lovely, homespun directness. We can feel scenes and moments being constructed, which fixes our attention on seemingly simple exchanges. An example: Early on, we see Nick hand his daughter a candy. Other filmmakers might shoot such a scene in a quick, offhand manner to mask its emotional weight, but Jenkin goes in the opposite direction, shooting everything in relative close-up and cutting the action to both extend and clarify it: We see Nick pull the candy out of its box, we cut to the girl receiving the candy, we see his wife see the girl, we cut to the wife taking the candy, we cut to a close-up of her unwrapping it, we cut to the girl getting the candy back, and we see Nick’s response. On some level, this could be an introductory filmmaking exercise: a whole series of extremely deliberate shots and edits designed to show this man’s feeling of inadequacy. But within the general precision of Jenkin’s style, the moment doesn’t stand out. Instead, it’s one in a long line of specific, human moments through which he builds his narrative and conjures a mood.
Such straightforwardness give Rose of Nevada a fable-like quality: There’s no narration, but we feel the deliberate rhythms of the storytelling, the telling emphasis on certain details over others. But weirdly, it also has something of the opposite effect: The film’s intimacy and Jenkin’s attention to the elements (along with his fondness for elliptical, well-timed flash frames) lends everything an otherworldly aura. Despite the time travel premise, nobody’s running around looking for a time machine to take them back, nor are they wasting much time trying to figure out how the dynamics of time travel work. The writer-director lets the unexplainable remain unexplained, because he’s interested more in our emotional response to it. We watch how people interact with these transformed versions of Nick and Liam, and we watch Nick and Liam’s own disparate responses to this new world, to the competing philosophies of life that emerge from this bewitching film. Rose of Nevada’s power lies in its peculiarities.
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Entertainment
Bob Dylan is absolutely cooking on the road right now
SANTA BARBARA — Sixty-one years and a day after he laid down the epochal “Like a Rolling Stone” in a recording studio on Seventh Avenue in New York City, Bob Dylan shuffled onstage on the other side of the country dressed so fine in a dark jacket with the hood pulled over his head.
The hood, which Dylan has been wearing even for shows without the cool coastal breeze that blew through the Santa Barbara Bowl on Wednesday night, has lately become an object of online fascination; one guy on X last year wrote that he was obsessed with the rock legend’s “new dripped out look,” and I have to agree: Though there are great hooded-Dylan photos going back decades, his current wardrobe — as seen nightly against a velvety curtain lighted from below — is a vibe through and through. (His Bobness forbade photographers from shooting Wednesday’s show, which means you’ll have to consult social media for a glimpse.)
Dylan’s drip isn’t the only thing putting him into the viral bloodstream of the internet. In March, he launched a Patreon, where he’s posting short stories and apparently AI-assisted installments in an audio series called “Lectures From the Grave”; this week, he contributed his thoughts on aging to a widely shared New York Times op-ed pegged to President Trump’s 80th birthday. In my social feeds, at least, quotes from Dylan’s piece — “You’re an old king from some vanished country,” he wrote — kept turning up next to clips of Timothée Chalamet celebrating the New York Knicks’ NBA Finals win — an oddly poetic interleaving given their history.
All this stuff is cool; I admire veteran culture-shapers who figure out how to adapt to a new information environment. Yet one of the reasons it’s fun to encounter Dylan on Instagram is because you can still encounter him in the flesh. And at 85, he’s absolutely cooking on the road right now.
Wednesday’s show was the first in a handful he’s playing around Southern California this week, including a gig scheduled for Saturday night at Palm Desert’s Acrisure Arena. For years after the release of 2020’s pulpy “Rough and Rowdy Ways,” Dylan said he was on the Rough and Rowdy Ways tour; this month, though, he started selling T-shirts that describe his latest run of dates as the Long Hot Summer tour — precisely the sort of taxonomical quirk to get Bobheads going in the comments.
The concert, which ran about 80 minutes, mixed four cuts from “Rough and Rowdy Ways” with older Dylan songs like “All Along the Watchtower” and “To Be Alone With You” and covers such as Bo Diddley’s “I Can Tell” and Eddie Cochran’s “Nervous Breakdown.” But the whole thing felt like one continuous dream state, as Dylan — accompanied by a four-piece band dressed in dark colors to match the boss — croaked, gasped and crooned from behind an electric piano he played like somebody knocking the keys with his arm as he reaches for a drink.
“False Prophet” was a raunchy blues while “When I Paint My Masterpiece” rode a luscious rumba groove; “Crossing the Rubicon” and “I’ve Made Up My Mind to Give Myself to You,” both from “Rough and Rowdy Ways,” got arrangements completely different from those on the album.
To the astonishment of many a Bobhead, Dylan’s guitarist Doug Lancio was replaced in Santa Barbara by Julian Lage, the youngish jazz star known for his work with Gary Burton and John Zorn. (Dylan said nothing about the change, nor about anything else, from the stage; a spokesman for the singer said he had no word on whether Lage was a permanent addition to the band.) Lage’s playing was tender and spooky, not least in “Tryin’ to Get to Heaven,” where every 30 seconds or so the chords would go in some direction I could never have predicted.
The result was a spectacle of emotion — you’d have to have tried not to get swept away by “I Shall Be Released,” which closed the show — but also of belief in one’s craft. Onstage as on your phone, Dylan was searching for new limits Wednesday — a lifer grinding toward the sublime.
Movie Reviews
‘Maa Inti Bangaram’ Movie Review: Samantha Rocks, Writing Suffers
Movie: Maa Inti Bangaaram
Rating: 2.5/5
Banner: Tralala Moving Pictures
Cast: Samantha, Gulshan Devaiah, Srinivas Gavireddy, Manjusha Mukkavilli, Diganth, Sreemukhi, Gautami, Anand, Lakshmi, Rachana, and others
Music Director: Santhosh Narayanan
DOP: Om Prakash
Editor: Dharmendra Kakarala
Producers: Raj Nidimoru, Samantha, Himank Reddy Duvvuru
Written by: Raj Nidimoru, Vasanth Maringanti
Directed by: BV Nandini Reddy
Release Date: June 19, 2026
Nearly three years after her last lead-role outing, Samantha returns to the big screen with “Maa Inti Bangaaram.” The film marks an important milestone in her career, serving as a comeback vehicle and also her first collaboration with husband Raj Nidimoru, who has co-produced the film and penned the story for this family action drama.
The big question is: has Samantha delivered a strong comeback with “Maa Inti Bangaaram”? Let’s find out.
Story
Swarna (Samantha) arrives with her husband at her in-laws’ village home to attend a family wedding. It is their first visit after marriage, as her husband had married her against his parents’ wishes.
Hoping to win over the family, Swarna settles into the household and tries to impress everyone, even seeking help from a friend for her cooking.
Just when she begins to feel accepted, trouble arrives. A group of men starts searching for her, determined to find out whether she is really Swarna or someone named Jhansi.
As the story unfolds, her hidden past comes to light. Years ago, she escaped from her mentor Karuna (Gulshan Devaiah) after discovering his true intentions. Since then, she has been living under different identities before eventually finding love and marrying her husband. Now, Karuna, who has completed a prison sentence, is back and determined to reclaim her at any cost.
Can Swarna protect herself and her newfound family from Karuna?
Performances
Samantha slips comfortably into the role. Despite returning to a lead role after nearly three years and overcoming health challenges, she retains her star presence and carries much of the film on her shoulders. While this may not rank among her best, she convincingly handles both the emotional and action-heavy portions, particularly in the second half.
Diganth plays her husband and delivers a decent performance, though the role offers him little scope. Gulshan Devaiah initially makes an impact as the antagonist, but the character gradually becomes routine, limiting his effectiveness.
Manjusha Mukkavilli gets a well-written supporting role and leaves a positive impression. Sreemukhi is adequate in her brief part.
Vennela Kishore appears in a cameo, while the rest of the cast performs within the requirements of their conventional roles.
Technical Aspects
Santosh Narayanan’s background score works reasonably well and elevates several scenes, especially in the latter half.
Cinematography is functional without offering any standout visuals. Production design serves the narrative adequately.
The film’s biggest technical shortcomings lie in its writing and editing. The dialogues rarely stand out, and the screenplay unfolds without enough surprises or dramatic highs.
A tighter edit and shorter runtime could have significantly improved the film’s overall impact.
Highlights
Samantha’s screen presence and performance
A few engaging moments in both halves
Some clever references
Drawbacks
Predictable screenplay
Unconvincing backstory
Lack of strong dramatic moments
Analysis
“Maa Inti Bangaram” is neither the emotional family drama audiences typically associate with Nandini Reddy nor the stylish action-driven narrative one expects from Raj Nidimoru’s storytelling sensibilities. Instead, it attempts to blend family drama with action, placing Samantha in a role usually reserved for a male commercial hero.
The basic premise feels familiar. Like many mainstream action films, it revolves around a protagonist whose troubled past threatens the peaceful life they have built. The difference here is that Samantha occupies the center of that narrative, taking on responsibilities and action beats traditionally assigned to male stars.
The first half unfolds largely as a family drama. Nandini Reddy focuses on the dynamics between the new daughter-in-law and her in-laws, presenting a series of domestic situations and emotional tests. The portions involving Samantha seeking help from her friend to impress the family with her cooking generate some humor and provide the film with a few enjoyable moments. Apart from these stretches, however, the narrative progresses at a measured pace.
The film gradually reveals why Jhansi became Swarna and why Karuna remains obsessed with finding her. While the backstory involving Naxalism provides the necessary motivation for the conflict, it never feels entirely convincing or emotionally compelling.
Once the central conflict is fully revealed by the interval, the film shifts gears. The second half becomes a straightforward battle between Swarna and the force threatening her family. While this creates a clear objective, it also reduces the scope for surprises.
A couple of scenes work reasonably well, and the climax action sequence inside the house provides some excitement, but the overall narrative goes on expected manner.
The film deserves credit for attempting something different within the commercial framework. Giving a female protagonist the kind of role usually written for male stars is a refreshing idea. Unfortunately, the execution lacks the emotional depth and dramatic strength needed to make the concept truly resonate.
Even the husband’s character feels somewhat artificial, functioning largely as a gender-reversed version of the supportive spouse often seen in hero-centric films.
Interestingly, some of the film’s most enjoyable moments come not from the action but from its lighter touches. References to older films, the creative use of the song “Mutyamantha Muddu,” and Samantha’s largely saree-clad appearance throughout the film, including during action sequences, add a distinctive flavor.
Ultimately, “Maa Inti Bangaram” attempts to merge family drama with female-led action. However, predictable storytelling and underdeveloped drama prevent it from reaching its full potential. The film remains watchable largely because of Samantha’s star appeal, but it never evolves into the engaging and emotionally satisfying experience it aspires to be. It makes an okay watch.
Bottomline: Not Pure Gold
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New Hampshire12 minutes agoTransgender former New Hampshire state representative sentenced to 33 years for child sex abuse: report
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New Jersey17 minutes agoYellowcard Brings Ocean Avenue to New Jersey’s Own Ocean Avenue
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New Mexico24 minutes agoEdgewood and Santa Fe County finalize agreement to keep emergency services going
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North Carolina27 minutes ago‘Infuriating, heartbreaking’: Raccoon recovering after getting caught in leg trap at Mecklenburg County park
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North Dakota32 minutes agoOne year later, tornado survivors rebuild and remember
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Ohio39 minutes ago
Lorain woman killed, three children injured in Ohio Turnpike crash in Elyria (UPDATED)