Movie: Sing Geetham
Rating: 2.75/5
Banner: Vyjayanthi Movies, Swapna Cinema
Cast: Ahilya Bamroo, Ayaan, Shalini Kondepudi, Siva Narayana, Banerjee, Tulasi, Nivetha Pethuraj, Rahul Ravindran, Vijay Deverakonda (guest appearance) and others
Music Director: Devi Sri Prasad
DOP: Ankur C
Editor: Navin Nooli
Production Design: Aravind Mule
Producer: Nag Ashwin
Directed by: Singeetham Srinivasa Rao
Release Date: June 12, 2026
At 94, Singeetham Srinivasa Rao is not only the oldest working director in Indian cinema, but also someone who continues to push boundaries. His latest film, "Sing Geetham", is another example of his relentless urge to experiment. A musical where conversations are sung instead of spoken, the film has generated curiosity, aided by extensive promotions from producer Nag Ashwin. The question is whether this unconventional idea connects with today's audiences.
Let’s find out.
Story
Set in the mining village of Kuberapuram in Andhra Pradesh, Renu (Shalini Kondepudi) and her father are looking to sell their mines, believing that further gold excavation is no longer feasible. To complete the deal, they need the signature of Pratap (Ayaan), the son of co-owner Uday.
Meanwhile, Gowri (Ahilya Bamroo), a young villager, opposes the cutting down of the region's only remaining tree for further mining activities. Ignored by everyone, she turns to the village deity Kubera and wishes that people stop speaking lies. Her prayer results in a miracle: the villagers lose their ability to speak and can communicate only through songs.
How this strange turn of events changes the villagers, and whether they realize the importance of protecting nature, forms the rest of the story.
Performances
Ahilya Bamroo fits the role of Gowri well and possesses an expressive screen presence. Her Telugu diction feels awkward initially, but one gradually gets used to it. She also tends to overact in a few scenes. Ayaan as Pratap and Shalini Kondepudi as Renu deliver convincing performances.
However, it is Nivetha Pethuraj who leaves the strongest impact. Despite appearing only in a flashback, she brings emotional depth to the film and emerges as the standout performer.
Rahul Ravindran is adequate in his role, while Tulasi is excellent as the grandmother. Vijay Deverakonda's cameo towards the end adds star value.
Technical Aspects
For a film built almost entirely around sung conversations, the burden on the music director is immense. Devi Sri Prasad rises to the challenge impressively. More than merely composing songs, he creates a musical structure that drives the narrative. His compositions, arrangements, and background score blend seamlessly with the storytelling, making the unusual format easier to accept. While the film may not boast a single chartbuster, DSP's work is crucial in sustaining the experiment.
The cinematography is decent. Certain visuals and the production design occasionally evoke memories of the world created in "Kalki 2898 AD". The production design, in particular, lends authenticity to the setting.
Editing, however, is a weak link. The film feels longer than necessary, and several scenes could have been trimmed. Sharper editing and a shorter runtime would have made the experience more engaging.
Highlights
The novelty of conversations being sung instead of spoken
The second half
Devi Sri Prasad's music and score
Nivetha Pethuraj's episode
Drawbacks
A slow and less engaging first half
Simplistic storyline
Repetitive stretches
Excessive runtime
Analysis
In the early days of cinema, songs occupied a much larger space in storytelling. Even Telugu films often featured more than twenty songs and padyalu. As filmmaking evolved, dialogue became the primary narrative tool. While Indian cinema retained songs as an integral component, they gradually became limited to romantic duets, hero introductions, celebrations, or item numbers.
"Sing Geetham" attempts to reverse that trend. Singeetham Srinivasa Rao sets out to create a musical where characters sing their everyday conversations instead of speaking them.
Does it work? The answer is both yes and no.
The veteran filmmaker smartly provides a logical foundation for this unusual format. The film begins with regular dialogue and only transitions into a musical after Gowri's prayer is answered. Because of this narrative device, the singing never feels completely out of place.
The biggest achievement of the film is that audiences gradually adapt to the format. By the time the interval arrives, the musical conversations start feeling natural, thanks largely to Devi Sri Prasad's compositions.
The problem lies elsewhere. The core story itself is quite simple and resembles many short films and award-winning dramas centered on environmental conservation. The novelty comes entirely from the presentation rather than the plot.
As a result, much of the first half feels repetitive and occasionally dull. The film gains momentum only in the second half, particularly with Nivetha Pethuraj's flashback episode, which adds emotional weight. The cave sequence and the portions involving the gold statues are among the film's strongest moments. These are the moments that get claps from the audience. The film also looks visually more stunning in the second half.
This is a film that should be watched for the experiment rather than for a gripping story, visual spectacle, or memorable songs.
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Ironically, despite being a musical, the film lacks a standout song that stays with the audience after the credits roll. While the experiment itself deserves appreciation, the execution is not consistently effective. A tighter screenplay and a runtime under two hours would have considerably improved the experience.
Plus certain episodes remind us of the terrain of the apocalyptic world of “Kalki 2898 AD.”
On the whole, "Sing Geetham" should not be judged through the lens of a regular commercial entertainer because it is anything but one. It is an ambitious experiment from a filmmaker who, even at 94, remains eager to explore new storytelling forms. Singeetham Srinivasa Rao's passion for innovation shines throughout the film. Its environmental message and unique narrative approach make it noteworthy. It may not appeal to everyone, but those interested in seeing a different cinematic experiment will find enough to admire. It is an out of the box experience.
Bottomline: Out of the box
