Krishnavataram Part 1: The Heart Movie Review : Grand visuals lift a familiar tale of love and divinity

Story: The mythological drama charts Lord Krishna’s (Siddharth Gupta) journey from Vrindavan to Dwarka and Kurukshetra, focusing on his love with Radha (Sushmita Bhat), Bhama (Sanskruti Jayana), and Rukmini (Nivaashiyini Krishnan).

Review: You don’t understand Krishna by reading the Mahabharata; he is all about love. This forms the crux of director Hardik Gajjar’s magnum opus, which begins with Krishna’s death at Bhalka Tirth and moves to Jagannathpuri in 2026, where a young man listens to a discourse by a swami (Jackie Shroff). The sequence attempts to make Krishna relevant in today’s world by drawing parallels between faith and science. The film, however, is not so much about faith as it is about the love Krishna shared with his sakhi Radha, and wives Rukmini and Satyabhama. While most retellings remain centred on Radha and Krishna, this one gives space to Bhama’s heartache and Rukmini’s quiet wisdom, with the former taking centre stage and adding freshness to the narrative.

There are thousands of lessons to be learnt and stories to be told from the Mahabharata. The narrative may seem to skip most of them, but it does so to stay true to and focus on the ‘Hridayam’ (Heart) part of Krishna’s life, as the film’s title suggests. It covers the key aspects of his love, including his marriages to Rukmini, Satyabhama, Jambvati, and the 16,000 princesses he rescued from Narkasur and later married. The story uses this episode and a few others to address patriarchy, which adds to its novelty. However, focusing solely on Krishna’s love makes the narrative feel uneven. The first half is slow and often monotonous, and the lack of narrative flow makes it largely feel disjointed. In many parts, one may find the context sorely missing and unless one is deeply familiar with the story, it leaves things unexplained. The second half picks up momentum and coherence, and keeps you engaged.

The most striking aspect of the movie is its spectacular visuals. The scale is grand, and the aesthetic moodboard instantly draws one into its devotional world. Ayananka Bose’s cinematography gives the film a painterly, almost temple-art quality, while the VFX, though occasionally uneven, still supports its immersive mythological canvas. Prasad S’s rich music elevates the overall narrative to great heights, though the constant songs distract and get overwhelming.

There are several tracks in the second half that tug at your heartstrings. The moments where Bhama waits in her room for Krishna’s return after he passes on, or when Krishna laments how he has to pick up weapons to protect dharma when he only wants to play his bansuri and spread love, are beautifully depicted.

The film’s intent to portray Krishna’s ethos of love and devotion comes through, further elevated by its performances. Siddharth Gupta takes time to feel fully convincing in the role, but once he settles into the part, he delivers a strong performance. Sushmita Bhat as Radha, Sanskruti Jayana as Bhama, and Nivaashiyini Krishnan as Rukmini deliver sincere turns overall. Sanskruti Jayana deserves special mention for portraying Bhama’s jealousy and heartache, and shines in the role of slaying Narkasur.

The story is familiar and spectacle-led, but the grand visuals, music and sincere performances make it worth a theatrical watch.