A bunch of researchers connect with Guru Paramhansa (Satya Raj), who is running a Vedic school of sorts. There’s a noticeable struggle among him and one of the researchers who questions his profound conviction and study in crystal gazing and palmistry. The succession acquaints the crowd with Vikram Aditya (Prabhas) who is called ‘India ke Nostradamus’ in the film, and whose forecasts never turn out badly.
Vikram claims all through the film that he doesn’t have an affection line and needs flirtationship and not a relationship. But, he experiences passionate feelings for Dr. Prerana (Pooja Hegde) – a young lady who is battling a few inescapable conditions in her day to day existence (additional subtleties will offer the plot). The division here is Vikram Aditya’s perusing of her palm that shows a splendid future while the occasions in her day to day existence are highlighting an alternate heading.
The story endeavors to commute home a point that no science is outright and 100% precise; and that there’s generally a little yet brilliant opportunity to change your fate with karma. What’s more, this applies to even the world’s best palm-perusers. Nonetheless, in a run-season of around 140 minutes, which additionally appears to be drearily lengthy, the center idea doesn’t arrive at its ideal imprint. Thus, the film neglects to make the effect it could have with all the device it had available to its, remembering notable names for every specialized office and a lot of good artistes.
The tasteless science among Pooja and Prabhas is a hindrance in this romantic tale, and tragically, their characters have not been scratched with sufficient profundity, lucidity or thinking. This likewise impacts their singular exhibitions, albeit the entertainers have really tried to play their parts convincingly. The screenplay is jumbled with inconsequential minutes, characters who don’t serve the story, and a few unexplained circumstances that leave you considering how and why.
The film has been shot on a stupendous scale in various pieces of Europe, loaning it a fantasy like appearance which is an or more. It offers a fabulous visual treat. The music by Mithoon, Amaal Mallik and Manan Bhardwaj mixes well with the background of the story.
The picturisation of a portion of the tunes helps you to remember the great ol’e music recordings made quite a while prior. The VFX merits a praise, and adds to the visual nature of the film. Be that as it may, all of this scarcely rescues this romantic tale whose fate might have truly been something different.