If you’ve ever wondered what would happen if a ghost story, a spoof, a revenge saga, a film industry satire, and a family drama all collided in a narrow Ooty ghat road, Geethanjali Malli Vachindi is your answer. It’s loud, it’s busy, it’s overstuffed, and yet somehow still manages to feel weirdly empty—like a thali with twelve bowls of the same curry.
This sequel to Geethanjali comes in ten years late and several drafts short, trying to cash in on nostalgia, meta-humor, and jump scares, but mostly cashing in on confusion.
The Plot: Now in 4D Confusion
On paper, the setup is almost cute:
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Sreenu, who “once had a hit” making a film called Geetanjali, has since delivered three flops and wants to quit cinema.
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His friend Ayan lies to his girlfriend’s dad about becoming a hero, with Sreenu directing a Dil Raju film.
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The lie collapses, careers crumble, and they decide to drink their sorrows away.
So far, this could be a reasonably funny industry comedy. Then the movie remembers it’s supposed to be horror too and just starts throwing elements like it’s doing a PowerPoint speedrun:
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A producer, Vishnu, magically arrives with a horror-comedy script.
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Sreenu will direct, Athreya and Arudra will write, and Ayan will “become hero,” because why not.
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They go to Ooty to shoot in a haunted bungalow called Sangeeth Mahal, which already sounds like a location rejected by Aahat for being too on-the-nose.
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The house is haunted by a family of classical dancers who specialize in honor killings and accidental mass death by fire.
And just as you’re trying to align all those threads in your head, the film remembers: oh right, we also have Geethanjali, a murder, a doll, a vengeful CEO, a coffee shop sister, and three other ghosts in the same space. It’s less “story” and more “WhatsApp group of subplots.”
Ghosts, Dolls, and HR Problems
Somewhere else, Ventriloquist Venkat Rao has once again managed to trap Geethanjali in a doll—this time after she kills an HR guy who sexually harasses a woman in a corporate office. That sounds like a sharp, timely idea, but the film treats it like a throwaway prologue: “Anyway, harassment bad, ghost angry, moving on.”
Geethanjali then demands Venkat find her sister, Ushanjali, who runs a struggling coffee shop in Ooty. You’d think a vengeful ghost with that much power could just… float over there herself, but no. She outsources it. Even the supernatural economy is built on middlemen.
Once the film crew reaches Ooty, Vishnu narrates a tragic backstory about the Sangeeth Mahal family—honor killing, thwarted lovers, suicide, fire, mass death. This becomes “the film within the film” they’re supposedly shooting, while the actual ghosts wander around waiting for their scenes to start.
The problem is that every time the movie pauses to tell you a backstory, it’s less scary and more like someone reading rejected serial ideas from a 90s magazine.
Comedy That Mostly Haunts the Audience
This is billed as a “comedy horror,” but the comedy is mostly a collection of skits stapled between exposition dumps. You’ve got:
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Sreenu, Athreya, Arudra, Ayan—four men whose main group function is “talk loudly, panic, and fall down.”
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Shakalaka Shankar doing Shakalaka Shankar things.
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Random industry in-jokes and cameos (Dil Raju as himself, etc.) that add more names but not more laughs.
There is one clever idea: when the ghosts start showing up, Sreenu and gang try to convince the rest of the film crew that these supernatural apparitions are “method actors.” That could have been a great running gag if the writing committed to it. Instead it gets tossed into the larger chaos and forgotten whenever the film wants to be “serious” for five minutes.
The tonal shifts are wild:
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One scene is slapstick.
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Next scene, tragic backstory with burning daughters.
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Then a ventriloquist with a haunted doll walks in like he’s late to a totally different movie.
It’s like switching channels without a remote—just punching the TV and hoping something will stick.
Vishnu, Revenge, and the Power of Over-Engineering a Plot
About halfway in, the film decides that ghosts and dolls aren’t enough; we also need human revenge. So:
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Vishnu, the “producer,” is secretly the son of Ramesh Rao.
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Ramesh died because of Sreenu, Anjali and gang in Part 1.
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So Vishnu buys a haunted bungalow, writes a script, fakes disbelief in ghosts, and lures everyone to Ooty to kill them in the exact same way his father died.
This is impressive, not as a plan, but as a monument to wasted effort. My guy could have simply hired a hitman or arranged one convenient “accident.” Instead he invests in real estate, screenwriting, casting, scheduling, and ghost cooperation. The man doesn’t want revenge; he wants a project.
Then, just when you’ve accepted that Vishnu is the primary villain, the script goes: “Wait, we forgot one more twist!”
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Ramesh Rao’s ghost shows up and possesses his own son.
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He kills Arudra and Athreya, because someone had to die and the plot wheel landed on them.
It’s like the film is terrified of having a human antagonist for longer than ten minutes, so it keeps handing the steering wheel back to dead people.
Geethanjali vs. Ramesh: The Climax That Keeps On Climaxing
The final stretch is basically Ghost UFC:
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Sreenu and Ushanjali sneak into Vishnu’s house and finally understand what’s going on when they see Ramesh’s photo hanging there, like they just discovered the Wikipedia plot summary we already read twenty minutes ago.
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Ramesh’s ghost possesses Vishnu and starts murdering people.
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Venkat arrives with the doll like a courier service for curses.
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In the resulting chaos, Geethanjali is freed from the doll (again).
She then:
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Possesses Ushanjali.
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Fights Ramesh Rao in full “I will come whenever you come” mode, like a very aggressive comeback tour.
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Traps him inside another doll using a mirror, which apparently no ghost in this universe had ever thought of before.
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Kills Vishnu, saving everyone who still has lines left in the script.
There are so many layers of possession, de-possession, re-possession, and doll logistics that you stop trying to follow the “rules” of this universe and just start rooting for gravity to win.
Anjali Deserved Better (And So Did Everyone Else)
Anjali pulls double duty as Geethanjali and Ushanjali, and almost single-handedly keeps this from collapsing completely. She’s committed, she sells the drama, and she even wrings something resembling pathos out of scenes that read like they were written during a power cut.
The supporting cast is stacked with good comedy talent—Srinivasa Reddy, Sunil, Satya, Satyam Rajesh, Shakalaka Shankar—but a joke is only as good as its setup, and here most setups feel like improvisations that were never refined.
You can see the film trying to recapture the charm of the first Geethanjali: the haunted-heroine angle, the horror-comedy blend, the industry in-jokes. But sequels need evolution, not just repetition with more noise and an Ooty location.
Final Verdict: Geethanjali Came Again, the Script Didn’t
Geethanjali Malli Vachindi is the sequel equivalent of a WhatsApp “forwarded many times” meme: familiar, overlong, occasionally amusing, mostly tiring. It throws everything—ghosts, dolls, revenge, film sets, honor killings, corporate HR, ventriloquism—into one big supernatural khichdi and then cranks the volume to distract you from the aftertaste.
If you’re a hardcore fan of the first film, you might enjoy spotting callbacks and seeing Anjali back in ghost mode. But if you’re looking for a tight horror-comedy with actual tension or consistently sharp humor, this feels less like “Geethanjali came again” and more like “Geethanjali was dragged back to work overtime on a script that really should’ve stayed in development hell.”
In short: the ghosts have presence. The jokes have timing. The story has… way too much of both and not enough of anything else.
