Raja is introduced as an orphan thief in Hyderabad, a young man with a quick wit and a knack for manipulation. When Maheshwari — often called Mahi — crosses paths with him, she falls for his feigned sympathy, and a necklace she gives him becomes a recurring thread: he discards it as worthless, yet it always seems to drift back to him. Fast forward twelve years, and Mahi’s family treats her like a near-slave, living off the wealth her grandfather left behind while she clings to the hope that her long‑sought “prince” will eventually rescue her. Raja remains a conman at heart, but his life takes a turn when he falls into debt to Dhanalakshmi, a striking but calculating lender, forcing him to flee.
Meanwhile, Mahi’s relatives scheme to remove her from the inheritance—an effort that hinges on her removal from the family orbit. They hire a menacing goon to kill Raja, yet the plan backfires in a way that only adds to the story’s twists. Raja’s fate takes him to Yamaloka after an apparent murder, where he discovers that Yama had orchestrated his death to exact revenge for a past insult so drunkenly delivered that it shaped their rivalry. In this otherworldly realm, Raja steals the Yamapasam, a relic that grants the holder the title of King of Hell, and he toyingly promises festivals and revelry that would outshine Heaven itself. Yama challenges this wildcard in the form of a political contest that Narada proposes as a true verdict—the vamped-up showdown between Yama and Raja.
Narada steps in to moderate the election, and the celestial power struggle unfolds with Chitragupta, Chitragupta, maneuvering behind the scenes. The clash intensifies as Raja’s cunning surfaces, provoking a scandal that appears to accuse Yama of harassment and prompts a public protest against him. The situation worsens for Yama when his wife, played by Khushboo, is fed up with the controversy and leaves his mansion. To complicate matters further, Chitragupta suggests summoning the three celestial nymphs—Rambha, Urvashi, and Menaka—to tilt the scales, and at first Yama resists this plan due to his wife’s suspicions, then reluctantly agrees to use their magic to foil Raja’s bid for supremacy.
As the drama escalates, Raja’s grandfather, wonderfully brought to life by Ranganath, appears to offer guidance. He reminds Raja of his ancestral blessing in dance and the power of popular support, urging him to perform and win the people’s favor. The crowd’s joy at his dance bolsters Raja’s position in the conflict, leading to a dramatic moment where he seemingly wins the election. Yet Yama’s fury remains, and Raja’s plan to render Yama mortal with the Yamapasam doesn’t pan out; Yama ends up reclaiming the artifact and regaining his dominion, while Raja retreats back to Earth to regroup.
On the mortal plane, Raja learns of the cruelty his absence has allowed Mahi to endure and resolves to shield her from her merciless kin. He confronts them, grabs a whip, and uses it to discipline those who harmed her, all while succumbing to intoxication and lobbing sharp barbs at Yama again. This escalation forces Yama and Chitragupta to descend from the heavens to Bhulokam to settle the score. In a counter-move, Yama disguises himself as the alluring Dhanalakshmi while Chitragupta poses as her father, setting up a ruse designed to separate Raja from Mahi once more.
Raja, recognizing the deception, pleads for mercy and time, and the temple at Simhachalam—the sacred Narasimha presence within—acts as a shield against the Yamapasam’s power. The divine strength prevents Yama from pulling Raja into Bhulokam again, and the story pivots around a climactic confrontation that tests loyalties, magic, and the limits of power. When the dust settles, Raja and Mahi choose to be together, and their union appears assured, even as Yama’s schemes throw one final challenge into the couple’s path.
In a last gambit, the original Dhanalakshmi reappears to collect what is due, and a sly plan unfolds: Raja uses Dhanalakshmi’s veil to trap Yama once more, tying the veil to the Yamapasam and insinuating Yama as a lecherous figure again. With a sly smile, Raja taunts Yama, asking him to choose between Bhulokam and Yamalokam and warning him to be wary of his own wife’s gaze. The film closes on a note of defiant mischief, romance, and the enduring bond between Raja and Mahi, tempered by the cosmic comedy of the deities’ politics and the cleverness of a street-smart hero who won’t relinquish his love or his own peculiar throne.
