Film: Oh Bhama Ayyo Rama
Rating: 1.5/5
Cast: Suhas, Malavika Manoj, Anita, Ali, Ravindra Vijay, Prithviraj, Satvik Anand, etc.
Cinematography: S. Manikandan
Editor: Bhavin M. Shah
Music: Radhan
Producer: Harish Nalla
Director: Ram Godhala
Release Date: 11 July 2025
Suhas' films usually come with a certain level of expectation, even though his recent outings have been less successful. Despite some flops, there's still hope surrounding his projects.
So, how did this one turn out?
Story:
Ram (Suhas) had a troubled childhood. His father (Ravindra Vijay) was a film director, and his mother (Anita) was a dancer. Though he was fond of films in his younger days, he suppresses his passion due to painful childhood circumstances.
He loses his mother early on, and his father abandons him. As he grows older, he meets a wealthy girl, Satyabhama (Malavika Manoj), who aspires to become a filmmaker and keeps narrating her stories to him.
What follows? Will Ram rediscover his love for cinema through her? How does the climax unfold?
Performances:
Suhas is a natural performer, but the film's erratic screenplay and weak narrative fail to support his talent. His capabilities are wasted here. If Suhas continues choosing such scripts without analyzing the depth of the story and screenplay, his career could be at risk.
Malavika Manoj does a decent job. She has a good screen presence and shows potential. However, lines like "Prapamchamlone andarikanna andamaina ammayini..." are unnecessary and seem to serve no purpose other than inviting trolls.
Anita, the yesteryear heroine, appears in a mother’s role and looks suitable. Ravindra Vijay is convincing as a cruel father.
Ali plays a serious, melodramatic role as the hero’s uncle—completely opposite to his strength in comedy. The character feels misaligned and heavy.
Babloo Prithviraj appears in a couple of scenes and is passable. Satvika Anand and Moin Mohammad play the hero’s sidekicks and are average.
Directors Maruthi and Harish Shankar make cameo appearances as themselves. Unfortunately, their presence adds little value.
Known for their punchy dialogue work, they come across dull and ineffective here. Why they agreed to appear in this film remains a mystery.
Technical Excellence:
Music by Radhan is a major disappointment. The background score feels outdated—more like something from a low-budget TV serial.
Even short films boast better music these days. None of the songs blend with the mood or flow of the film. The tunes are uninspiring and forgettable.
Cinematography is decent, but the editing didn't help the narrative flow failing to engage the audience emotionally.
Highlights:
None
Drawbacks:
Weak screenplay
Poor dialogues
Outdated music
Unimaginative scene conception
Analysis:
The first 10 minutes of the film feel like 30. That alone sets the tone — everything seems outdated, and there’s zero emotional connection. Scenes unfold one after another with no impact. Even basic storytelling fails; when some information is conveyed, it’s confusing and disconnected.
Especially frustrating are the scenes where the heroine narrates her imagined film scripts, and we see them played out on screen. These fantasy sequences are tiresome and completely test the audience’s patience. Any budget spent seems to have gone into constructing these nonsensical dream scenes.
The film reaches an interval twist, but even that fails to create interest. The second half proceeds without any change in pace or emotional dynamics.
At a certain point, audiences feel trapped; neither able to walk out due to the hope of a possible redeeming moment, nor able to stay engaged because it’s too exhausting to watch.
A dialogue in the film goes: “Cinema ante sentiment, love, romance, and drama.” Unfortunately, the director seems to have taken this formula, tossed everything into a blender, and served it raw.
Ironically, the protagonist has the ability to listen to a film from outside the theatre and predict whether it’s a hit or flop. Perhaps the makers and Suhas could have tried that trick themselves before shooting this script.
One of the most excruciating scenes involves a pet dog walking up to a random woman in a hall, prompting her to narrate her first-crush story. That scene alone could make viewers question why they are watching it.
Treating the audience with such disregard, by throwing a half-baked narrative on screen with no technical finesse, reflects a serious lack of intent from the makers.
This story isn’t novel or out-of-the-box. Had it been handled in a light-hearted, comic tone, maybe it could have worked. But presenting it with an emotional, melancholic approach makes it nearly unwatchable.
Whether on the big screen or small, if the content is disjointed, emotionally disengaging, and technically poor; nothing will work.
Bottom Line: Ayyo Rama!