‘Oh Bhama Ayyo Rama’ film assessment: Suhas’ romcom is wayward and pointless

The least you anticipate from a mainstream Telugu movie is passive leisure, one which no less than affords an escapist pleasure for a few hours. Director Ram Godhala’s Oh Bhama Ayyo Rama starring Suhas and Malavika Manoj is every part however that. In a nutshell, it’s a easy story of a teenager overcoming a dysfunctional childhood, who goes on to fulfil his mom’s dream along with his girlfriend’s help.

Nonetheless, the director shows little management over the execution. The movie modifications tracks on the drop of a hat, disintegrating shortly in its bid to pack in romance, motion, drama, and humour, with a handful of songs. The narrative lacks momentum, the jokes don’t land, and it’s riddled with tacky (and unintentionally humorous) dialogues.

After shedding his mom as a toddler, Ram (Suhas) is raised by his uncle, who has excessive hopes for his nephew. One evening, Ram meets Satyabhama (Malavika Manoj), the angelic Telugu heroine whose sole function is to look good, smile with out purpose, and chatter endlessly. It’s love at first sight for the ‘sanskari’ hero who means effectively and doesn’t benefit from her even when she’s inebriated.

Ram, who has plans to maneuver overseas, hates cinema, however has a ‘supposedly’ particular expertise of judging a movie by listening to the dialogues. Satyabhama is a movie aspirant, narrating outlandish plots to him, by the lake, at a graveyard, on the transfer. Out of the blue, she helps him be part of the workforce of a preferred movie director. All through the movie, Satyabhama retains touchdown in bother and he retains rescuing her.

Between the foolish humour, songs that spring out of nowhere and a romantic observe with zilch chemistry, you might be anticipated to really feel for the uncle who has sacrificed every part for Ram. After introducing a pivotal character earlier than the intermission, the movie shifts abruptly to Ram’s ‘heavy’ previous (that hams on and on), just for it to be diluted by a collection of inconsequential comedy sequences.

Aside from tirelessly loving the lady and being occupied at work, Ram retains lamenting about his previous, sobbing scene after scene, drowning in self-pity. Satyabhama is the pampered daughter of a enterprise tycoon whose solely job is to encourage Ram and who goals of marrying him sometime. Fights, songs and feelings discover their manner into the narrative haphazardly, and a number of other conflicts are conveniently left stranded.

If that weren’t sufficient, a whole thread is dedicated to Ram’s trials and tribulations in cinema, a determined meta contact full of references to Chiranjeevi’s movies. A few well-liked administrators — Maruthi, Harish Shankar — seem in cameos providing life classes to the protagonist (who seems as irredeemable because the movie). An indulgent climax provides to a viewer’s woes and denies any respectability to the trouble.

Oh Bhama Ayyo Rama borrows influences from a handful of movies — Majnu, Amma Nanna O Tamil Ammayi, Maro Charitra — and tries to repackage a worn-out system in a haphazard narrative. That is amongst Suhas’ least impactful performances, and the inconsistent characterisation barely permits him to cool down.

Malavika Manoj, making her Telugu debut, is lowered to an ornamental character. It’s unhappy to see the writing of feminine characters regress drastically. Anita Hassanandani’s comeback is hardly memorable, and Ali’s expertise shouldn’t be put to good use. Babloo Prithiveeraj and Ravindra Vijay’s roles lack meat. Sathvik Anand and Moin’s appearances don’t guarantee laughs both.

There’s nothing to write down dwelling about on the technical entrance. The music is a cacophony to the senses, and the cinematography is basically simply practical. Impressed dialogue might have introduced some intermittent reduction to the proceedings. Oh Bhama Ayyo Rama doesn’t even do the naked minimal you search from a popcorn entertainer. Every little thing about it’s so extraordinary and forgettable.

(The movie is operating in theatres)