Oh Bhama Ayyo Rama Review: Suhas starrer refuses to commit to its own sentimentality

It's not often that you get to watch a Telugu cinema these days where the leading lady gets an equally prominent role as the 'hero.' There is a refreshing candidness to Satyabhama, the female protagonist of Oh Bhama Ayyo Rama. Played by Malavika Manoj, Satyabhama is brimming with quirks, impulse, and unpredictability. Be it in the scenes where she repeatedly refers to her grandmother as ‘oldie’ or the moment where she instinctively rips off the wig off a stranger’s head. It’s Bhama’s antics and madcap storytelling sessions that evoke the most laughs. And yet, underneath her childlike adventures, Bhama is a mother figure replacement for Ram (Suhas) — she slyly gets him out of his shell, helps him express his honest opinions, and eventually find his true calling. Everything that she does is for the sake of Ram’s journey. Even though she might appear to be, Bhama is not a Manic Pixie Dream Girl prototype — she is a mother in the garb of one.

Cast: Suhas, Malavika Manoj, Ali, Ravindra Vijay, Anita Hassanandani

Director: Ram Godhala

Suhas starrer Oh Bhama Ayyo Rama is not a novel romantic comedy by any means, but at least it tries, in fragments and pieces. The first half is enjoyable in parts, despite its desperate attempts to play to the gallery (courtesy of its loud background score) and occasionally over-the-top energy. There are many gags and subplots in the first half that don’t add up —like the one with a hunky college bully — and yet you trudge along because the overall vibe is that of mirth and quirk.

There is a lot of intrigue around Ram's past — he doesn’t watch movies but sits outside theaters and possesses the ability to predict their box office status. He has plans to go abroad for his further studies, but we are never told why the desperation. There are many little moments that hint at severe trauma in Ram’s childhood. After all the frolicking, there arrives a brief section in the second half, with Ram and his mother, Meenakshi (Anita Hassanandani), where the film finally commits to its sentimental core, tracing the roots of Ram’s trauma. These portions are relatively somber but also honest to the film’s sentimentality.

The dynamics between Bhama and Ram are also occasionally reminiscent of Bommarillu. While there is little finesse to Ram Godhala’s writing as well as direction, there is a vaguely pleasant energy that keeps the ball rolling. Underneath all the mayhem, it’s clear Ram really likes Bhama — and we might finally unravel why.

Unfortunately, the narrative nosedives to embarrassing levels once the expository flashback ends. We want to invest further in the romance, but writer-director Ram Godhala chooses strange devices to keep the story going, including a bizarre subplot that does nothing for the plot or mood whatsoever. It’s a downhill journey from there on, and the film never recovers, deciding to dig deeper into the bag of cliches that includes a sad separation song with Suhas roaming Hyderabad streets and a disappointing justification about Bhama’s drunken state in her introductory scene. A few raunchy jokes bordering on casual misogyny don’t help.

On the technical front, S Manikandan lends great warmth to the proceedings — the frames are wide and neatly designed, and the camera is comfortable in its calm movements. Music director Radhan too delivers an upbeat and heartwarming soundtrack.

Malavika Manoj has an endearing screen presence, and is pleasantly comfortable with comedy as well. Among another of it’s limited strengths, it’s nice to see a subdued Ali playing a loving uncle figure who is not afraid to call his nephew‘the love of his life.’ Ali puts in a sincere performance as the head of the bachelor pad, who is also a sporting drinking buddy when the time comes (even though veteran comedian cannot help but sneak in an occasional ribald one-liner here and there).

The film’s weight eventually falls upon Suhas’ niche stardom-laden shoulders. Suhas tries his best, but there is not enough depth to his character or the script. Staying true to the hero-driven atmosphere, though, there are a couple of self-referential jokes for Suhas. Early in the film, someone remarks how Ram is acting pricey after delivering a small budget hit. In another throwaway joke, Suhas is warned about trusting girls, with his films like Colour Photo and Ambajipeta Marriage Band being quoted as examples of cautionary tales. Suhas’ rise to stardom also remains remarkable because he has consistently backed different and noteworthy scripts. Oh Bhama Ayyo Rama now stands as a disappointing exception.