Film: Oh Bhama Ayyo Rama
Cast: Suhas, Malavika Manoj, Ali, Ravindra Vijay, Pridhvi (Babloo), Anita Hassanandani, Sathvik Anand, Moin Mohammad, and others
Music Director: Radhan
Cinematographer: S. Manikandan
Producer: Harish Nalla
Director: Ram Godhala
Release Date: July 11, 2025
Rating: 1/5
Suresh Kavirayani
Actor Suhas, who began his career in supporting roles before transitioning to lead roles, has been known for picking diverse scripts. With Oh Bhama Ayyo Rama, he teams up with debutant director Ram Godhala. The film also marks the Telugu debut of Malayalam actress Malavika Manoj as the female lead. Music is composed by Radhan. Here’s a look at the story and how it unfolds.
Story:
Ram (Suhas) saves a girl named Satyabhama (Malavika Manoj) after she meets with an accident. Impressed by him, she starts liking him and eventually falls in love. Satyabhama aspires to become a film director and keeps narrating her stories to Ram and his friends.
Ram, on the other hand, lost his mother (Anita Hassanandani) during his childhood. His father (Ravindra Vijay) is a film director. Though Ram was initially fond of films, a troubled childhood made him lose interest. Now staying with his uncle (Ali) and two friends, Ram seems disinterested in life.
Why has Ram distanced himself from cinema? What trauma is he carrying? Who exactly is Satyabhama, and how does she influence Ram’s transformation? These are the questions the film attempts to answer.
Analysis:
When a debut director gets a chance to helm a film, the least expectation is a coherent and engaging story. Having worked as an assistant with various directors, Ram Godhala makes his directorial debut with Oh Bhama Ayyo Rama — and unfortunately, it falls flat on almost every count.
It’s not about whether the lead actor is a big star or the film has a large budget. What matters is a compelling story. Even a small film with a thoughtful narrative can strike a chord. Sadly, Ram Godhala fails to deliver even the basics. From the very beginning, the film tests the audience’s patience. Especially grating are the sequences where the female lead narrates her imaginary stories—three long and frustrating scenes that derail the viewing experience.
There is no gripping storyline, the screenplay is weak, and the dialogues are uninspired. The plot feels painfully outdated, and the narration is excruciatingly slow.
The first half is dull, where the hero saves the girl and she obsessively follows him thereafter. It’s baffling how the director even wrote such scenes, let alone filmed them. With crores invested, one would expect the makers to at least assess the potential of the story and the director’s vision.
Despite claiming ten years of experience, the director seems to have learned nothing. Crafting love stories, emotional arcs, and family drama is not new, but execution is everything — and in this case, everything misfires. Even the so-called interval bang lacks sense. You’d hope the second half redeems the film, but it only gets worse.
This film serves as a wake-up call for aspiring producers who dream of fame without understanding the nuances of filmmaking. When the entire project relies solely on the director’s shoulders — without any oversight or constructive input — the outcome is exactly like this: a costly misfire with nothing to show for it but regret.
Performances:
Suhas, a proven performer, looks pale in this film. His character is underwritten and his performance matches the dullness of the script. One wonders why he agreed to this film in the first place, given his past choices that raised expectations for his future work.
Malavika Manoj, despite being a newcomer to Telugu cinema, is the only positive takeaway. She looks fresh, is pleasant onscreen, and tries her best — but unfortunately, she’s trapped in a lackluster script that gives her little to work with.
Sathvik Anand and Moin Mohammad play Suhas’ friends but their comedy track is more irritating than funny. Anita Hassanandani appears only in the second half and in a limited role, while Ravindra Vijay’s role as Suhas’ father is a wasted opportunity.
Babloo (Pridhvi) appears in only a couple of scenes, and Ali, usually known for his comic timing, plays a serious role that doesn’t leave any impression. Directors Harish Shankar and Maruthi make cameos — perhaps out of goodwill — but it’s hard to understand why they agreed to appear in this film.
Technical Aspects:
The cinematography by S. Manikandan is strictly average. Music by Radhan is a big letdown — neither the songs nor the background score elevate the film in any way. The dialogues lack punch, and art direction by Brahma Kadali fails to provide any memorable sets or visual appeal.
Verdict:
Oh Bhama Ayyo Rama is a complete misfire. Ram Godhala’s debut is a masterclass in how not to direct a film. With a confused narrative, weak characters, outdated plotlines, and sluggish pacing, the film tries the audience’s patience throughout.
If you’re still curious, wait for it to drop on OTT — but even then, proceed with caution.
