Suhas has earned a reputation for choosing scripts that are rooted in emotion and realism. Even though his recent outings haven’t lived up to expectations, audiences still root for him to succeed. Sadly, his latest film not only lets him down — it lets the audience down too.

Plot Summary
Ram (Suhas) grows up with a traumatic childhood, having lost his mother (Anita) early and being abandoned by his father (Ravindra Vijay), a failed film director. Though cinema once brought him joy, he buries his love for films deep within.

As an adult, Ram meets Satyabhama (Malavika Manoj) — a rich, spirited woman with dreams of becoming a filmmaker. She constantly shares her imaginative story ideas with him. Through her, Ram slowly reconnects with his long-lost love for the craft.

But what begins as a journey of rediscovery soon spirals into a narrative that feels directionless and emotionally hollow.

Performances

• Suhas delivers a sincere performance, as always. But sincerity alone can’t save a poorly written character. The script fails to give him the emotional depth or arcs he deserves.
• Malavika Manoj shows promise, but is let down by underwhelming dialogues. Lines like “Prapanchamlone andarikanna andamaina ammayini…” feel tone-deaf and misplaced.
• Anita, in a motherly role, and Ravindra Vijay as the stern father, are effective in their limited screen time.
• Ali, cast against type in a serious role, struggles to bring authenticity to his character. His scenes feel forced and unnatural.
• Cameos by directors Maruthi and Harish Shankar are disappointingly bland, lacking any impact or humor.

Technical Aspects

• Music (Radhan): Arguably the weakest link. The background score feels outdated and melodramatic, reminiscent of dated TV serials. None of the songs blend with the narrative or enhance its emotions.
• Cinematography: Serviceable but uninspired. Visually, the film does nothing to stand out.
• Editing: Choppy transitions and a lack of emotional flow make the experience feel even longer than it is.

What Went Wrong?
The biggest issue is the screenplay — it’s slow, unfocused, and packed with scenes that seem to exist just for the sake of being there. The opening sequences drag on, and even the fantasy scenes — where Satyabhama’s film ideas are visualized — feel indulgent and unnecessary.

The film tries to juggle too many tones — drama, romance, nostalgia — but fails to commit to any. Even the much-hyped interval twist lands with no impact. By the second half, viewers are left searching for meaning in a film that refuses to offer any.

A particularly bizarre scene involving a dog prompting a random woman to narrate her childhood crush only adds to the frustration. Moments like these make it hard to stay invested.

The script tries to be deep and reflective, but it’s presented with so little clarity and so much melodrama that it ends up exhausting the audience.

Verdict
This film had the potential to be a heartfelt journey about rediscovery and healing through cinema. But what we get instead is a confused, emotionally disconnected story that doesn’t know what it wants to say — or how to say it.

Suhas needs to choose his scripts more carefully. Talent alone won’t carry him forever. This film, sadly, is a wasted opportunity for everyone involved.

Bottom Line: “Ayyo Rama!” indeed.