U/A, 2h 2m
What Is the Film About?
Satya (Anikha Surendran) accidentally calls an unknown number belonging to Murali (Surya Vasishta), which changes her life. They soon start liking each other via conversations on the phone and one day decide to meet.
What happens when Satya loses her phone at a bus stand on the way to meet Murali? Who is RK (Arjun Das), and how does he fit into Satya and Murali’s story form the movie’s overall plot.
Anikha Surendran, Surya Vasishta and Arjun Das play the three principal roles in the movie. They are integral to the film’s narrative from the start to the end, with others playing supporting roles.
Anikha Surendran, a famous child actress previously, debuts as the heroine in the movie. She looks like a tenth-grade student but is alright for the part, as it requires a certain vulnerability to make a few things believable. It comes naturally to her due to the look, but one can’t shake away that niggling feeling of watching a child actress on screen.
Surya Vasishta plays an auto driver with dual shades. The actor shows the variation well in the critical moment. It takes time to get used to him, but eventually, things settle down.
And finally, Arjun Das makes his Telugu debut with Butta Bomma. It’s a character that suits him as he is known for his aggressive attitude playing the baddie. However, when it comes to Telugu, his booming base voice and personality pose a challenge initially. But, like Vasishta, we get used to it soon. Arjun Das delivers the required part with sincerity and ease.
Shouree Chandrasekhar T Ramesh directs Butta Bomma. It is a remake of the Malayalam movie Kappela.
Like any remake, the setting of the film is crucial that connects to the local milieu of the target audience. In Telugu, Butta Bomma is set in the small town of Uttar Andhra. Due to topography-wise similarities, it has been the go-to choice for many Malayalam remakes in recent years. However, people are different, and so are traditions and culture. Here, we see the issues with remakes and the missing nativity factor. Butta Bomma, too has the same problem.
The trouble starts immediately as the story begins. We see a lot of superficial changes, but the depth is missing. It makes an attempt to look natural, very artificial. The result is the organic flow of the original is never seen.
The first hour, therefore, which depends a lot on the world and its building and characters inhibiting the space, doesn’t click. They come across as stereotypes placed in the location rather than belonging organically to the place. It makes the narrative look artificial and, in turn, doesn’t let rise the moments of drama and entertainment inbuild in the narrative. It renders everything flat and ho-hum.
The small take-off happens literally when the heroine takes off from the location to Vizag. The tense moments work as the narrative is more about content and less related to the world. One is simply tracking the character and her story here. The interval bang raises hopes in the second half.
As expected, the second hour feels comparatively better. It is mainly because the milieu is no longer a significant part of the engagement with the narrative.
The story is wafer-thin, and one gets where things are headed after a particular point. The screenplay does the trick, and some twists favour Butta Bomma. But, again, the impact is missing. The reason is despite the relatability of the theme that’s seen, there is nothing else.
Because one hasn’t truly connected with the characters and doesn’t care about them or the world, the message is all that one is left with in the end. Artificiality affects our involvement and takes away the necessary bite to let the narrative work (and be gripping). It is flat and boring, making one wonder if the remake is warranted.
Overall, Butta Bomma has a decent relatable theme that comes across neatly by the end, but its artificiality and lack of organic setup for the story make it bland. If you like to watch a relatable slice-of-life drama, give it a try, but have expectations low.
Performances by Others Actors
The screen is crowded with actors, but none have a prominent role to be remembered. Everyone is seen in bits and pieces, parts filling up the world. Some known faces like Mirchi Kiran, Narra Srinivas and others are adequate in their roles.
Music and Other Departments?
Gopi Sundar’s music is soothing when required and turns rousing when the narrative takes an unexpected turn. A couple of songs, too, are alright on screen, but they lack the memorable quality. Vamsi Patchipulusu’s cinematography is decent. An air of naturality is maintained throughout, which could be bettered. Navin Nooli’s editing is neat. The writing is mostly ordinary, but bits and glimpses shows sparks.
Parts Of The Second Half
A Couple Of Songs
Did I Enjoy It?
Will You Recommend It?
Butta Bomma Movie Review by Mirchi9
Butta Bomma’s second half is better comparatively, but it still fails to make the movie engaging. A faithful remake, the film goes on flatly with hardly anything memorable writing or performance-wise.
First Half Report:
The first half of Butta Bomma is simple and moves flatly without much fun or drama that’s supposed to arrive naturally. There are little tense moments around the interval mark, making one look forward to the second half.
— Butta Bomma show begins in countryside Vizag. The phone call romance begins between an auto driver (Murali), and a village girl (Satya), who have never met each other.