Oka Manchi Prema Katha: A well-intentioned but weakly written drama
Review by Kausalya Rachavelpula
Popuri Lalita Kumari, known by her pen name Volga, is one of Telugu literature’s most respected feminist writers. Her works like Vimukta Kadha Samputi and Sveccha challenged traditional ideas of marriage and women’s freedom, earning her the Sahitya Akademi Award in 2015. Her husband, Akkineni Kutumba Rao, brings similar themes of relationships and emotional distance to the screen in Oka Manchi Prema Katha, now streaming on ETv Win.
The film follows Rangamani (Rohini Hattangadi), an elderly woman living alone and running a small water plant, neglected by her career-driven daughter Sujata (Rohini Molleti). The story aims to explore loneliness, family bonds, and the emotional gap between generations, themes deeply connected to Volga’s literary world.
At its core, the story revolves around Rangamani (Rohini Hattangadi), an elderly woman living alone and running a small water plant far from her family. Her daughter Sujata (Rohini Molleti) and son-in-law Eeshwar (Samudrakhani) are caught in their corporate routines, paying little attention to her. As Rangamani’s health begins to fail, Sujata faces a moral conflict between her career ambitions and her responsibility as a daughter. The emotional tension between the two forms the main thread of the film.
While the premise sounds emotional and relatable, the screenplay lacks depth. The writing feels one-dimensional and fails to explore the complexity of the relationships it portrays. Instead of allowing emotions to unfold naturally, the director relies on lengthy dialogues and predictable situations. Many scenes seem stretched, and the emotional moments, though sincere, often feel forced.
The film’s major problem lies in its treatment. It plays out more like a long television drama than a feature film. The direction is straightforward but lacks cinematic appeal. Every emotional beat is highlighted so heavily that it loses subtlety. The message about balancing family and career is important, yet it comes across as overly preachy. Instead of encouraging reflection, it feels like the director is addressing the audience directly, as if answering questions rather than telling a story.
Technically, Oka Manchi Prema Katha also falls short. The production design is basic, and the visual style is flat, offering nothing new to the eye. The background score tries to enhance the emotional tone but ends up being repetitive and sometimes distracting. The cinematography is serviceable but uninspired, with few memorable frames. Editing is another weak point—the film moves at a slow pace, making it feel longer than it actually is. Several scenes could have been cut or tightened to maintain engagement.
On the positive side, the performances help keep the film afloat. Both Rohinis—Hattangadi and Molleti—deliver genuine and touching performances. Their chemistry as mother and daughter adds authenticity, even when the writing fails them. Samudrakhani does a decent job as the busy husband, while the supporting cast, though inconsistent, contributes adequately.
Director Akkineni Kutumba Rao clearly had a message to share about the emotional cost of modern corporate life and the loneliness faced by ageing parents. Unfortunately, the weak screenplay and lack of creative energy prevent that message from resonating deeply.
In the end, Oka Manchi Prema Katha is a film with good intentions but poor execution. It tries to blend emotion and social commentary but ends up being a slow, stage-like drama with limited cinematic charm. Watch it only if you’re in the mood for a simple, emotional family story and can overlook its technical and narrative flaws.
