‘Oh! Sukumari’ movie review: Thiruveer, Aishwarya Rajesh shine in this entertaining rural dramedy

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Set in rural Telangana, director Bharat Dharshan’s Telugu film turns a familiar tale of family dynamics and personal dreams into an engaging dramedy with a quirky central hook

Published - July 17, 2026 02:43 pm IST

Aishwarya Rajesh and Thiruveer in the film | Photo Credit: Special Arrangement

In the opening portions of Oh! Sukumari, a young girl hears her teacher describe happiness as a large family bound by love and togetherness. Having lost her mother, she quietly holds on to the hope of finding that kind of home someday. Elsewhere, an ageing patriarch mourns a family that seems to value him more for his wealth than his presence. Their shared longing for love and belonging forms the emotional core of the film.

Director Bharath Dharshan brings these seemingly disparate lives together with warmth and humour. Oh! Sukumari belongs to the recent wave of low-stakes rural comedies that find charm in the everyday lives, dreams and struggles of ordinary people.

Nothing here is larger than life. The village is portrayed without gloss, its homes feel lived-in rather than picture-perfect, and its characters are grounded in reality. Think of Thiruveer’s earlier film, The Great Pre-Wedding Show, one of 2025’s sleeper hits. While that was heavily steeped in humour, Oh! Sukumari strikes a more balanced note, pairing laughs with emotional heft.

Set in rural Telangana, the film unfolds in a world of amiable characters who embrace music, dance and colour during village festivities.

What sets Oh! Sukumari apart from other rural comedies is the unusual condition of its female protagonist, Sukumari (Aishwarya Rajesh). Whenever she becomes emotional, anyone who touches her receives an electric shock. A childhood incident shows how this strange ability helps her fend off a group of thugs, but as she grows older, the film explores the practical complications it brings.

The village fears Sukumari’s condition and keeps her at arm’s length, waiting for the day she is married off. Nicknamed current pilla (electric girl), she is believed to have no cure — unless she finds a love as calming as the memory of her mother. Her father (Anand) is her solid support, but she yearns for more.

The film takes its time establishing the principal characters, their family dynamics and the emotional baggage they carry. Bharath often frames situations one way before pulling back to reveal a contrasting reality, using humour to soften the reveal. Yadagiri or Yadi’s (Thiruveer) political ambitions, for instance, initially paint him as a celebrity before adding greater context. The same narrative device shapes the incidents when he crosses path with Sukumari.

The film is at its most entertaining during the wedding sequence. Seasoned actors Jhansi and Muralidhar Goud enliven the proceedings alongside a vibrant ensemble of villagers, while Bharath Manchiraju’s folk-infused contemporary score amplifies the festive mood. The energetic wedding dance is a standout.

The developments here are largely predictable, but the humour lands often enough to keep the narrative engaging. Miscommunication is a familiar plot device, yet it is handled effectively.

As the story shifts to marital conflicts, the film balances comedy with genuine emotional weight without turning too melodramatic. Sukumari’s relationships with the women in her marital home, particularly her mother-in-law, played by Aamani, become the emotional anchor using which she begins to address the family’s dysfunction.

Not every subplot fares as well. Threads involving rural politics, the insecurities of Yadi’s cousin (Srinivas Gavireddy) and another veiled bride add texture, but some outstay their welcome and dilute the narrative’s momentum.

The film keeps returning to its protagonists, allowing them space to reflect, make amends and come into their own. It is in the final stretch, however, that the narrative becomes overly talkative. With nearly every character receiving a neatly wrapped-up ending, the 137-minute runtime begins to feel its length. A tighter edit would have helped.

Despite a few missteps, Oh! Sukumari remains engaging largely because of Thiruveer and Aishwarya Rajesh. Thiruveer has repeatedly proved his ability to play the everyman, and he does so again with ease. Yadi is layered and flawed, and the actor convincingly navigates his emotional conflicts while effortlessly switching between humour and vulnerability.