Om Shanti Shanti Shantihi Review: Misses its punch

Om Shanti Shanti Shantihi: What’s the story about?

Prashanti, fondly called Shanti (Eesha Rebba), secures a free seat at a government engineering college in Rajahmundry. While her father initially agrees to enroll her, her brother argues that joining a local college would be more economical. Following an incident, her father decides that marriage should come before higher education. An alliance soon materialises.

Omkar Naidu (Tarun Bhascker), the owner of Chepala Cheruvu, takes a liking to Prashanti and marries her without demanding dowry. He even agrees to let her continue her studies, earning her goodwill.

After entering her marital home, Prashanti realises that her husband has a peculiar and rigid mindset. Omkar wakes up at 4 am every day, expects breakfast at the same hour, and insists that idlies be prepared unfailingly by his mother and sister. Idly, and only idly, is his daily tiffin. When Prashanti dares to prepare a different breakfast, he slaps her. This behaviour becomes routine. One day, unable to endure it any longer, she retaliates and beats him.

Omkar later discovers that Prashanti has secretly learned karate by watching YouTube videos. Stung by this revelation, he too learns karate, confronts her, and even records the entire fight. Yet again, Prashanti overpowers him. However, his fragile male ego refuses to accept defeat, and the abuse continues.

Acting on his uncle’s (Brahmaji) advice, Omkar pretends to make amends. He pacifies Prashanti, apologises, and convinces her that he truly loves her. Soon, she becomes pregnant. It is then that Prashanti uncovers his original plan, prompting her to walk out of his house. What follows forms the crux of the film.

Analysis

As those who regularly follow my reviews would know, despite being an avid cinephile who keeps track of important films across world cinema, I do not watch Malayalam films extensively. I have not seen “Jaya Jaya Jaya He”, the Malayalam film on which “Om Shanti Shanti Shantihi” is based either. Hence, this review refrains from comparisons and evaluates the Telugu film on its own merits.

“Om Shanti Shanti Shantihi” is not merely a film that speaks out against physical abuse; it also attempts to portray its female protagonist as a woman who gradually finds her voice and inner strength, rather than remaining a passive victim. The tone remains light and humorous on the surface, but the underlying theme is serious.

The narrative captures Shanti’s journey: from initial “adjustment” to eventual rebellion when she reaches her breaking point. Her character arc is clearly defined. The film also goes a step further by exposing a certain class of men who publicly lecture about women’s empowerment but practice control and dominance in their personal lives, explored through a subplot.

The relatable middle-class milieu, the rural Godavari backdrop, and the core message form the film’s notable strengths.

However, the film also suffers from considerable superficiality and several unengaging stretches.

The most problematic among them is the episode involving Tarun Bhascker’s character becoming obsessed with “taking revenge” on his wife by defeating her in a karate bout, recording it, and sending it to his uncle. While it is believable to depict him as a man with toxic tendencies who loses control and resorts to violence, portraying him as someone who meticulously plans an elaborate act of revenge turns the character absurd. On one hand, the film presents him as a normal man with ingrained misogyny, consciously avoiding a villainous portrayal; on the other, it abruptly flips his behaviour, undoing the initial characterisation. Even if this thread exists in the original Malayalam version, it does not sit well with the character sketch here.

Additionally, the portions involving Tarun Bhascker’s workers and their constant banter fail to translate effectively on screen. The intended humour largely falls flat, adding little value to the narrative progression.

Where the film fares well is in portraying Shanti as a woman who consciously avoids the stereotypical route of a submissive wife and instead takes charge of her own life. These moments lend the film its emotional weight.

Performance-wise, Eesha Rebba and Tarun deliver sincere performances, with Eesha standing out in crucial sequences. She convincingly embodies a typical rural middle-class woman. Brahmaji, as the uncle, fits his role neatly. Director A.R. Sajeev shows flashes of promise in certain episodes, but the film would have benefitted greatly from a tighter and more engaging screenplay.

Bottom line: “Om Shanti Shanti Shantihi” communicates a relevant message against domestic abuse and reflects on what women truly seek from relationships, peppered with occasional humour. While the intent is honest and the performances are earnest, the narration lacks its punch.

Rating: 2.25/5

By Jalapathy Gudelli