In Radha Mohan’s various works throughout the years, comedy has always been embedded in some manner. However, after an extensive period, the director decides to deviate from his usual approach and take on a completely serious film, as exemplified by Bommai. How does this deviation fare, though?
Bommai revolves around a man burdened by a troubled past and the manner in which his psychological issues lead him to develop an affection for a mannequin. SJ Suryah essays the role of a painter who experienced the loss of his childhood love in the initial stages, finding solace when she miraculously assumes the form of a mannequin. The first half of the film mainly acquaints us with SJ Suryah’s character, detailing the reasons behind his situation, and then progresses to illustrate how he must protect the mannequin while forming a daily connection with it.
Bommai employs a very conventional narrative style, which causes it to stumble on numerous fronts. Each scene in the film treads a predictable path, ultimately becoming its main drawback as it unfolds.
SJ Suryah, portraying Rajkumar, emerges as the sole redeeming factor of the film. While this type of performance may come effortlessly to him, he invests his utmost efforts and delivers a phenomenal portrayal.
However, Priya Bhavani Shankar feels out of place and fails to convincingly portray her role. The film does not offer much insight into the remaining cast members.
Yuvan Shankar Raja’s musical compositions resemble his father’s style, and the accompanying score proves more effective than the songs themselves.
All things considered, Bommai is an average psychological drama that feels overly familiar, echoing the essence of numerous other films. This movie review is presented by Only Kollywood.