They Call Him OG, directed by Sujeeth, is a high-octane action entertainer designed squarely for Pawan Kalyan’s fan base. The film plays it safe, relying heavily on tried-and-tested tropes, but makes up for its lack of narrative originality with technical finesse, a compelling visual aesthetic, and the charisma of its lead star.
The story follows Ojas Gambheera (Pawan Kalyan), a samurai-trained warrior from post-war Japan who returns to Mumbai in the 1990s to serve as the protector of Satya Dada (Prakash Raj), a benevolent businessman and underworld figure. Ojas is a calm yet deadly force, respected and feared for his sword-wielding skills. Conflict brews when Dada’s ex-ally, now a corrupt politician named Mirajkar (Tej Sapru), and his sons Omi (Emraan Hashmi) and Jimmy (Sudev Nair), seek control over the Bombay port, leading to a fallout between Dada and Ojas. The latter retreats into a peaceful family life, only to be drawn back into violence when circumstances demand it.
The film takes a familiar route, echoing storylines from classics like Baashha, KGF, and Baahubali. While originality in plot is scarce, Sujeeth compensates by building a stylistically rich and action-packed experience. He structures the film around repeated myth-building moments — different characters recount Gambheera’s legendary past in various locations, reinforcing his heroism. This repetition becomes the core format of the first half, prioritizing buildup over story progression.
Technically, the film excels. The cinematography by Ravi K. Chandran and Manoj K. Paramahamsa is vibrant and immersive, while Thaman’s electrifying background score infuses energy into every action sequence. The production design, recreating 90s Bombay and Japanese influences, adds a unique visual layer that stands out.
However, the writing leaves much to be desired. The villains, especially Emraan Hashmi’s Omi, lack depth and menace. Their motivations are barely sketched, and even when new antagonists are introduced later, they add little to the narrative tension. Side characters like Sriya Reddy and Arjun Das feel like unnecessary embellishments rather than integral parts of the story. Similarly, Priyanka Arul Mohan’s role as the love interest feels underdeveloped and misused — her presence doesn’t significantly impact Gambheera’s emotional arc.
Sujeeth’s direction reflects his admiration for Pawan Kalyan more than his confidence as a storyteller. He clearly understands the demands of a superstar-driven film, delivering stylized action and heroic elevation scenes aplenty. Yet, he avoids taking risks or exploring deeper emotional layers that could have elevated the film beyond surface-level thrills.
Despite its flaws, They Call Him OG succeeds in its primary goal — entertaining Pawan Kalyan’s fans. The actor returns to form with a powerful, commanding performance, handling action sequences with flair and showcasing his signature style. The nostalgic remix of Travelling Soldier from Thammudu adds to the fan-pleasing moments.
In conclusion, They Call Him OG is a well-packaged, technically impressive mass entertainer that doesn’t break new ground but delivers on the expectations of a star vehicle. It’s not a revolutionary gangster saga, but it knows its audience — and plays to them with confidence.
