As crime comedies go, ''Bhale Manchi Roju'' is many things at the same time.  If some of the scenes are remarkable for the detailing, most others end up being much ado about nothing.  The film progressively becomes over-indulgent of back ground music and its crime comedy self.  In short, it begins like class and in the end plays to the gallery - in the form of the new-found parodying by Prithvi Raj, who many film makers have started to think of as Brahmanandam and Sampoornesh Babu rolled into one!

Ram (Sudheer Babu) is the son of Paruchuri Gopala Krishna, a car mechani who has a long list of complaints against his son.  Ram is deeply dejected and is on a snap mission to give a tight slap on his ex-girl friend.  Just at this moment, he hits a car accidentally.  This is his first tryst with trouble, which takes new avatars as the day progresses.  Sai Kumar, the owner of a forgotten theatre, is a sadistic villain by the day and by the night he is, well, let the spoiler not be given because it is one of the very few good points of this film.  He has abducted Sitha (Wamiqua Gabbi) for unknown reasons and it now up to Ram to find Sitha, who has escaped after the accident.  It is a race against time for Ram, who has to accomplish the mission lest the trigger-happy Sai Kumar kills Praveen, the boy friend of hero''s sister.

In the first 45 minutes or so, the setting and the premise is pretty cool.  The very first scene stands out for its splendid detailing, making us expect a slick entertainer.  For the first 30 minutes or so, the parallel narration involving the comically psycopathic Sai Kumar and his henchmen on the one hand, and Nalla Venu and his sidekick and Sudheer Babu on the other hand keep the audience interested.  However, after a while, more like ''Swamy Ra Ra'' and such crime comedies were, the film becomes more about style over substance.

The screenplay progressively loses its sheen in terms of detailing.  Posani Krishna Murali''s Father comedy doesn''t come across as imaginatively funny and does with some cliched stuff that is typical of ''Ee papulanu ksheminchumu'' blah blah.  Posani''s second shade is lost in simulated comedy of confusion.  Even as Sai Kumar entertains with his second shade, the heroine looks jaded with one or two expressions.

Nalla Venu and his sidekick are so much indulged that they have a stylish song picturized on them.  Sudheer Babu gets his share of song and dance after love blossoms.

Second half is where love story blends with crime comedy.  Chaitanya Krishna''s surprise role is a package in itself.  Dhanya Balakrishnan plays a cameo that makes an impact.

As slice-of-life goes, it is few and far between.  The first few scenes are where you would find it aplenty.  For example, watch Sudheer Babu forgetting to pick Praveen because of his ''paradhyanam''.  And the way he reacts to Praveen finishing off a whole bottle of water.  And the way the screenplay throws up quirks and situational comedy through Nalla Venu''s sidekick washing ''Silk'', his antique-piece like car whenever he finds time in the midst of the criminal project of the troika.  The hero''s middle-middle class identity is a welcome change.

Because of the promise it makes, the audience naturally expects something more after various lives converge by interval.  But when all the important characters eventually meet at a place in the climax, the director banks on Prithvi Raj to deliver tinkered punch lines from popular hits.  (In a span of two days, Prithvi Raj has parodied Srimanthudu twice - in ''Soukhyam'' and this one).

Looks wise and acting wise, Sudheer Babu shows promise.  His chiselled looks make him a face to watch out for.  He shows spark in some of the scenes.  After him, the impactful characters are Nalla Venu and his sidekick, Sai Kumar and Wamiqa Gabbi, in that order.

Dialogues make a mark here and there.

Sunny MR''s music passes muster.  The BGM is like a character.  It is all over and sometimes even ''over'' because it is never over!

The cinematography by Shamdat Sainudeen of ''Vishwaroopam'' and ''Uttama Villain'' fame is first-rate and it is the best aspect of the film.

Verdict: This is a crime comedy with a love story blended into it as a footnote.  Beginning as a nimble screenplay, the film atrophies into superficial situations and scenes after 45 minutes or so.  Watchable for its technical finesse, though.

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