Subramanyam / Subbu Jagapati Babu is a practical and patient manager who builds a quiet life with his wife, Durga Roja Selvamani, a no-nonsense woman who keeps the household on a steady keel. When Subbu’s deceased sister leaves behind two young nephews, the couple decides to welcome them into their home, turning their modest world into a bustling family unit. Not long after, Durga gives birth to twins, and the newly enlarged family finds itself navigating the joys and challenges of parenthood. Life in this new rhythm is far from simple, yet Subbu handles each twist with a steady, sometimes weary, good humor that anchors the film’s tone.
To provide a stable base for the expanding household, Subbu moves into a new locality filled with a cast of colorful, larger-than-life neighbors. There’s a retired Lance Naik, Bhagath Kota Srinivasa Rao, whose rough-edged presence and old-school ways blend with the other locals, including a loud-mouthed neighbor, and a caller of bills and chores named Santharam [Dharmavarupu Subramanyam], whose antics add a constant layer of comic chaos. The community is home to an assortment of characters that border on caricature, yet they all contribute to the movie’s lively, almost carnival-like atmosphere.
Into this volatile mix comes a strange tenant, Pataudi [Rajendra Prasad], who moves in with his dysfunctional family, paying double rent to secure his own little empire. He arrives with a wife, Kantham [Jhansi], a formidable virago who sets the tone for the household, two more boisterous children, and a teenage sister-in-law, Sujatha [Kanchi Kaul]. Pataudi’s arrangement is not just about money; it’s a high-stakes negotiation that lands directly in Subbu’s living room, bringing tension, humor, and a flurry of demands that threaten to destabilize the peaceful life Subbu has worked so hard to build.
As the situation unfolds, Subbu’s willingness to share his address with Pataudi triggers a chain of misunderstandings and power plays. Sujatha becomes infatuated with Subbu, and a spate of schemes and schemes-backfires ensue, with Babloo and his gang weaving through the plot as a disruptive force. Subbu finds himself under pressure from multiple directions, trying to balance the needs of Durga, his two newborns, Kantham’s bold temperament, and Sujatha’s pushy advances, all while maintaining a sense of family unity.
Durga begins to suspect an impropriety in Subbu’s interaction with Sujatha, and Subbu—desperate to handle the matter with care—tries to explain things to Sujatha’s elders. His attempts backfire, widening the rift within the family. A crucial moment arrives when Subbu reveals the truth to Kantham, but Durga misreads the situation, mistaking Subbu’s actions for indiscretion. The tension crescendos as Durga spots the two together, triggering a crisis that lands Subbu in the middle of a domestic storm. In a particularly tense sequence, Durga goes into labor amid the confusion, and Subbu rushes her to the hospital with the aid of Pataudi’s family, who have begun to see Subbu’s true character.
The plot escalates as Sujatha escalates her public declaration plans by climbing onto a water tank, a dramatic image that heightens the drama. Subbu tries to shield his family, even as Babloo and his gang threaten and chafe at his authority. Subbu’s fierce anger channels the chaos into a cathartic moment, driving the criminals away and forcing the truth into the open. Pataudi eventually disciplines Sujatha with a firm slap for her childish schemes, signaling a shift in the balance of power in the household.
In the end, Durga learns the full truth about Subbu’s loyalty and virtue through Kantham’s honest conversations, and she seeks forgiveness. The couple reconciles, and Durga gives birth to twin girls, providing a heartfelt, joyful closure to the family’s trials. The film closes on a jubilant note, with the familiar “family circus” restored and the home once again filled with laughter, chaos, and the warmth of a truly bonded clan.
