Inspector Seethaiah makes more enemies than friends and changes names wherever he migrates. But, he cannot escape the evil and fights back the anti-social elements till the end.

1994 film

Arunachalam, the son of a prominent village elder, discovers the truth about his past.

1995 film by Kodi Ramakrishna

Abhiram and Uma fall in love with each other when they meet in Europe. Unable to express their feelings at the right time, the two are separated when Uma returns to India. Abhiram goes to India to marry his lover, Uma. However, when he reaches the country, he is attacked by some unknown people. Later, a lady named Jhansi reveals Abhiram's shocking past.

Manjunatha, an atheist, fights against social evils. He marries Kathyayini, a staunch devotee of Lord Shiva. As the days go by, Manjunatha realizes the existence of God.

When Sriram learns that his wife, Seeta, cannot bear a child, he keeps it hidden from his father. However, he marries Manisha under dire circumstances during his trip to Nepal and soon learns that she is pregnant. They have a son and Seeta, after much reluctance, accepts Manisha as Sriram's wife.

Rajaram (Chiranjeevi), owner of a fleet of lorries, meets Devi (Soundarya), a garment factory owner. After that acquaintance, she once seeks his help in dealing with two street ruffians, who were teasing her sisters, Lata (Chandini) and Geetha (Sishwa), and is shocked when the culprits turn out to be his brothers, Ravi (Ravi Teja) and Gopi (Venkat). Rajaram takes the incident lightly as the pranks of youngsters and is very lenient to them. With more such incidents, the two fall in love, with the brothers and sisters not far behind. On his brothers' request, Rajaram approaches Devi for her sisters' hands in marriage to his brothers. But she curtly refuses her consent on grounds that the two are wayward drunkards. Rajaram reacts sharply to it and vows to get his brothers married to her sisters. Since then on he is more exacting with his brothers and brings about a transformation in them. Devi agrees to their marriage.

When Bhanu and her husband Prakash unexpectedly return to India, Bhanu discovers the true nature of Prakash's family and finds herself stuck in a feudal and violent society.

Nagi is the pillar of her small family that includes her husband and her rigid father-in-law. Faced with the possibility of losing her home due to the construction of a dam, Nagi proves her strength.

Two friends, both with the name of Lingam, create a comedy of errors and consequent chaos with their girlfriends and their families.

AMMORU manages to combine all the usual Bollywood pre-occupations (marriage, familial bonds, hinduism) with an amazingly wild mythological fantasy storyline, some great CGI special effects, and quality production, to form one of the most interesting films to come out of India in a long time. The prologue, as we watch a Shiva-style goddess become Ammoru, the protector of a village, sets the tone well, with the actress giving an engaging Brigitte Lin style performance. Unfortunately, she has little else to do for much of the film. The central drama concerns a girl who witnesses an evil sadhu attempting to bury a virgin alive, in a bid to gain magical power and riches. The sadhu's mother, unhappy he has been jailed for life, vows to get her revenge on the girl, and proceeds to make her life a misery. This first half of the film works well, with great performances by the evil family, and the special mystical effects used sparingly but effectively. It shifts tone for the second half, with Ammoru manifesting herself as a child to save the girl, and the sadhu himself being released early and seeking his own revenge. The film eventually begins to submit to standard Bollywood conventions, but redeems itself by upping the fright-factor and the crazy special effects, and bringing back the original adult incarnation of Ammoru to kick some ass! AMMORU will be of interest to world viewers, as it gives a fascinating insight into the strange culture of southern India, a world where demons, goddesses walk among us as avatars, and it manages to do it without resorting to lowest-common-denominator movie-making as in 99.9% of the other movies coming from the sub-continent.