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#Home (2021)

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Home Movie Review: Heartwarming Tale Of Relationships That Provides A Touch Of Positivity!

Home , the Malayalam feel-good family drama which features Indrans, Sreenath Bhasi, and Manju Pillai, in the lead roles, has finally released on Amazon Prime Video. The project, which is directed by Rojin Thomas, had garnered the attention of viewers with its beautiful trailer. Home is bankrolled by Vijay Babu under the banner Friday Film House. Home

Did the multi-starrer impress the audience? Read the Home movie review here, to know...

What's Yay:

Performances

Technical Aspects

Oliver Twist's (Indrans), family consists of his wife Kuttiyamma (Manju Pillai), his aging father (Kainakari Thankaraj), and sons Antony (Sreenath Bhasi) and Charles (Naslen K Gafoor). Antony, who is a one-film-old director, is struggling to finish his second script. He prefers staying in the city but returns home only to get rid of his creative block. Charles, on the other hand, is a vlogger. The movie focuses on technology-challenged Oliver's struggles to keep up with his tech-savvy sons.

Home Movie Review: A Heartwarming Tale Of Relationships That Provides A Touch Of Positivity! | Home Review | Home Malayalam Movie Review

Script And Direction

Rojin Thomas, the young director who rose to fame with the popular films Philips And The Monkey Pen and Jo And The Boy , is back to film-making with Home . The director has succeeded in narrating a simple yet relatable storyline effectively, thus creating a completely feel-good and positive movie experience. The excellent casting deserves a special mention.

The well-written, well-conceived scenes (especially the scenes involving Oliver and his family) and dialogues make Home instantly relatable. A special kudos to the writer-director for touching on some highly relevant topics including mental health. The narrative is constructed in the most simplistic manner without throwing many twists or surprises, which makes the film an uncomplicated watch. But still, Home succeeds in leaving an impression on the viewers.

But the same positive aspects can also be coined as the negative aspects of the film. The highly predictable narrative, along with the excess duration, make it difficult for the viewers to watch the film in one stretch. Also, the film tends to get preachy towards its climax, thus diluting the overall impact. However, Home definitely provides a much-needed touch of positivity, amidst these tough times.

Indrans, the senior actor wins hearts yet again with his amazing performance as the father who longs for his son's acceptance. The actor has portrayed the unconditional love, helplessness, and innocence of his character with absolute ease. Manju Pillai, who plays Kuttiyamma, once again reminds us that she is an extremely underrated talent, with her impeccable performance.

Sreenath Bhasi has played the flawed-yet-relatable Antony to near perfection. The rest of the star cast, including Naslen K Gafoor, Kainakari Thankaraj, Maniyanpilla Raju, KPAC Lalitha, Johny Antony, Vijay Babu, and others, are good in their respective roles.

Neil D' Cunha, the cinematographer has done a great job with the visuals, that has set the perfect backdrop for the feel-good family drama. Rahul Subrahmanian has scored with a beautiful background score, but the songs are forgettable.

Home is a heartwarming tale of relationships, that provides a much-needed touch of positivity. If you are ready to tolerate the excess duration, this multi-starrer is a perfect watch for this Onam season.

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#Home: The heartfelt family drama that you should watch this Onam

#home movie review: amazon prime video's latest malayalam film #home beautifully captures the ironies of the highly connected world and the dying culture of person-to-person interaction..

When IBM first invented the world’s first smartphone called Simon Personal Communicator, the tech giant may have never thought the kind of monster it would become. Then, Steve Jobs came along and revolutionized mobile phones forever. The phones were no longer a mere tool to communicate; they radically changed the world and the way we perceive it. They replaced our libraries, book stores, newspapers and magazines. They turned everyone into a paparazzo and rendered photographers stationed at popular tourist spots jobless. They replaced our banks, music systems, and televisions. And more importantly, it has radically changed the way we interact with people in our personal life and social circle.

Amazon Prime Video’s latest Malayalam film #Home beautifully captures the ironies of the highly connected world and the dying culture of person-to-person interaction. The film, which is written and directed by Rojin Thomas, speaks the truth of our times. It puts in perspective how technology has brought the world closer and at the same time, drove us away from the people who matter to us the most.

Oliver Twist (played by a wonderful Indrans) is struggling to make sense of the fast-changing world. He notices that his eldest son Antony (Sreenath Bhasi) is very fond of interacting with people on the phone as opposed to talking to someone standing right next to him. Antony has been enslaved by his smartphone. So much so that as a sign of his servitude, he keeps his head always down, eyes boring into his phone. He hardly looks into the eyes of his family and friends. And when he does, he has nothing kind to say. All he feels is a strong sense of revulsion when he’s pushed to speak directly with another human being without the intermediary services of his mobile phone.

So Oliver Twist tries to learn how to operate a smartphone, hoping it would allow more ‘face time’ with his son, who lives in the next room of the same house. But, Oliver’s innocence and kindness are too fragile to survive the nasty world of the internet and social media. Things get ugly. Not for Oliver but for Antony. You can’t expect privacy at home after letting smartphones invade every aspect of your life, can you?

The hero of #Home is not a successful filmmaker, who is stuck on a creative block. Or a teenager, who is trying to become an internet celebrity. Or a successful author, who has an inspiring intellect. The hero of the film is someone who we take for granted in our lives. A man, who has done everything in his capacity to support his children’s dream and now struggles to find a respectable place at home, which he created. He is also a reminder of a generation and a period in human history when people used to value time and relationships and certain skill set like a good handwriting that would make an apology letter too good to reject.

Indrans is so natural in his role as a compassionate and forgiving father, who can’t understand why his son is afraid of his own feelings and so insecure. But, like a true hero, he never gives up on his son. He keeps his hope alive that one day, his son would stop being so harsh with him and show him some affection.

There is more to #Home than its main subject of people’s growing digital addiction. At the heart of this slice-of-life movie lies a universal drama, which unfolds in every Indian household. In a way, it is as effective a film as The Great Indian Kitchen. While the Jeo Baby directorial made patriarchal husbands squirm in their seats, #Home would do the same to cocky, egoistic and ungrateful sons, who never appreciate the contributions of their father to their life.

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#Home Movie Review: An eminently comforting film with relatable characters

Rating: ( 3.5 / 5).

There is a scene in #Home where Indrans is sitting inside a restaurant separated from the relatively younger and 'cooler' members of his family. I once happened to see the exact real-life version of this scene when I went to a restaurant alone. This father was seated in front of me -- because my table had only one person -- while his son, wife, and kids occupied a different table. Indrans' character, Oliver Twist, reminded me of him. They couldn't have picked a better actor to play him.

Director: Rojin Thomas Cast: Indrans, Sreenath Bhasi, Naslen, Manju Pillai, Kainakary Thankaraj Streaming on: Amazon Prime Video

Like the father in the above anecdote, the actor can convey volumes without saying anything. You can tell what he is thinking by simply looking at his face. Each member of the film's central family -- Kainakary Thankaraj as the grandfather; Indrans, the father; Manju Pillai, the mother; and Sreenath Basi and Naslen as their sons Anthony and Charles, respectively -- seems to experience this alienation to a certain degree. They seem to exist in separate compartments while living under the same roof.

When we meet Anthony, he is a filmmaker with a single film to his name, leading a disorderly existence. He has been struggling to complete the climax of his second film. The producer (Maniyanpilla Raju) is growing impatient by the day. The latter suggests that he write the last act in the same place where he wrote his successful debut. It's a nice segue to the film's title. Is a chaotic, messy lifestyle with your loved ones better than the same with yourself? #Home seeks to answer this question while addressing a lot of other things.

#Home is not so much an English Vinglish -style story of a person trying to learn about something as a document of a fictitious family, told like an epic (duration: 160 mins). I loved how the film gives equal space to every character and takes its time to bring out their peculiar characteristics. It packs so many relatable Indian moments: the mother trying to wake her son up by increasing the fan's speed; the same lazy son not bothering to put back all the teacups; and the two sons occasionally peeping inside the refrigerator because, as one of them says, "It's a habit, just like checking the phone all the time." Before I sat down to write this review, I came across at least four people who told me they saw themselves or their parents in these characters. For instance, Oliver notes down everything he learns about social media apps in a diary. My mother does that. If she saw this film, I'm sure she would be pointing to this scene like Leonardo DiCaprio in that meme. And Sreenath Bhasi's Anthony represents a multitude of young Indian men forced to detach themselves for the sake of work. Anthony is not the 'bad guy' here; his plight is perfectly understandable if you have experienced/are experiencing the same.

Yes, on the surface, #Home appears to be a story of a man trying to fill the emotional void caused by the technological divide and generational gap. But it's also, primarily, an emotionally overpowering story of self-acceptance. You could call it the 'coming-of-age' of a man in his 60s, triggered by a particular incident that becomes a major cause of embarrassment for Anthony, the filmmaker, and guilt for Oliver. It's a relief to see Indrans not play him too seriously. Oliver is, after all, someone who doesn't make a huge deal about all the conflicts he encounters. He has a sense of humour, and in some cases, he is not even trying to invoke laughter. It just happens organically, and who better than an actor blessed with an incredible flair for comedy. One of my favourite moments in the film has Anthony approaching a superstar named Vishal (Anoop Menon) to pitch his script, and he sees that the former has taken a liking to Oliver instead of him. Another wonderfully comical moment has Oliver accompanying his best friend Suryan (Johnny Antony in another hilarious performance) to a psychologist (Vijay Babu, vibrant as usual).

I must give #Home props for using this last stretch to address India's mental health stigma. Though initially apprehensive about the thought of anyone seeking expert help, Oliver doesn't take too long to warm up to the idea and eliminate whatever misconceptions he may have - learning the difference between a psychologist and a psychiatrist, for instance - even when his friend remains severely sceptical. The film makes some pertinent points even when the delivery seems straight out of an awareness video at times.

However, one thing that puzzled me is the choice of music in several places. I wonder why the makers chose to overstuff the film with generic, unmemorable tunes to inform us of the emotion of each scene? Since most actors here possess the gift of subtle expression, it's awkward when each performance gets constantly underscored by a corresponding piece of music to tell us what we are supposed to feel at a given point. Isn't everything evident without the inclusion of music? Not that there is anything wrong with using it -- it's cinema, after all -- but it would've worked better in moderation for a 160-min duration film. The familiarity of some musical choices begins to wear one down after a point. Sometimes the music is as intrusive as Charles' noisy demands.

Fortunately, the film's heavily poignant ending redeems its minor shortcomings. It got me teary-eyed in a way that no other recent Malayalam film managed to do. I must thank the makers for doing a film that helps reverse, to a certain extent, the after-effects of some of the dark Malayalam thrillers released recently.

Home Movie Review: A Feel-Good Film That Focuses On Characters Cinema Rarely Does, Indrans Wins Heart!

Rojin thomas, in his writing and direction, is headstrong about one thing, and that is not having a hero in his film..

Star Cast: Indrans, Sreenath Bhasi , Nalsen K. Gafoor, Manju Pillai, Deepa Thomas and ensemble.

Director: Rojin Thomas

What’s Good: Finally, a film acknowledging all the characters cinema has forever used as plot points, and making them the hero. The beauty is, there is no hero here, just Oliver Twist and his cuteness.

What’s Bad: The runtime as long as a period drama which leads to the film become preachy and dilutes the purpose.

Loo Break: Take time and watch this one. Have an empty bladder so you can enjoy the moments that are small but highly relatable.

Watch or Not?: It is a feel-good film, and one that has released after a very long time. I want you to watch and cherish your daily life on screen.

Language: Malayalam (Subtitles)

Available on: Amazon Prime Video

Children grow up but for their parents they are always the munchkins they one day brought home. Technically challenged Oliver Twist (Indrans) is father to two such boys who are now grown up and navigating their route in their respective lives but forget to acknowledge their father who is a silent giver, but never glorifies his victories. Get on board for this journey is heart breaks and Self-realisation; come out of it with a smile.

Home Movie Review: Script Analysis

The definition of family over the years has changed drastically. The dynamic that children and their parents share even more. Home, in its primary conflict, acknowledges this very argument and what it does to people who have a lot to learn about the modern world yet. Written by Rojin Thomas, the story is set in a house lavish enough to accommodate a joint family. The father is a silent doer. He almost does all the chores with his wife without complaining. Once when he does, he regrets it later.

So Rojin makes Oliver Twist, the father, aka Papa, the hero of his story. The perspective throughout is his and how he sees his ecosystem in a mansion unfold around him. Youngest son Charles (Nalsen), clever for his own good, is a lazy chap but still close to parents. Eldest Antony, a budding filmmaker is arrogant, and an outright toxic man, only spitting negativity because he has problems going on in his personal life. Of course, he has a soft corner too, but the arrogant side overpowers.

Now, Oliver, whom Antony sees like an average Joe good for nothing, has to become his son’s friend. He is also an old man wanting to learn the new technology, precisely smart phone. Home is a tale of a family we have seen or maybe one we are living in. The characters are people from around us, their problems and struggles are real, and so are their solutions. Thomas creates the main plot relatable to the tee and makes sure his audience connects to even the Fish Tank stand that breaks one day, signifying the chaos in the household and the pressure it has created. You will see.

Home at the core becomes a story of acceptance. Accepting your family with its simplicity, they need not be extra ordinary or superhumans to feel proud of them. Oliver Twist craves for his son to give him the same acknowledgement he provides to his overachiever father-in-law, but he never really gets angry at Antony for not giving it. Thomas definitely draws inspiration from people around him.

Rojin makes sure he doesn’t make Oliver a saint. In the beginning you see him being a rebel in front of his disabled father, and later when Sreenath’s Antony does it in full throttle, you observe genes have indeed passed from generation to generation.

But what pulls down the energy in this tale about love, longing, and acceptance is the writer deciding to branch out the story to the maximum. We are introduced to multiple conflicts that do have a stake in the summation, but not enough to invest our time into. For example, for a brief moment, Home acknowledges mental health, never to be spoken again. It talks about smartphone addiction, only to be used as a reason. It only becomes preachy and doesn’t add much.

Home Movie Review: Star Performance

Rojin Thomas wins a gold in casting. Every actor performing their parts to perfection and finesse. Indrans playing Oliver Twist is what experience does to a seasoned actor. Differentiating whether it is acting or documentation becomes difficult, and he wins heart with his smile. I was for real hurt when Antony burst out at him.

Sreenath Bhasi becomes the son parents don’t want theirs to become. He gets the tone right and becomes a layered character expected out of him. Nalsen K Gafoor gets to show his versatility in a week. A brainwashed teen in Kuruthi and a lively chap in Home, he has the charm.

Manju Pillai manages to win hearts even amid all these talented men. Her portrayal of the mother who is stuck between a family that is borderline crazy is worth watching.

Home Movie Review: Direction, Music

Rojin Thomas, in his writing and direction, is headstrong about one thing, and that is not having a hero in his film. It’s a family-like yours and mine, and this is the time camera zooms in into the ones it has neglected for years. He brings warmth in his direction, be it Indrans curiosity to learn smart phone, or him sad face that pierces out heart, he knows what draws audience.

Rahul Subrahmanian’s music serves the purpose and works well with the script, but I am not sure about the recall value.

Home Movie Review: The Last Word

It is a slice of life film for real. The family in Home is yours and mine. You will find characters that resemble people in your life. Watch Home and live the feel-good vibe for a few hours amid these testing times.

Home Trailer

Home releases on 19th August, 2021.

Share with us your experience of watching Home.

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‘Home’ review: A heart-warming experience that lingers on – and on

Rojin thomas’s family drama is out on amazon prime video..

Rojin Thomas’s Home promises a heart-warming experience and achieves both a heart-warming and seat-warming experience. The Malayalam drama on Amazon Prime Video comes in at an extended two hours and 41 minutes, delivering feel-good vibes, observational comedy and homilies about life and family.

The storytelling is as unhurried and old-fashioned as the hero, a techno-illiterate man who has fallen behind in the age of the smartphone and social media. Oliver (Indrans) lives with his father (Kainakary Thankaraj), wife Kuttiyamma (Manju Pillai) and son Charles (Naslen) in Thiruvanthapuram. Oliver’s older son Anthony (Sreenath Bhasi) is a filmmaker struggling to complete his second movie.

Suffering from writer’s block, easily distracted by the pings and beeps emanating ever so often from his phone, and anxious about his impending marriage to girlfriend Priya (Deepa Thomas), Anthony fails to notice his father’s fumbling attempts to reach out to him. Anthony’s dismissive attitude towards the nondescript and frequently tongue-tied Oliver is in stark contrast with his admiration for Priya’s high-achieving father Joseph (Sreekanth Murali).

Wounded by his son’s open contempt and Charles’s occasional sneering, Oliver pours out his woes to his hypochondriac childhood friend Suryan (Johny Antony). Oliver’s attempts to master the mysteries of the smartphone lead to a series of misadventures that are embarrassing for Anthony but revelatory for Oliver.

Thomas’s screenplay plays out like a limited-episode series crunched into a movie. Home attempts to reach a meeting point between rootedness and individualism, personal contact and the new-fangled but distancing seductions of the smartphone.

Gentle comedy about human foibles is balanced with folksy wisdom about the importance of family ties. Oliver Twist’s journey of self-discovery and his own back story (including the one about his unusual name) prove that he is more hip than square, despite what his son thinks.

Thomas treats deep wounds with a bandage that has a smiley stuck on it. A less cheerful movie might have been more harsh on Anthony, who often comes off as being obnoxious to Oliver. Even Anthony’s girlfriend suffers the blast of his disdain – a situation that resolves itself without any damage to Anthony.

With compromise rather than confrontation in mind, Home focuses on creating relatable situations and amplifying the excellent chemistry between the ensemble set of actors. The movie’s hero is unmistakably Indrans, one of cinema’s finest chameleons.

Indrans’s superlative performance is both understated and attention-grabbing, minimalist in gesture and expression and maximalist in impact. The rest of the cast is on a roll too, helping Home reach its destination despite its numerous detours.

Home movie review
Rojin Thomas

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Home movie review: Indrans' Malayalam film is a charming relationship drama

Home movie review: sometimes too sweets but most times heartwarming, rojin thomas brings to life a lovely family drama that is driven by indrans' effortless performance..

Malayalam cinema is quietly making an impact with its simple stories. At a time when filmmakers are running behind stars to make pan-Indian cinema; Malayalam industry is betting its money on close-to-heart stories.

Home movie review: Indrans plays a man hassled by his phone and his family.

Rojin Thomas’s Home, which joins the list of recent feel-good Malayalam movies like Vikruthi and Android Kunjappan, works its magic with a simple story of a technology-challenged father, desperately trying to bond with his sons in the digital age. Home is a charming relationship drama but is too sweet at times making it slightly unbearable. However, it does leave you with a smile on your face with some lovely moments.

Watch Home trailer:

Home follows the relationship between Oliver Twist (Indrans) and his elder son Anthony Oliver Twist (Sreenath Bhasi) over a period of a few weeks. Anthony, a filmmaker basking in the success of his debut film, is struggling to write his second movie. With an ultimatum from his producer, he comes home, a place where he wrote his first script, to find some spark. Anthony’s father is over the moon to see his son back home, and his excitement knows no bounds as he goes around telling his friends about Anthony’s next project with a superstar. With constant pressure from the producer to complete the project, Anthony’s relationship with his family falls apart while his father tries his best to keep everything afloat.

Also read: Netrikann review: Nayanthara shines in a safe adaptation of Korean thriller

What really works in the favour of Home is its simplistic storytelling. It doesn’t boast of a great storyline, but it manages to tug at heartstrings with a plot that’s peppered with some lovely moments and a heartwarming twist. The film does get needlessly long but it makes up for the length with some great performances from the lead cast. Veteran actor Indrans breathes life into the character of the father, who’s stuck between pleasing his sons and getting more comfortable with social media. Indrans makes this a great family drama with his effortless performance and the scenes between the members of the family are highly relatable. Sreenath Bhasi is equally good as the wayward filmmaker-son.

The film does touch upon sensitive themes like discussing meeting a psychologist, and how it’s not something to be ashamed about. There’s also a sub-plot about social media being both a boon and a bane. It’s a film you won’t mind recommending and it makes for a lovely watch with your family.

Director: Rojin Thomas

Cast: Indrans, Sreenath Bhasi and Vijay Babu

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Published :

Last Updated : 03 Sep, 2021 11:32 AM

Published : 03 Sep 2021 11:32 AM Last Updated : 03 Sep 2021 11:32 AM

திரை விமர்சனம்: ஹோம்

புதிய தொழில்நுட்பங்களின் வருகையால் குடும்ப உறவுகளில் ஏற்படும் சிக்கல்களைப் பற்றிப் பேசும் படமே ‘ஹோம்’.

தனது முதல் ஹிட் படத்தைக் கொடுத்துவிட்டு அடுத்த படத்தின் கதையை முடிக்க முடியாமல் திணறுகிறார் ஆண்டனி (ஸ்ரீநாத் பாஸி). தயாரிப்பாளரின் வற்புறுத்தலால் ஊரில் இருக்கும் தனது வீட்டுக்குச் சென்று கதையை எழுத தீர்மானிக்கிறார். நீண்ட நாட்கள் கழித்து தனது மகன் ஊருக்கு வரவிருப்பதை எண்ணி மகிழ்ச்சி கொள்கிறார் ஆலிவர் ட்விஸ்ட் (இந்திரன்ஸ்). ஆனால், ஒப்பந்தமாகியிருப்பது சூப்பர் ஸ்டாரின் படம் என்பதால் ஆண்டனிக்கு அழுத்தம் மேல் அழுத்தம் ஏற்படுகிறது. இதனால் வீட்டில் இருக்கும் யாரிடம் அவரால் இயல்பாகப் பழக முடியவில்லை. செல்போனே கதி என்று கிடக்கிறார்.

இவர்களுக்கிடையே வீட்டில் நடக்கும் சிறு சிறு விஷயங்களைக் கூட சமூக வலைதளங்களில் பதிவு செய்து இணையமே உலகமாக வாழ்கிறார் ஆலிவரின் இளைய மகன் சார்லஸ் (நஸ்லென்). முன்பு நர்ஸாகப் பணிபுரிபுரிந்து விட்டு இப்போது குடும்பத்தை கவனித்துக் கொள்கிறார் குட்டியம்மா (மஞ்சு பிள்ளை). நினைவுகள் அனைத்தையும் மறந்து சிறு குழந்தையாக வாழ்கிறார் ஆலிவரின் அப்பா. இவர்களைச் சுற்றி நிகழும் உறவுச் சிக்கல்களே படத்தின் மையக் கதை.

மகன்களுக்கும் தனக்கும் இடையே இருக்கும் தொழில்நுட்ப இடைவெளியை நிரப்ப எண்ணி புதிய ஸ்மார்ட்போன் ஒன்றை வாங்குகிறார் ஆலிவர். ஆனால், அதுவே அவர்களுக்கு இடையிலான அந்த இடைவெளியைப் பெரும் விரிசலாக மாற்றுகிறது. ஒரு கட்டத்தில் மகனின் சினிமா வாழ்க்கையையே கேள்விக்குள்ளாக்கும் நிலைக்குக் கொண்டுசென்று விடுகிறது. இதற்குப் பிறகு என்னவானது என்பதற்கான பதிலே ‘ஹோம்’.

ஆலிவராக முன்னணி நகைச்சுவை நடிகர் இந்திரன்ஸ். ஒல்லியான தேகம், யார் வம்புக்கும் போகாத முகம் என நடுத்தரக் குடும்பத்து அப்பாக்களைக் கண்முன் நிறுத்துகிறார். மொத்தப் படத்தையும் ஒற்றை ஆளாகச் சுமந்து செல்கிறார். மகன் தன்னை அவமானப்படுத்தும் போது மனைவிக்குத் தெரியாமல் வீட்டுக்கு வெளியே சென்று அழும்போதும், தன்னுடைய அப்பாவித்தனத்தால் ஏற்படும் சிக்கல்களைச் சமாளிக்க திணறும்போதும் தான் ஒரு தேர்ந்த கலைஞன் என்பதை ஒவ்வொரு காட்சியிலும் நிரூபித்து விடுகிறார். அவர் கலங்கும் காட்சிகளில் நம்மையும் அறியாமல் நம் கண்களும் கலங்கி விடுகின்றன. படம் முடிந்தாலும் ஆலிவர் பாத்திரம் நம் மனதை விட்டு அகல மறுக்கிறது.

‘கும்பலாங்கி நைட்ஸ்’, ‘வைரஸ்’, ‘கப்பேலா’ எனத் தொடர்ந்து தேர்ந்த நடிப்பை வழங்கி வரும் ஸ்ரீநாத் பாஸிக்கு இது மற்றொரு பேர் சொல்லும் படம். தனது கதாபாத்திரத்தின் கனமறிந்து சிறப்பான நடிப்பை வெளிப்படுத்தியிருக்கிறார்.

மஞ்சு பிள்ளை, நஸ்லென் கபூர், ஆண்டனியின் மாமனாராக வரும் ஜோசப் லோபஸ், மனநல மருத்துவராக வரும் விஜய் பாபு, ஆலிவர் நண்பராக நடித்திருக்கும் ஜானி ஆண்டனி என அனைவரும் தங்களுக்குக் கொடுக்கப்பட்ட பாத்திரத்தை எந்தக் குறையும் இன்றி நிறைவாகச் செய்துள்ளனர். ஒரே காட்சியில் வந்தாலும் நடிகர் அனூப் மேனன் மனதில் நின்று விடுகிறார்.

இயக்குநர் ரோஜின் தாமஸுக்கு இது மூன்றாவது படம். இப்படத்தின் சிறப்பே இப்படத்தில் எளிய கதை சொல்லல் முறைதான். படம் முழுவதும் எந்த ஒரு காட்சியிலும் மிகைப்படுத்தலோ, செயற்கைத்தனங்களோ இல்லாமல் காட்சிப்படுத்தியிருக்கிறார் இயக்குநர். தலைமுறை இடைவெளியை முகத்தில் அறையும் விதத்தில் காட்சிப்படுத்தியது, மனநல மருத்துவரிடம் செல்வது வெட்கப்பட வேண்டிய விசயம் அல்ல என்று அழுத்திச் சொன்னது போன்ற பல முத்திரைகளைப் படத்தில் பதித்துள்ளார்.

படத்தின் நீளம் 2 மணி நேரம் 40 நிமிடம் என்றாலும் ஒரு காட்சியிலும் அலுப்பு தெரியவில்லை. இத்தனைக்கும் படத்தின் பெரும்பாலான காட்சிகள் வீட்டுக்குள்ளேயே படமாக்கப்பட்டுள்ளன. ஒரு படத்தின் வெற்றிக்கும் பிரம்மாண்ட செட்களோ, அதிரவைக்கும் ஆக்‌ஷன் காட்சிகளோ தேவையில்லை என்பதை மலையாள சினிமா மீண்டுமொரு முறை நிரூபித்திருக்கிறது.

படத்தின் ஏதேனும் ஒரு காட்சியிலாவது பார்ப்பவர்கள் படத்தோடு தம்மையும் தொடர்புப்படுத்திப் பார்த்துக்கொள்ள முடியும். படத்தின் இசையும் ஒளிப்பதிவும் திரைக்கதையின் ஓட்டத்துக்குப் பெரும் பலம். படம் தொடங்கியது முதலே ஆங்காங்கே நம்மைக் கலங்க வைக்கும் சில காட்சிகள் இருந்தாலும் படத்தின் கடைசி 20 நிமிடங்கள் இதயத்தைப் பிழிகிறது. க்ளைமாக்ஸில் திரையில் இருப்பவர்கள் கண்ணில் வழியும் கண்ணீர் நமக்கும் வருவது தவிர்க்க முடியாததாகிறது.

குடும்பத்தோடு உணர்ச்சி பொங்க அழுது, சிரித்து, பார்க்கவேண்டிய மலையாள சினிமாவின் மற்றொரு மாஸ்டர் பீஸ் இந்த ‘ஹோம்’.

அன்பு வாசகர்களே....

இந்த ஊரடங்கு காலத்தில் வீட்டை விட்டு வெளியே வராமல் நமக்கு நாமே சமூக விலகல் ( Social Distancing) செய்து கொள்வோம். செய்தி ஊடகங்களின் வழியே உலகுடன் தொடர்பில் இருப்போம். பொதுவெளியில் இருந்து தனிமைப்படுத்திக் கொண்டு கரோனா பரவலைத் தடுப்பதில் நம் பங்கை முழுமையாக இந்த சமூகத்துக்கு அளிப்போம்.

CoVid-19 கரோனா தடுப்பு / விழிப்புணர்வு கையேடு - இலவசமாக டவுன்லோடு செய்து பயன்பெறுங்கள்!

- வாசகர்கள் நலனில் அக்கறையுடன் இந்து தமிழ் திசை

தவறவிடாதீர்!

‘மனி ஹெய்ஸ்ட்’ வெளியீட்டை முன்னிட்டு ஊழியர்களுக்கு விடுமுறை அளித்த நிறுவனம்
ஓடிடி பார்வை: குருதி - மனிதத்தைக் கொல்லும் மதங்கள்
'டக் ஜெகதீஷ்' வெளியீட்டுத் தேதி அறிவிப்பு
முஸ்டாங்க்: நம்பிக்கையின் ஒளி

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తెలుగు

Rathnam Review: Cliched Masala

Movie: Rathnam Rating: 1.75/5 Banner: Stone Bench Films, Zee Studios Cast: Vishal, Priya Bhavani Shankar, Samuthirakani, Yogibabu, Murali Sharma, and Gautham Vasudev Menon and others. Music Director: Devi Sri Prasad DOP: M Sukumar Editor: T S Jay Stunt: Kanal Kannan, Peter Hein, Dhilip Subbrayan, Vicky Art: P V Balaji Producers: Kaarthekeyen Santhanam, Zee Studios Written and Directed by: Hari Release Date: April 26, 2024

The only film released in theaters today is this dubbed film starring Vishal.

Let us see its merits and demerits.

Story: Rathnam (Vishal), a henchman for an MLA (Samuthirakani), encounters Mallika, a young woman studying for the NEET exam. One day, he comes to her rescue when she is targeted by rowdies intent on killing her. Rathnam takes it upon himself to protect Mallika solely because she bears a striking resemblance to his deceased mother, Ranganayaki.

Mallika and her family are facing difficulties caused by Lingam, a powerful leader who has constructed a college on their property in Tamil Nadu. The remainder of the film revolves around Rathnam's relentless efforts to safeguard Mallika and uncover the truth about his mother, as well as the real identity and history of Lingam.

Artistes’ Performances: Vishal does a typical role that he has played repeatedly: a well-meaning rowdy person. The role is trite and so is his performance.

Priya Bhavani Shankar has performed well in the dual parts of Vishal's mother and Mallika.

Murali Sharma's portrayal as the primary antagonist is flawless. Samuthirakani is okay. Yogi Babu's comedy and his track are subpar and exasperating.

Technical Excellence: The film provides more work for action stunt performers than for actors or technicians. Many fight sequences and chase sequences appear to be the same after a certain point.

It proves to be a shock to know that Devi Sri Prasad is the music director of this film. Both songs and back ground score are dull and dud.

M Sukumar's camerawork is conventional for an action flick.

Highlights: Pre-Interval scenes

Drawback: Cliched narration Mindless action episodes and chase sequences Template screenplay Poor characterisations for lead actors

Analysis Except for the "Singham"/"Yamudu" series, Tamil director Hari's mass films are difficult to watch for sensible audiences. Hari has simply rehashed his pattern of action films with no change. "Rathnam” starring Vishal is just another addition to his long list of filmography.

Hero encounters a heroine and realizes she is in danger from some gangsters, and he must defend her while performing various chase feats. This is the template for many of Hari's movies. Most of his films have a heroine who loves him, but the hero is hesitant to accept her love for various reasons until the end of the story. "Rathnam" is exactly the same.

The main difference is that in "Rathnam", the hero does not try to accept the heroine's proposal because she resembles his deceased mother. But he pursues her and does everything a boy who is enamored by a girl would do. Why? He gives this answer: “Oka ammayiki problem vaste kukke arustundi… Lakshyam kosam hatyalu chese rowdilamu memu…ela oorukuntam.”

After Vishal is introduced as a hooligan who is willing to kill for the greater good of society, we get to see some standard comedy tracks starring Yogi Babu. The plot then shifts to the introduction of the heroine, who is threatened by rowdies. The film turns into a chase and fights marathon after he saves her from a gang.

The second-half shifts its gears and focuses on revealing the link between Murali Sharma and Vishal's mother, and the entire game becomes the hero's personal problem in addition to the heroine's problem. But the trite narration and monotonous sequences never stop.

Even before the film reaches its conclusion, we begin to look for the exit. The comedy track, the so-called romantic track between the hero and heroine, and the songs all fail.

Overall, "Rathnam" is another mass-masala action film that is crammed from beginning to end with hackneyed scenarios, cliched narrative skills, and boring moments.

Bottom line: Spoiled Sambar

Paarijatha Parvam Review: Amateurish Kidnap Drama
Geethanjali Malli Vachindi Review: No Scares, Little Laughs
Manjummel Boys Review: Riveting Survival Thriller

Tags: Rathnam Rathnam Review Rathnam Movie Review Rathnam Telugu Movie Review Rathnam Rating Rathnam Movie Rating Rathnam Telugu Movie Rating

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ADANGA MARU MOVIE REVIEW
ADHE KANGAL MOVIE REVIEW
ADHE NERAM ADHE IDAM MOVIE REVIEW
ADHITHI MOVIE REVIEW
ADITHYA VARMA MOVIE REVIEW
ADITHYA VARMA TAMIL MOVIE REVIEW
ADUTHATHU MOVIE REVIEW
AEGAN REVIEW
AELAY REVIEW
AELAY TAMIL REVIEW
AGAM PURAM MOVIE REVIEW
AGILAN REVIEW
AINDHAAM THALAIMURAI SIDHA VAIDHIYA SIGAMANI MOVIE REVIEW
AINDHU AINDHU AINDHU MOVIE REVIEW
AINTHAM PADAI MOVIE REVIEW
AIRAA MOVIE REVIEW
AIRAA TAMIL MOVIE REVIEW
ALEX PANDIAN MOVIE REVIEW
ALIBABA MOVIE REVIEW
ALL IN ALL AZHAGU RAJA MOVIE REVIEW
AMARA KAAVIYAM MOVIE REVIEW
AMBASAMUTHIRAM AMBANI MOVIE REVIEW
AMEERIN AADHI BHAGAVAN MOVIE REVIEW
AMMA KANAKKU MOVIE REVIEW
AMMANI MOVIE REVIEW
AMMAVIN KAIPESI MOVIE REVIEW
ANANDHA THANDAVAM MOVIE REVIEW
ANANTHAPURATHU VEEDU MOVIE REVIEW
ANBANAVAN ASARATHAVAN ADANGATHAVAN MOVIE REVIEW
ANBARIVU REVIEW
ANBIRKINIYAL REVIEW
ANBIRKINIYAL TAMIL REVIEW
ANDHAGHAARAM REVIEW
ANDHAGHAARAM TAMIL REVIEW
ANDHRA MESS MOVIE REVIEW
ANEGAN MOVIE REVIEW
ANGADI THERU MOVIE REVIEW
ANJAAN MOVIE REVIEW
ANJALA MOVIE REVIEW
ANNAATTHE REVIEW
ANNAATTHE TAMIL REVIEW
ANNADURAI MOVIE REVIEW
ANNAKODI MOVIE REVIEW
ANNANUKU JAY MOVIE REVIEW
ANTHONY YAAR MOVIE REVIEW
ANWAR MOVIE REVIEW
APPA MOVIE REVIEW
APPUCHI GRAAMAM MOVIE REVIEW
ARAMM MOVIE REVIEW
ARANMANAI 2 MOVIE REVIEW
ARANMANAI MOVIE REVIEW
ARAVAAN MOVIE REVIEW
ARIMA NAMBI MOVIE REVIEW
ARRAMBAM MOVIE REVIEW
ARUMUGAM MOVIE REVIEW
ARUNDHATHEE MOVIE REVIEW
ARUVAM MOVIE REVIEW
ARUVAM TAMIL MOVIE REVIEW
ARUVI MOVIE REVIEW
ARYA SURYA MOVIE REVIEW
ASAL MOVIE REVIEW
ASTHAMANAM MOVIE REVIEW
ASURAN MOVIE REVIEW
ASURAN TAMIL MOVIE REVIEW
ASURAVADHAM MOVIE REVIEW
ATTA KATHI MOVIE REVIEW
ATTAKATHI MOVIE REVIEW
ATTU MOVIE REVIEW
AVAL MOVIE REVIEW
AVAL PEYAR TAMILARASI MOVIE REVIEW
AVANE SRIMANNARAYANA MOVIE REVIEW
AVENGERS INFINITY WAR TAMIL MOVIE REVIEW
AVIYAL MOVIE REVIEW
AYAN MOVIE REVIEW
AYNGARAN REVIEW
AYOGYA MOVIE REVIEW
AYYAN MOVIE REVIEW
AYYANAR MOVIE REVIEW
AZHAGAN AZHAGI MOVIE REVIEW
AZHAGANA PONNUTHAAN MOVIE REVIEW
AZHAGAR MALAI MOVIE REVIEW
AZHAGARSAMIYIN KUDHIRAI MOVIE REVIEW
AZHAGU KUTTY CHELLAM MOVIE REVIEW
AZHUKKAN MOVIE REVIEW
BAAHUBALI 2 MOVIE REVIEW
BAAHUBALI MOVIE REVIEW
BAANA KAATHADI MOVIE REVIEW
BAARAM MOVIE REVIEW
BAARAM TAMIL MOVIE REVIEW
BAASHA MOVIE REVIEW
BABY TAMIL MOVIE MOVIE REVIEW
BACHELOR REVIEW
BAIRAVAA MOVIE REVIEW
BAKASURAN REVIEW
BAKRID MOVIE REVIEW
BAKRID TAMIL MOVIE REVIEW
BALE PANDIYA MOVIE REVIEW
BALLE VELLAIYA THEVAA MOVIE REVIEW
BALLOON MOVIE REVIEW
BANGALORE NAATKAL MOVIE REVIEW
BEAST REVIEW
BENCH TALKIES THE FIRST BENCH MOVIE REVIEW
BHAAGAMATHIE MOVIE REVIEW
BHASKAR ORU RASCAL MOVIE REVIEW
BHAVANI IPS MOVIE REVIEW
BHOOLOHAM MOVIE REVIEW
BHOOMI ENGLISH REVIEW
BHOOMI TAMIL REVIEW
BIGIL MOVIE REVIEW
BIGIL TAMIL MOVIE REVIEW
BILLA II MOVIE REVIEW
BIRIYANI MOVIE REVIEW
BISKOTH REVIEW
BISKOTH TAMIL REVIEW
BLOOD MONEY REVIEW
BOGAN MOVIE REVIEW
BOMMAI NAYAGI REVIEW
BOMMALATTAM MOVIE REVIEW
BOMMAYI MOVIE REVIEW
BOOMERANG MOVIE REVIEW
BOSS ENGIRA BASKARAN MOVIE REVIEW
BRAHMASTRA PART ONE SHIVA REVIEW
BRAMMAN MOVIE REVIEW
BRINDHAVANAM MOVIE REVIEW
BRUCE LEE MOVIE REVIEW
BUFFOON REVIEW
BURMA MOVIE REVIEW
CAPTAIN REVIEW
CHAKRA REVIEW
CHAKRA TAMIL REVIEW
CHAMPION MOVIE REVIEW
CHAMPION TAMIL MOVIE REVIEW
CHANDAMAMA MOVIE REVIEW
CHANDI VEERAN MOVIE REVIEW
CHARULATHA MOVIE REVIEW
CHEKKA CHIVANTHA VAANAM MOVIE REVIEW
CHEKKA CHIVANTHA VAANAM TAMIL MOVIE REVIEW
CHENNAI 2 SINGAPORE MOVIE REVIEW
CHENNAI 600028 2ND INNINGS MOVIE REVIEW
CHENNAIYIL ORU NAAL MOVIE REVIEW
CHIKKU BUKKU MOVIE REVIEW
CLAP REVIEW
CO KAADHAL REVIEW
CO KAADHAL TAMIL REVIEW
COBRA REVIEW
COCKTAIL REVIEW
COCKTAIL TAMIL REVIEW
COMALI MOVIE REVIEW
COMALI TAMIL MOVIE REVIEW
CONNECT REVIEW
CUCKOO MOVIE REVIEW
DADA REVIEW
DAGAALTY MOVIE REVIEW
DAGAALTY TAMIL MOVIE REVIEW
DAMAAL DUMEEL MOVIE REVIEW
DANNY REVIEW
DANNY TAMIL REVIEW
DARBAR MOVIE REVIEW
DARBAR TAMIL MOVIE REVIEW
DARLING 2 MOVIE REVIEW
DARLING MOVIE REVIEW
DAVID MOVIE REVIEW
DEJAVU REVIEW
DEMONTE COLONY MOVIE REVIEW
DESINGU RAJA MOVIE REVIEW
DEV MOVIE REVIEW
DEV TAMIL MOVIE REVIEW
DEVI 2 MOVIE REVIEW
DEVI MOVIE REVIEW
DHAAM DHOOM MOVIE REVIEW
DHANAM MOVIE REVIEW
DHARALA PRABHU MOVIE REVIEW
DHARALA PRABHU TAMIL MOVIE REVIEW
DHARMADURAI MOVIE REVIEW
DHARMAPRABHU MOVIE REVIEW
DHILLUKU DHUDDU 2 MOVIE REVIEW
DHILLUKU DHUDDU MOVIE REVIEW
DHONI MOVIE REVIEW
DHURUVANGAL PATHINAARU MOVIE REVIEW
DIARY REVIEW
DIKKILOONA REVIEW
DIKKILOONA TAMIL REVIEW
DINDIGUL SARATHY MOVIE REVIEW
DIYA MOVIE REVIEW
DOCTOR REVIEW
DOCTOR TAMIL REVIEW
DORA MOVIE REVIEW
DRAUPATHI MOVIE REVIEW
DRAUPATHI TAMIL MOVIE REVIEW
DRIVER JAMUNA REVIEW
DROHI MOVIE REVIEW
DURAI MOVIE REVIEW
EASAN MOVIE REVIEW
ECHCHARIKKAI MOVIE REVIEW
EERAM MOVIE REVIEW
EESA MOVIE REVIEW
EESWARAN ENGLISH REVIEW
EESWARAN TAMIL REVIEW
EETTI MOVIE REVIEW
ELI MOVIE REVIEW
ELLAM AVAN SEYAL MOVIE REVIEW
ENAI NOKI PAAYUM THOTA MOVIE REVIEW
ENAI NOKI PAAYUM THOTA TAMIL MOVIE REVIEW
ENAKKU INNORU PERU IRUKKU MOVIE REVIEW
ENAKKU VAAITHA ADIMAIGAL MOVIE REVIEW
ENAKKUL ORUVAN MOVIE REVIEW
ENDHIRAN MOVIE REVIEW
ENDHIRAN TRAILER REVIEW
ENDRENDRUM PUNNAGAI MOVIE REVIEW
ENGAL AASAN MOVIE REVIEW
ENGEYUM EPPOTHUM MOVIE REVIEW
ENGEYUM KADHAL MOVIE REVIEW
ENGITTA MODHATHEY MOVIE REVIEW
ENNA SATHAM INDHA NERAM MOVIE REVIEW
ENNA SOLLA POGIRAI REVIEW
ENNAI THERIYUMA MOVIE REVIEW
ENTHIRAN MOVIE REVIEW
EPPADI MANASUKKUL VANDHAI MOVIE REVIEW
ETHARKKUM THUNINDHAVAN REVIEW
ETHARKKUM THUNINDHAVAN TAMIL REVIEW
ETHIR NEECHAL MOVIE REVIEW
ETHO SEITHAI ENNAI MOVIE REVIEW
FROZEN 2 TAMIL MOVIE REVIEW
GAME OVER MOVIE REVIEW
GANGS OF MADRAS MOVIE REVIEW
GARGI REVIEW
GATTA KUSTHI REVIEW
GEMINI GANESANUM SURULI RAJANUM MOVIE REVIEW
GETHU MOVIE REVIEW
GHAJINIKANTH MOVIE REVIEW
GHAZI MOVIE REVIEW
GNABAGANGAL MOVIE REVIEW
GOA MOVIE REVIEW
GOD FATHER TAMIL MOVIE REVIEW
GOLI SODA 2 MOVIE REVIEW
GOLI SODA MOVIE REVIEW
GORILLA MOVIE REVIEW
GORIPALAYAM MOVIE REVIEW
GOURAVAM MOVIE REVIEW
GOWRAVARGAL MOVIE REVIEW
GULAEBAGHAVALI MOVIE REVIEW
GULU GULU REVIEW
GURKHA MOVIE REVIEW
GURU EN AALU MOVIE REVIEW
GURU SISHYAN MOVIE REVIEW
GYPSY MOVIE REVIEW
GYPSY TAMIL MOVIE REVIEW
HARA HARA MAHADEVAKI MOVIE REVIEW
HARIDAS MOVIE REVIEW
HELLO NAAN PEI PESUREAN MOVIE REVIEW
HERO MOVIE REVIEW
HERO TAMIL MOVIE REVIEW
HEY SINAMIKA REVIEW
HOUSE OWNER MOVIE REVIEW
I MOVIE REVIEW
IDHARKUTHANE AASAIPATTAI BALAKUMARA MOVIE REVIEW
IDHAYAM THIRAIARANGAM MOVIE REVIEW
IDHU ENNA MAYAM MOVIE REVIEW
IDHU KATHIRVELAN KADHAL MOVIE REVIEW
IDHU NAMMA AALU MOVIE REVIEW
ILAIGNAN MOVIE REVIEW
IMAIKKAA NODIGAL MOVIE REVIEW
INAM MOVIE REVIEW
INDIA PAKISTAN MOVIE REVIEW
INDIRA VIZHA MOVIE REVIEW
INDRU NETRU NAALAI MOVIE REVIEW
INGA ENNA SOLLUDHU MOVIE REVIEW
INIDHU INIDHU MOVIE REVIEW
INIMEY IPPADITHAAN MOVIE REVIEW
INJI IDUPPAZHAGI MOVIE REVIEW
INNORUVAN MOVIE REVIEW
IPPADAI VELLUM MOVIE REVIEW
IRAIVI MOVIE REVIEW
IRANDAM ULAGAM MOVIE REVIEW
IRANDAM ULAGAPORIN KADAISI GUNDU MOVIE REVIEW
IRANDAM ULAGAPORIN KADAISI GUNDU TAMIL MOVIE REVIEW
IRANDU MUGAM MOVIE REVIEW
IRAVIN NIZHAL REVIEW
IRAVUKKU AAYIRAM KANGAL MOVIE REVIEW
IRU MUGAN MOVIE REVIEW
IRUDHI SUTTRU MOVIE REVIEW
IRUKKU AANA ILLA MOVIE REVIEW
IRUMBU KOTTAI MURATTU SINGAM MOVIE REVIEW
IRUMBU KUTHIRAI MOVIE REVIEW
IRUMBU THIRAI MOVIE REVIEW
IRUTTU ARAIYIL MURATTU KUTHU MOVIE REVIEW
IRUTTU MOVIE REVIEW
ISAI MOVIE REVIEW
ISHTAM MOVIE REVIEW
ISPADE RAJAVUM IDHAYA RANIYUM MOVIE REVIEW
IVAN THANTHIRAN MOVIE REVIEW
IVAN VERA MATHIRI MOVIE REVIEW
IVANUKKU THANNILA GANDAM MOVIE REVIEW
JACKPOT MOVIE REVIEW
JACKPOT TAMIL MOVIE REVIEW
JACKSON DURAI MOVIE REVIEW
JAGANMOHINI MOVIE REVIEW
JAGGUBHAI MOVIE REVIEW
JAI BHIM REVIEW
JAI BHIM TAMIL REVIEW
JAIHIND 2 MOVIE REVIEW
JAIL REVIEW
JANGO REVIEW
JANNAL ORAM MOVIE REVIEW
JAYAMKONDAAN MOVIE REVIEW
JC DANIEL MOVIE REVIEW
JEEVA MOVIE REVIEW
JIGARTHANDA MOVIE REVIEW
JIIVI MOVIE REVIEW I II
JILL JUNG JUK MOVIE REVIEW
JILLA MOVIE REVIEW
JOKER MOVIE REVIEW
JULIE 2 MOVIE REVIEW
JULY KAATRIL MOVIE REVIEW
JUNGA MOVIE REVIEW
K.D MOVIE REVIEW
K13 MOVIE REVIEW
KA PAE RANASINGAM REVIEW
KA PAE RANASINGAM TAMIL REVIEW
KAADAN REVIEW
KAADAN TAMIL REVIEW
KAADU MOVIE REVIEW
KAAKI SATTAI MOVIE REVIEW
KAAKKA MUTTAI MOVIE REVIEW
KAALA MOVIE REVIEW
KAALI MOVIE REVIEW
KAALIDAS MOVIE REVIEW
KAALIDAS TAMIL MOVIE REVIEW
KAAPPAAN MOVIE REVIEW
KAAPPAAN TAMIL MOVIE REVIEW
KAARTIC ANITHAA MOVIE REVIEW
KAASHMORA MOVIE REVIEW
KAATHUVAAKULA RENDU KADHAL REVIEW
KAATRIN MOZHI MOVIE REVIEW
KAATRU VELIYIDAI MOVIE REVIEW
KAAVAL MOVIE REVIEW
KAAVALTHURAI UNGAL NANBAN TAMIL REVIEW
KAAVIYATHALAIVAN MOVIE REVIEW
KABADADAARI REVIEW
KABALI MOVIE REVIEW
KACHERI AARAMBAM MOVIE REVIEW
KADAI KUTTY SINGAM MOVIE REVIEW
KADAISI VIVASAYI REVIEW
KADAL MOVIE REVIEW
KADAMBAN MOVIE REVIEW
KADARAM KONDAN MOVIE REVIEW
KADARAM KONDAN TAMIL MOVIE REVIEW
KADASEELA BIRIYANI REVIEW
KADAVUL IRUKAAN KUMARU MOVIE REVIEW
KADHA SOLLA POROM MOVIE REVIEW
KADHAI THIRAIKKADHAI VASANAM IYAKKAM MOVIE REVIEW
KADHAL KADHAI MOVIE REVIEW
KADHAL KAN KATTUDHE MOVIE REVIEW
KADHAL SOLLA VANDHEN MOVIE REVIEW
KADHALAGI MOVIE REVIEW
KADHALIL VIZHUNDHEN MOVIE REVIEW
KADHALNA SUMMA ILLA MOVIE REVIEW
KADHALUM KADANTHU POGUM MOVIE REVIEW
KADIKARA MANITHARGAL MOVIE REVIEW
KADUGU MOVIE REVIEW
KAI MOVIE REVIEW
KAITHI MOVIE REVIEW
KAITHI TAMIL MOVIE REVIEW
KALAGA THALAIVAN REVIEW
KALAKALAPPU 2 MOVIE REVIEW
KALAKALAPPU MOVIE REVIEW
KALATHIL SANTHIPPOM REVIEW
KALAVANI MOVIE REVIEW
KALLA THUPPAAKKI MOVIE REVIEW
KALLAPPADAM MOVIE REVIEW
KALYANA SAMAYAL SAADHAM MOVIE REVIEW
KAMALI FROM NADUKKAVERI REVIEW
KAMALI FROM NADUKKAVERI TAMIL REVIEW
KAN PESUM VARTHAIGAL MOVIE REVIEW
KANAA MOVIE REVIEW
KANAGAVEL KAAKKA MOVIE REVIEW
KANAM REVIEW
KANCHANA 2 MOVIE REVIEW
KANCHANA 3 MOVIE REVIEW
KANCHANA MOVIE REVIEW
KANCHIVARAM MOVIE REVIEW
KANDEIN KADHALAI MOVIE REVIEW
KANDEN KADHALAI MOVIE REVIEW
KANDEN MOVIE REVIEW
KANDHA KOTTAI MOVIE REVIEW
KANIMOZHI MOVIE REVIEW
KANITHAN MOVIE REVIEW
KANNA LADDU THINNA AASAIYA MOVIE REVIEW
KANNAI NAMBATHEY REVIEW
KANNAMOOCHI MOVIE REVIEW
KANNE KALAIMAANE MOVIE REVIEW
KANNUM KANNUM KOLLAIYADITHAAL MOVIE REVIEW
KANNUM KANNUM KOLLAIYADITHAAL TAMIL MOVIE REVIEW
KANTHASWAMY MOVIE REVIEW
KAPPAL MOVIE REVIEW
KARIMEDU MOVIE REVIEW
KARNAN REVIEW
KARNAN TAMIL REVIEW
KARTHIK DIAL SEYTHA YENN REVIEW
KARUPPAMPATTI MOVIE REVIEW
KARUPPAN MOVIE REVIEW
KASADA TABARA REVIEW
KASADA TABARA TAMIL REVIEW
KATHAKALI MOVIE REVIEW
KATHANAYAGAN MOVIE REVIEW
KATHIKAPPAL MOVIE REVIEW
KATHTHI MOVIE REVIEW
KATHTHI SANDAI MOVIE REVIEW
KATHTHUKKUTTI MOVIE REVIEW
KATTAPPAVA KAANOM MOVIE REVIEW
KATTRADHU KALAVU MOVIE REVIEW
KAVALAI VENDAM MOVIE REVIEW
KAVALAN MOVIE REVIEW
KAVALTHURAI UNGAL NANBAN REVIEW
KAVAN MOVIE REVIEW
KAYAL MOVIE REVIEW
KAZHUGU 2 MOVIE REVIEW I II
KAZHUGU MOVIE REVIEW
KEDI BILLA KILLADI RANGA MOVIE REVIEW
KENNEDY CLUB MOVIE REVIEW
KENNEDY CLUB TAMIL MOVIE REVIEW
KERALA NATTILAM PENGALUDANE MOVIE REVIEW
KGF CHAPTER 2 REVIEW
KGF TAMIL MOVIE REVIEW
KIDAARI MOVIE REVIEW
KIRUMI MOVIE REVIEW
KO 2 MOVIE REVIEW
KO MOVIE REVIEW
KOCHADAIIYAAN 3D MOVIE REVIEW
KOCHADAIIYAAN MOVIE REVIEW
KODI MOVIE REVIEW
KODITTA IDANGALAI NIRAPPUGA MOVIE REVIEW
KODIVEERAN MOVIE REVIEW
KODIYIL ORUVAN REVIEW
KOLA KOLAYA MUNDHIRIKA MOVIE REVIEW
KOLAIGARAN MOVIE REVIEW
KOLAMAAVU KOKILA MOVIE REVIEW
KOMBAN MOVIE REVIEW
KOOGLE KUTTAPPA REVIEW
KOOTATHIL ORUTHAN MOVIE REVIEW
KRISHNAVENI PANJAALAI MOVIE REVIEW
KUDIARASU MOVIE REVIEW
KUDIMAHAAN REVIEW
KULIR 100 MOVIE REVIEW
KULLANARI KOOTAM MOVIE REVIEW
KUMKI MOVIE REVIEW
KUNGUMA POOVUM KONJUM PURAAVUM MOVIE REVIEW
KURANGU BOMMAI MOVIE REVIEW
KURUKSHETRAM MOVIE REVIEW
KURUTHI AATTAM REVIEW
KUTHIRAIVAAL REVIEW
KUTTI PULI MOVIE REVIEW
KUTTRAM 23 MOVIE REVIEW
KUTTRAM KADITHAL MOVIE REVIEW
KUTTRAME THANDANAI MOVIE REVIEW
KUTTY MOVIE REVIEW
KUTTY PISSASU MOVIE REVIEW
KUTTY STORY REVIEW
KUTTY STORY TAMIL REVIEW
LAABAM REVIEW
LAABAM TAMIL REVIEW
LAADAM MOVIE REVIEW
LAKSHMI MOVIE REVIEW
LATHTHI REVIEW
LEELAI MOVIE REVIEW
LENS MOVIE REVIEW
LIFT REVIEW
LINGAA MOVIE REVIEW
LKG MOVIE REVIEW
LKG TAMIL MOVIE REVIEW
LOCKUP REVIEW
LOCKUP TAMIL REVIEW
LOVE TODAY REVIEW
MAA MOVIE REVIEW
MAALAI NERATHU MAYAKKAM MOVIE REVIEW
MAALAI POZHUDHIN MAYAKATHILAEY MOVIE REVIEW
MAAMANITHAN REVIEW
MAAN KARATE MOVIE REVIEW
MAANAADU REVIEW
MAANAGARAM MOVIE REVIEW
MAANJA VELU MOVIE REVIEW
MAARA REVIEW
MAARA TAMIL REVIEW
MAARI 2 MOVIE REVIEW
MAARI MOVIE REVIEW
MAASI MOVIE REVIEW
MAATHI YOSI MOVIE REVIEW
MAATTRRAAN MOVIE REVIEW
MAATTUTHAVANI MOVIE REVIEW
MAAVEERAN KITTU MOVIE REVIEW
MAAYAVAN MOVIE REVIEW
MADHA YAANAI KOOTTAM MOVIE REVIEW
MADHARASAPATTINAM MOVIE REVIEW
MADHUBANA KADAI MOVIE REVIEW
MADRAS MOVIE REVIEW
MADURAI TO THENI MOVIE REVIEW
MADURAVEERAN MOVIE REVIEW
MAFIA MOVIE REVIEW
MAFIA TAMIL MOVIE REVIEW
MAGALIR MATTUM MOVIE REVIEW
MAGAMUNI MOVIE REVIEW
MAGAMUNI TAMIL MOVIE REVIEW
MAGANE EN MARUMAGANE MOVIE REVIEW
MAGIZHCHI MOVIE REVIEW
MAHESH MOVIE REVIEW
MAI MOVIE REVIEW
MALAI MALAI MOVIE REVIEW
MALAYAN MOVIE REVIEW
MALINI 22 PALAYAMKOTTAI MOVIE REVIEW
MAMANGAM TAMIL MOVIE REVIEW
MANAM KOTHI PARAVAI MOVIE REVIEW
MANDELA REVIEW
MANDELA TAMIL REVIEW
MANDHIRA PUNNAGAI MOVIE REVIEW
MANITHAN MOVIE REVIEW
MANJA PAI MOVIE REVIEW
MANJAL VEYIL MOVIE REVIEW
MANKATHA MOVIE REVIEW
MANMADHAN AMBU MOVIE REVIEW
MANMATHA LEELAI REVIEW
MANNAR VAGAIYARA MOVIE REVIEW
MANNARU MOVIE REVIEW
MAPLA SINGAM MOVIE REVIEW
MAPPILLAI MOVIE REVIEW
MARAGATHA NAANAYAM MOVIE REVIEW
MARANTHEN MANNITHEN MOVIE REVIEW
MARINA MOVIE REVIEW
MARIYADHAI MOVIE REVIEW
MARUDHU MOVIE REVIEW
MARUPADIYUM ORU KADHAL MOVIE REVIEW
MARYAN MOVIE REVIEW
MASALA PADAM MOVIE REVIEW
MASANI MOVIE REVIEW
MASILAMANI MOVIE REVIEW
MASSU ENGIRA MASILAMANI MOVIE REVIEW
MASTER ENGLISH REVIEW
MASTER TAMIL REVIEW
MATHAPOO MOVIE REVIEW
MATHIL MEL POONAI MOVIE REVIEW
MATHIYA CHENNAI MOVIE REVIEW
MAYA MOVIE REVIEW
MAYAKKAM ENNA MOVIE REVIEW
MAYANDI KUDUMBATHAR MOVIE REVIEW
MAYANGINEN THAYANGINEN MOVIE REVIEW
MAYILU MOVIE REVIEW
MAZHAIKALAM MOVIE REVIEW
MEAGHAMANN MOVIE REVIEW
MEDHAI MOVIE REVIEW
MEEN KUZHAMBUM MANN PAANAIYUM MOVIE REVIEW
MEENDUM ORU KADHAL KADHAI MOVIE REVIEW
MEERAVUDAN KRISHNA MOVIE REVIEW
MEESAYA MURUKKU MOVIE REVIEW
MEGHA MOVIE REVIEW
MEHANDI CIRCUS MOVIE REVIEW
MEIPPORUL MOVIE REVIEW
MERCURY MOVIE REVIEW
MERKU THODARCHI MALAI MOVIE REVIEW
MERSAL MOVIE REVIEW
METRO MOVIE REVIEW
MEYAADHA MAAN MOVIE REVIEW
MICHAEL REVIEW
MILAKA MOVIE REVIEW
MIRAL REVIEW
MIRATTAL MOVIE REVIEW
MIRUTHAN MOVIE REVIEW
MISS INDIA REVIEW
MODHI VILAYADU MOVIE REVIEW
MONSTER MOVIE REVIEW
MOODAR KOODAM MOVIE REVIEW
MOOKUTHI AMMAN REVIEW
MOOKUTHI AMMAN TAMIL REVIEW
MOONDRU PER MOONDRU KADHAL MOVIE REVIEW
MOONE MOONU VARTHAI MOVIE REVIEW
MOSCOWIN KAVERI MOVIE REVIEW
MOTTA SHIVA KETTA SHIVA MOVIE REVIEW
MR CHANDRAMOULI MOVIE REVIEW
MR.LOCAL MOVIE REVIEW
MR.LOCAL TAMIL MOVIE REVIEW
MS DHONI MOVIE REVIEW
MUDHAL NEE MUDIVUM NEE REVIEW
MUDHAL NEE MUDIVUM NEE TAMIL REVIEW
MUDINJA IVANA PUDI MOVIE REVIEW
MUGAMOODI MOVIE REVIEW
MUNDASUPATTI MOVIE REVIEW
MUNDHINAM PARTHENEY MOVIE REVIEW
MUPPARIMANAM MOVIE REVIEW
MUPPOZHUDHUM UN KARPANAIGAL MOVIE REVIEW
MURATTU KAALAI MOVIE REVIEW
MUTHINA KATHIRIKA MOVIE REVIEW
MUTHUKKU MUTHAGA MOVIE REVIEW
MUTTHIRAI MOVIE REVIEW
MYNA MOVIE REVIEW
NAACHIYAAR MOVIE REVIEW
NAADODIGAL 2 MOVIE REVIEW
NAADODIGAL 2 TAMIL MOVIE REVIEW
NAADODIGAL MOVIE REVIEW
NAAI KUTTY MOVIE REVIEW
NAAI SEKAR REVIEW
NAAIGAL JAAKIRATHAI MOVIE REVIEW
NAALU POLISUM NALLA IRUNTHA OORUM MOVIE REVIEW
NAAN AVAN ILLAI 2 MOVIE REVIEW
NAAN EE MOVIE REVIEW
NAAN KADAVUL MOVIE REVIEW
NAAN MAHAAN ALLA MOVIE REVIEW
NAAN MOVIE REVIEW
NAAN RAJAVAGA POGIREN MOVIE REVIEW
NAAN SIGAPPU MANITHAN MOVIE REVIEW
NAAN SIRITHAAL MOVIE REVIEW
NAAN SIRITHAAL TAMIL MOVIE REVIEW
NAAN THAN BALA MOVIE REVIEW
NAANAYAM MOVIE REVIEW
NAANE VARUVEN REVIEW
NAANGA ROMBA BUSY REVIEW
NAANUM ROWDY DHAAN MOVIE REVIEW
NADIGAIYAR THILAGAM MOVIE REVIEW
NADUNISI NAAYGAL MOVIE REVIEW
NADUNISI NAAYGAL REVIEW
NADUVAN REVIEW
NADUVULA KONJAM PAKKATHA KAANOM MOVIE REVIEW
NAGARAJA CHOZHAN MA MLA MOVIE REVIEW
NAGARAM MOVIE REVIEW
NAIYAANDI MOVIE REVIEW
NALANUM NANDHINIYUM MOVIE REVIEW
NAMADHU MOVIE REVIEW
NAMBIAR MOVIE REVIEW
NAMMA VEETTU PILLAI MOVIE REVIEW
NAMMA VEETTU PILLAI TAMIL MOVIE REVIEW
NANBAN MOVIE REVIEW
NANBARGAL KAVANATHIRKU MOVIE REVIEW
NANBENDA MOVIE REVIEW
NANDALALA MOVIE REVIEW
NANDHA NANDHITHA MOVIE REVIEW
NANDHI MOVIE REVIEW
NANJUPURAM MOVIE REVIEW
NANKAM PIRAI 3D MOVIE REVIEW
NATCHATHIRAM NAGARGIRATHU REVIEW
NATPE THUNAI MOVIE REVIEW
NATPE THUNAI TAMIL MOVIE REVIEW
NAVARASA REVIEW
NAVARASA TAMIL REVIEW
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Lover Movie Review: Prabhu Ram Vyas’s terrific ‘Lover’ charts the stages of a breakup with clinical precision

10 Feb 2024
Release Date: 09 Feb 2024
2.24.00 Hrs

Lover Movie Cast & Crew

Lover opens with an image of someone learning how to surf and falling off the board – unsteady, fearful – and one of the film’s final images is that of this same person standing on a surfboard, balancing themselves (somewhat) confidently. The metaphor is that relationships are like stormy seas, and whether we choose to continue with the relationship or choose to break up, it’s like learning to surf. It takes a lot of practice. You try it once, then a second time, and do this over and over until you know what you are doing. The graph of most love stories is filled with ups and downs, with different peaks and valleys. The graph of writer-director Prabhuram Vyas’s debut feature is a straight line. Over and over, we see similar attempts by the couple to navigate the rough waters of their relationship.

Manikandan and Sri Gouri Priya play this couple, Arun and Divya. At some point, they were in love. Now, after six years, Divya is beginning to question the nature of their relationship. What is love? Was she ever “in love” with Arun, or was it just something that began because she was attracted to him in college? When we are stuck in the same campus, we go to the same classes. We hang out with the same friends. We complain about the same teachers. We exist in the same location, day after day. Our lives get intertwined in so many ways. But after graduation, Divya gets a good job, and shares a posh flat with a roomie. Her clothes show that she is living well. Arun dreams of setting up a café. He lives with his mother (a wonderful Geetha Kailasam) and alcoholic father (Saravanan) in a lower-middle-class flat. The class difference is unstated and yet, it makes you wonder about Arun and Divya. In college, everyone is “equal” in a way. But had Arun and Divya not met in college, would they have even met in real life, given the circles he moves in and ones she moves in? Would they really be… compatible?

Note the gender-neutral nature of the title: Lover . It could be Arun. It could be Divya. And the film is a clinical examination of what happens when two people begin to drift away. Divya realises quite early – after those six years – that this is not exactly a healthy relationship. She finds herself lying to Arun about where she is, who she is with. She has a bestie Aishu (Harini sparkles in this brief part) who acts like her conscience, and I think many of us will be reminded of that one sane person in school/college who talked us out of the many stupid things we would have done otherwise. But something holds Divya back from breaking up with Arun. In a way, it’s the kind of situation we have seen in Kaatru Veliyidai and Arjun Reddy . They know they should move on, but they hang on… in hope, or however they define it.

Why has Divya begun to feel uncomfortable around Arun? The easy explanation is that he is possessive, that he tries to control her life. But dig deeper, and you will find a man who is desperate to cling to the only good thing in his life: this woman he is with. His home life with his parents is a mess. Unlike Divya, he has no friends from college. He has only male friends, unlike Divya, who hangs out with mixed company. His café dreams seem distant, because he has no money. He drives a scooter. He smokes and drinks incessantly, and his insecurity compels him to stalk Divya on social media. Even his attitudes are different. He speaks of “giving your partner freedom to do things,” which hints at a rather chauvinistic (or old-fashioned) understanding of the male-female equation. If he lost Divya, he’d be even more of a zero than he (thinks he) is.

Arun is the kind of man who thinks falling in love means you are going to get married to that person, which is why – on Divya’s birthday – he gives her a card calling her “ pondatti ”, wife. The then-Divya is delighted, but the now-Divya knows that falling in love is not the same as being in love or (even more difficult) staying in love. Lover avoids the easy conflict of introducing a third person as a romantic rival: this is Madhan, a cool, car-owning travel-vlogger, played by Kanna Ravi, in a super-relaxed performance. The equation, then, would be too simple: Divya is drifting from Arun because she is falling for Madhan, who is from her world. But the fact of the matter is that Divya is drifting away from Arun because she has slowly begun to find herself. If there is a love triangle here, it is between Arun, the Divya from six years ago, and the Divya of today.

Arun, however, remains stuck – and that is the nature of the film, too. It appears to be “stuck” in the same place, doing variations on the same situations. This is intentional. Arun pisses all over Divya. He says sorry. There is an uncomfortable truth. And then he pisses on her all over again. And you begin to wonder how long she can take it, and how she will break this toxic pattern of abuse. Sean Roldan’s songs and score are a soothing balm on this scarred relationship. When Vilagathe plays over a stretch of Arun going with Divya’s friends for a holiday, you can practically hear his soul begging her to not leave him. Earlier, during a birthday call, we get a gentle guitar reprise of Thensudare , a song where the female voice sings these words: vidai naan puriyaamal thinarugiren, vilagaamal vilagugiren… This time, it is her soul we hear. A third voice is heard as a counterpoint. Arun’s mother dreams of escaping her dysfunctional marriage by moving in with Arun and Divya after they get married. Little does the woman realise how dysfunctional their relationship is! Shreyaas Krishna’s camera is at times unsteady, at times fixed, and the beautifully floating frames add to the feeling of flux.

Lover is essentially less a “story” than a collection of scenes built around a theme, and it took me some time to slip onto the film’s rhythms, because they are so new. Manikandan and Sri Gouri Priya perfectly convey the crux of the relationship. She has a natural reserve on camera (perhaps because she is still so new), and this helps to keep Divya aloof. But in the outburst scenes, she really cuts loose. Manikandan is superb in the sequence where Arun is at a party where he doesn’t belong, one that he isn’t really invited to, and he is trying to tell every bone in his body to behave itself. And his casual rapport with Madhan, later, is a perfect representation of how you behave with someone when you stop seeing them as a rival.

Some of the comic scenes in the second half don’t work. (If the intention was to offer some relief from all the intensity, I’d say the intensity could have been sustained, perhaps even amped up.) And even with the drama, I found myself admiring some stretches more than I liked them. My heart wasn’t as pierced as I wanted it to be. But there’s enough in Lover that works: especially Arun’s mother’s arc with the scooter, the difference between two birthday situations, and a recall of the line “only guys know about guys”. The first time this line is uttered, it is chauvinistic, but the second time, we see Divya being told why Arun is the way he is. She could have gotten this insight only from a man. And here’s the scene that broke my heart. I won’t describe it, but when we have made the decision to move on, why do we still hesitate to let go at the final stage? Why the desire for the final hug, the final word? Because letting go and moving on is easier to process in the mind. But when it comes to the actual implementation, in reality, it almost makes you do a rethink. It could be anything from “Am I doing the right thing?” to “Will I find someone else?” Prabhu Ram Vyas doesn’t tell us everything. He makes us feel. And that is why Lover is a most auspicious debut.

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Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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Lover Movie Review : Lover is a brutally honest and bittersweet relationship drama

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Users' Reviews

Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

Karthick Karthick 11 days ago

User g 314 14 days ago.

Directed and made well. Actors are good.Good cinematography. What went wrong is glorification of drugs and alcohol. After all there is a reason for all the warnings on the screen.Drug dealers and booze makers will be very happy for all the free sophisticated and chick advertisement.

Anvi Upadhyay 16 19 days ago

There are lots of people going through this. <br/>Modern society is currently facing the independence of women and the end of misogyny and patriarchy because of which so many men and even women are unable to cope up with the change. This leads to high male ego in some men. This movie really spoke a lot about curing the inner self conflict first before committing with someone else because hurting your partner is never justified. <br/>Alcohol is so much stronger than the grass. It gets people so violent. How is it not banned? So many husband's are doing domestic violence after getting drunk! <br/>Such a real movie! Indian crowd really needs to grow up if they didn’t understand the complexities of this film.

Gwen Richard 259 24 days ago

Hero is useless and heroin is semi useless. Movie never give good impression. Manikandan look so horrible for this movie. Romantic movie should show good teachings for future generations. This kind of movie will make youth scared to commit. Psycho director.

Manmath Behera 1 26 days ago

Not happy feeling this movie

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