Let me just start off by saying that it is TIME. Across the country, our psychologists and psychiatrists need to come together to explain to the film industry exactly what their job entails. Because in their last few screen avatars, they have come across as anything but actual mental health professionals. From being portrayed as shocking manipulators in Galatta Kalyanam to seducers in Hey Sinamika, nothing seems to be beyond their job descriptions. Please, someone start a petition.
With that warning out of the way, let’s dive into our review of Tamil cinema’s latest romantic comedy starring Dulquer Salmaan (Yazhan), Aditi Rao Hydari (Mouna) and Kajal Aggarwal (Malarvizhi). The breezy movie begins with a literal storm when Yazhan and Mouna meet at a seaside restaurant. For a change, the heroine saves the hero, taking him to safety as strong winds threaten to blow them away.
What follows next is a whirlwind romance taking us from love to wedlock, all in one song. Just when you begin to wonder if the writer Madan Karky and debut director Brinda Gopal have decided to take us for a ride on the love-at-first-sight express, they fast forward the story by two years. And what you see is an unhappy Mouna questioning her romantic choices and unable to handle a loquacious Yazhan, whose full-time job it seems is talking.
Mouna is forced to endure in silence Yazhan’s loud tirades about and against just about anyone. She feels stifled by his attention and concern, which borders on the obsessive. Just in case you still don’t get the problem, the characters have been helpfully named to give you a clue!
Unable to get the space she wants in the relationship, Mouna approaches Malarvizhi, a psychologist, for help. But instead of actually looking at counselling as an option or even divorce, Mouna wants Malarvizhi to seduce her husband.
Here is where the film moves from funny to absurd. No number of justifications that the writer or director could give you can really explain where the story is going and why it took that direction. Yazhan meanwhile is on his own journey, spewing gyaan about his anti-divorce sentiments, godmen and corruption. While he comes across as a character very unaware of his flaws, it is unintentionally funny when he gives a speech on why he hates optimists. Especially since he can’t seem to see anything but the good parts (which are few) of his relationship.
The screenplay is too slow, veering off in unnecessary directions, and the characters seem to be intent on constantly contradicting themselves. There are several gaps in the film that are not explained. For instance, why is Yazhan not working? Was this a choice they made together or did he just take the call? Why does he have no friends whom he can spend time talking to? The list goes on.
This lack of consistent writing and confusing plot devices lets down Dulquer and Aditi who have both delivered strong performances in the film. Aditi, who has not been seen in a role that requires her to deliver comedy before, has done an admirable job, showing great timing. When she is vulnerable on screen, your heart goes out to her. Dulquer too plays his role as a clingy husband with elan, making you cringe at his attitude. The duo’s scenes together are bound to make you laugh and the emotions in the climax give you a glimpse of their wasted potential. Their character arcs, while unbelievable, turn them from caricatures to relatable people.
Kajal Aggarwal meanwhile has considerable screentime but her character’s attempts to gain sympathy fall flat because of her very one-tone acting. Govind Vasantha’s music, while pleasant, is nothing to write home about. But special mention must be given to cinematographer Preetha Jayaraman who brings stunning visuals and settings alive in both Chennai and Pondicherry. The costume design by Anu Parthasarathy will have you making a mental list of Aditi’s wardrobe from the film.
As for Brinda, she has done her job convincingly and nobody can really say that this is her first film as a director. We only wish she had chosen a better script.
Disclaimer: This review was not paid for or commissioned by anyone associated with the film. Neither TNM nor any of its reviewers have any sort of business relationship with the film's producers or any other members of its cast and crew.