Aarohanam – the search within

The story of a mentally disturbed mother is rather personal to me – something that is close to my heart and the words that flow below may be highly biased from that perspective.

Aarohanam is the story of a mother who leaves home or the story of two children in search of their lost mother – depending on how you look at it. Nirmala goes missing one day, setting her children – a daughter who is preparing for her weddingin 10 days and a school-going teenage son – in search of her amidst fatigue, panic and restlessness. The film goes back and forth the lives of the family, their travails and troubles.

Nirmala is seen as a woman of strange behaviour – she gets angry too often, her actions are out of her control during such phases, saami aadifies, leaves home, hurts herself, is even suicidal. Unable (or unwilling) to deal with this, her husband abandons her and her children to live with another woman. Nirmala does random jobs to bring up her children.

Her behaviour is seen through the eyes of various people. Her husband, for one, thinks she is mad. He beats her, drags her home when she runs away once, has no faith in her and does nothing to help her. There is a scene where in the police station, her son tells the police officer that she sells vegetables for a living and the husband retorts with “ava ovvoru naal ovvoru velai seiva saar. Dhidirnu idli kadai poduva, insurance agenta velai paappa. Kuppai kuda porukkuva”. Also adds “iva yaarodayum otthu poga maatta”. The husband displays absolute indifference to her behaviour – almost as if he wants to have nothing to do with it.

The children, even though are the most affected by her, stay by her side. They are embarrassed, troubled, hurt but hang around anyway. The son is more expressive in his embarrassment than the daughter but they are both affected profoundly. The scene in which Nirmala burns her hand because her son came home with his father (who had abandoned her) is a heart-wrenching piece of story telling. The sheer fear in the eyes of the children and their surrender to doing anything just so their mother wouldn’t hurt herself is shattering.

The landlord and his wife, the Muslim couple are the charitable elders in her life. They see her as a troubled child, as if the world is conspiring against her and she needs to be protected. The landlady takes care of Nirmala’s children while she is away at work, they lend her money, give her advice when she is depressed and shoo her husband away when he is troubling her. They support her in their own little way and help her stand on her own. The scene where the neighbourhood doubts Nirmala’s ability to conduct her business successfully, the landlady says, “ava thane poi bank padi yeri saamarthiyama loan vaangi irukka”. The landlady plays the role of a mother to a troubled child.

Sandhya, the rich businesswoman sees Nirmala’s behaviour as a relief in some way. She thinks Nirmala is better off because she has a vent for her emotions that Sandhya herself did not have – a classic grass is always greener on the other side scenario.

For Nirmala, this was a rather normal life. She has no idea why her anger reaches unmanageable levels – she thinks she has been wronged and it is only natural to behave that way. The scene in front of the children’s school where she waves a knife at someone who (claims to have) helped her is one such incident. Her life swings between extreme anger, happiness, pride and depression.

Just for the sake of logistics, I have no idea why that MLA character is there in the film. That song at the end of the film is too long for comfort that you just sit around and wait for it to be over and the story be told. The beginning scenes where Sandy and Jay talk about their lives and how Jay gave up her singing career (?) because she had to take care of family is force-fitted. So is that piece in the song that Jay sings. If this is meant to be about the three ladies and their lives, it doesn’t come across as that. The last pep talk that the Doctor gives about Nirmala’s high energy is strange.

All said, Nirmala’s is a moving story. Her lonely struggle against the world (perhaps made up in her mind by her bipolar disorder) is painful. What’s more emotional is the story of the daughter (elder) and the son who try to cope with her in spite of it all. This story had to be told – for psychological problems aren’t at the tip of the Maslow’s pyramid.

Alex Pandiyan: Deeper than you think!


When I tweeted this from the theatre after watching the film, someone I know asked me “why do you watch these movies in the first place?” #NyaayamaanaKelvi 

Now that I’ve watched the film, I must say that much of the criticism the film has been getting is unwarranted. I believe it is politically motivated and therefore I take a strong stand to tell you, my reader, that Alex Pandiyan is deeper than you think!

Innovative story line

To begin with, this film has a very ulaga-thiraippadangalil-mudhan-muraiyaaga based story line. Who in the history of Tamil cinema has kidnapped the CM’s daughter? Which CM has got disloyal secretary, commissioner, religious guru etc.? Which heroine in Tamil cinema has falling in love with the kidnapper? Which hero has uyira-panayam-vechu saved the heroine? Many films, you say? Okay. Let me ask you some more questions.

Which heroine has said to the villain, “unakku dhairiyam irundha avar kayatha avuthu vittu adida. Nee ambalai nu othukkaren“? Which hero has toppled a Tata Sumo with an aruvaal? Which mother has ennai thechu kulippaatti uttufied a stranger? Who makes a profession out of allowing his kaalai maadu to mate pasu maadus in the village? Conviced? I thought you’d be. Moving on.

Naatukku thevaiyaana nalla karuthukkal!

You see, we argue time and again that cinema has a great impact on culture. Then we show our people all sorts of nonsense. But Suraj has taken it upon himself (along with the music director, lyricist and every one, of course) to give the perfect advice to a girl who has vayasukku vandhufied and is being publicly paraded. Watch that video and tell me if you don’t agree. I will debate you till my last breath about it!

Maanam kaakkum magaa Annan!

Santhaanam plays the role of a perfect elder brother. He is the role model for the elder brothers of today playing protector, care-taker and provider- all in one. One 70% of the film is about Santhaanam *saving* his three sisters from the predator that is Karthi! At one point, the Amma character only comes to a level where Santhaanam has to protect her.

In the process of this protection, there are many many mutthaana karutthukkal the female future generation of the Tamilnaad is in dire need of! For example, “ponnum pori urundaiyum onnu. Adha badhrama paathukkanum. Namuthu pochu boni aagave aagaadhu.” He adds, “ungala boni panra varaikkum konjam namuthu pogaama irunga ma”.

Life need not have any purpose

While we are all sitting around trying to figure out what is the purpose of our living on the earth, Suraj makes a rather philosophical point in his own absurdist style. He shows in his film that there need not be a purpose for people to enter or exit a film (and by extension, life).

Take that Saravanan’s character for example. He does nothing for the furtherance of the film. In fact, his brother who gets motta adichufied, Prathap Pothan, Milind Soman, Suman, Visu, his wife character, Santhanam’s three sisters and mother, Santhanam, Anushka, Karthi – none of them do anything for the furtherance of the story. And I strongly believe this is Suraj’s way of reiterating what Nietzsche (is believed to have) said: A casual stroll through the lunatic asylum shows that faith does not prove anything.

Love knows no boundaries

There is this one last thought I want to leave you with. I believe is my responsibility to detangle Suraaj’s masterfully woven message about love. Love knows no boundaries, love has no reason and love has no logic. Love happens and no one knows why, how, who or even what the fu(k! *Three* *sisters* fall in love with a *stranger* who their mother has saved from the riverside. They love him so much they play (something like) dikkilona in the house with him (along with very many other #haun games).

Then, the CM’s daughter falls in love with a *drunken* *homeless* *nari biriyani eating* *wayward* *on bail* who kidnapped her *for money* because he saves her from dying while she jumps off a cliff. My only regret here is that Prathap Pothen did not have a heroine. That would have been the proverbial last nail on the coffin!

Thuppaki – shot dead

Please read disclaimer before reading this post – if you haven’t already.

Thuppaakki is the story of a Tamil speaking army man on a holiday saving Mumbai from Islamic terrorists from the north west of India (while he also is looking to be married).

Army > Police

For comic value or otherwise, the film talks more times than can be ignored about the greatness of the army over the police. In jest by Sathyan or in all seriousness by the villain who says ‘the only place we don’t have a sleeper cell in the country is the Indian army’. Subtly too, the 12 men on a holiday from the army, shoot out 12 sleeper cell terrorists in some of the most popular places in Mumbai. The state police are able to only find out that all the men shot are terrorists (because they all had explosives) and have no clue who shot them. The film ends with “army thaan da perusu” like that was meant to be the moral of the story.

Army can do whatever they want

Some army men come into the city, possess guns, torture people (terrorists apparently) by chopping off their fingers, shoot people down in some of the most crowded areas, make plastic bombs with the explosives admittedly brought to the city through influence, attempt to conduct suicide missions, blow up ships and all sorts of such things. The point here is not the logic of any of this, mind you, but the blind portrayal of almost criminal activity by military men as acceptable – in fact sacrificial. That whole sequence with Jayaram in it: The lesser said about it, the better.

Modern, physically strong, outspoken women are now desirable

There is a love track – the hero chasing the heroine and her chasing him in return. She is first seen as the ideal Tamil girl – long hair, short smile, politeness and all that. The hero ‘rejects’ her because he wants a modern, outspoken girl. Turns out she is a boxer (who is hurt punching a two-wheeler mirror – but that’s a different story), wears micro minis, goes partying and slaps her father (since when is the opposite of ‘adakkam’?). When the hero finds her out, he falls in love.

Now she ‘rejects’ him. Then she looks at her very-good-looking-during-college-days-friend marry a bald man and decides that she should cling on to Jagadish (Vijay of course) because he is both handsome and successful – because that’s how love happens for women? Anyway, when they do go out, none of her modern-ness or boxing skills help save the city from terrorism. So basically, she could have been done away with.

In essence

As @rathna_k was saying on Twitter, this is just 7 Aum Arivu with terrorists from the north west wearing scarves around their heads, reading urdu scripts, praying before killing, have names such a Mohammad/ Arif/ Ali etc. The same rhetoric of sacrifice, fighting (violently) for the country (which is now India because the hero lives in Mumbai), black and white of right and wrong etc. There is also nokkuvarmam – if only as a mention in a song.

Saguni – will turn in his grave

(Lack of) Direction: Shankar Dayal (Sharma – as Kalaignar TV just called him)

Featuring: Karthi, Santhanam, Pranitha, Prakash Raj, Nasser, Roja, Radhika, Kiran, Kota Srinivasa Rao mattrum palar

Political thriller (was it?)

Our politics begins and ends with electoral politics. So, Boopathi is a cruel-mindless-evil politician (played rather convincingly by Prakash Raj) who doesn’t think twice about murder, theft, inducing riots or even wickedly eliminating competition. There is no good side to him. He is evil and is going to ruin Tamilnadu for his personal benefit.

One victim of this politician’s pursuit of personal benefit is Kamalakannan (Karthi, the hero) who wants to retain *his* property and stall the construction of an underground subway/ underpass. There is an explanation about how he has been wronged. But in essence, this is the *struggle* of a man who refuses to let go of his *personal property* for infrastructure development of the state.

From there, he uses his brains, sends Santhaanam to jail, manipulates a saamiyaar, starts wearing glasses, becomes a *king maker* and establishes the *right* rule *for the people*.

Common man at politicians’ mercy

Like every other political film that Tamil cinema makes (Dhool, Ko etc. being examples), the common man (of course not the hero, you dud) is always at the mercy of these high and mighty politicians. Saguni, being the story of a *king maker* only accentuates the lack of public participation in *king making*. With this being very close to real life, I don’t know if it (the realistic representation in the film, I mean) is a good thing or bad.

Women power

This is the most bothersome part of the film for me (it is a feminist’s blog. What exactly were you expecting?) The film has unnecessarily many female characters – but I am going to bring up each of them and discuss (of course).

The eye candy lot

There is Sridevi (the hero is named Kamal, you see?) who dances in foreign locations, looks pretty, uses the hero to protect her against miscreants but later ignores him on instructions of her mother. We could have done without her. But you see, the film is all talk about her (love) – so one number heroine has to be shoved on us. And on the hero in the last scene.

Then there is Anushka and Andrea just to hype up our hero (Oh-my-god-he-is-so-desirable)! Even Rajini Appadurai (Santhaanam, as you’d have guessed) has a *jodi* who ignores him when he is a driver but is impressed with him when he becomes the Mayor’s PA (the job that he got on the recommendation of Kamal who has the Mayor on speed dial. There is no hint that he is even qualified for the job. Anyway, the woman isn’t looking for any such thing, is she now?)

The family lot

The atthai (Roja) is a selfish woman who takes her share of property and leaves for the city when the others in her family are giving away everything they have for *feeding* the poor. She uses her nephew (?) as a driver and throws him out when the job is done.

Devadharshini appears in one scene and weeps for the death of her parents (though plays no role in avenging or even seeking justice for it).

Then the political lot

There is this role played by Kiran – an ambitious woman who wants to make it big in politics. She is dressed in sexy sarees and appears as Boopathi’s set up. She displays no intelligence, finesse, political ability or even just independent thinking. She is Boopathi’s puppet, just sometimes being an annoying woman who could be eliminated (which Boopathi attempts later in the film).

There is Ramani Akka (so much for Radhika playing this role) who goes from idli kadai to kandhu vaddi vasool rani to Mayor. If you’re convinced that is a common woman’s guide to an empire, hear me out. She makes no decision on her own – she is asked to contest in elections by Kamalakannan and she does so. He plans her election campaign and gives her the *out-of-the-box idea* of distributing cricket bats to voters’ children (as bribe, of course). He stops her while she is about to withdraw her candidature in return for money. She is also a puppet. She is mightier because she is the hero’s puppet. That is all. Kamal, however, goes as far as to use her for his personal benefit (of saving his house, #youremember). She becomes the Mayor because the Mayorship this tenure is *reserved* for a *woman* and she is the only woman councillor in Chennai. She implements his plans to demolish the property that may belong to the CM. So on and so forth.

In short

~      The first half is unnecessary – so is most of the second half.

~      There is no logic to most of what happens in the film nor there is any meaning.

~      Santhanam is funny – Karthi not so much (there is a scene where he says “thanni, kanni, su….” and waits only to complete that with soodhu. Sigh).

~      (Personal) good wins over evil

~      People dump money on Saamiyaars even if they were sitting around smoking beedi

~      Political thriller, my foot!

Further reading

I hear from people very often that my reviews tend to be biased and (unreasonably) negative. So, I’ve decided to also put up some links from other reviewers. Here are some other reviews I read today. Will update when blog reviews come up.

Pavithra Srinivasan – Rediff

Bharadwaj Rangan – The Hindu

Romal M Singh – DNA (positive review. lol)


Director: Aishwarya R. Dhanush

Featuring: Dhanush, Shruti Haasan, Siva Karthikeyan, Sunder Ramu (Prabhu, Bhanupriya and Rohini wasted!)

This is a film by the next generation Tamil filmmakers (artists, music directors inclusive). Shruti Haasan, Dhanush, Aishwarya R Dhanush are all people who’ve seen cinema more closely than any of us would have in our lives. Yet, 3 is what they can produce. Sub-standard, unimaginative, insensitive and ridiculous load of trash that they’ve dumped in to three hours.

In the name of love

Ram (played impeccably by Dhanush) helps this girl who can’t help herself with her own bicycle (which happens in the real world, of course) and then falls in love with her when he is all of 16/17 years of age. The girl Janani (irritatating portrayal by Shruti Haasan) returns the favour and they are both in love. The first half of the film meanders across tuition classes, roadside conversations, slaps from the girl’s father and useless trip to Tirupathi.

Nothing in the film makes the audience feel the love between the two lead characters or any hope that the film is heading somewhere this way. The girl burns her passport (which has the Visa that her mother obtained after 15 years on burning herself outside the US embassy! Lolwut?), runs away from home asking Ram to marry her, apparently does nothing that could be called a job but cooks well, of course. The boy fails in his maths and chemistry exams in school, runs after this girl he likes (and scores well in Physics – the subject he takes tuitions with her), drives to Tirupathi without a license and uses an Aircel phone (one too many plugs this Aircel has paid for).

There is absolutely no love that I could see or feel between the two – no conversations, no happy moments together, no display of sanity or self-sufficiency.

In the name of marriage

No surprise that this love goes into marriage. Ram marries Janani and moves into this apartment that his father buys for him. They wait for both their parents to visit them before they have their “first night”. He promises never to hurt her and take care of her. She in turn reaffirms her trust that he would do so. He goes away for long hours, has a friend sleeping over every single day but Janani waits for him to die before she finds out why it is this way. Ram kicks their pet and kills the dog (unimaginatively named Tom). Unable to tell her what he’s done, he cries and she consoles him still not wanting to find out what really happened.

The Director has gone out of her way to beat stereotypes in having Ram and Janani’s wedding at a pub/ discotheque. Ignoring the fact that, though the venue is new, the thaali and the man tying it around the woman’s neck hasn’t changed, it is impossible to ignore that Janani wears Vibudhi (symbol of widowhood) on her forehead for a large part of the film post-interval. Strange are the ways we beat the norms these days.

In the name of mystery

The film begins with someone having been murdered. And then there are these scenes where Janani runs after what looks like Ram’s silhouette. Like most other scenes, this one goes nowhere too. But I refuse to understand the irrelevant plugging of such things to make the movie catchy. Dream sequence or otherwise, if the film is about a man with bipolar disorder, why make him seem like a ghost?

In the name of a ‘disease’

This is the scariest part of it all. Ram, in the film is dealing with bipolar disorder – which is pretty much mentioned as a disease. He acts like Chandramukhi Ganga (while the Doctor character clearly mentions that this is not split personality but bipolar disorder). He beats up friends, walks up to kill his wife, hallucinates and even forgets everything that he has done while he is in one of his fits. He refuses to ‘admit’ himself in a hospital and is worried about his wife “seeing him” with “fear” rather than “love”.

What’s more bothering here is how everything in this entire sequence is so unimaginative. All of the reasons for which he meets his extremes are so stereotypical. He breaks his friends head for merely telling him that he has a problem. He beats up people in a car park like a mad man left loose. He kills a poor dog. Even if I’d buy this for all of them are occurrences in the life of a man, his hallucinations are out of nowhere. There is no reason for why he is seeing what he is  seeing (a smoking kuduguduppandi-like person and a girl). To show us that these are hallucinations, these characters stand in the air and are coloured green. Duh! What’s even worse is that there is no apparent meaning to any of his hallucinations. If he is indeed hallucinating, why can’t writers think beyond two random characters. I am now thinking of Beautiful Mind and sighing. (Not to argue that Beautiful Mind is the best film in the world. Just the imagination of someone to fit one’s hallucinations into a film)

In the name of perspective

The entire film is shot from what I believe is a third person perspective. We are seeing the world not as Ram is seeing but as us watching from elsewhere. So, when Ram walks into the sea trying to reach Janani, I am not able to see it as someone suffering from lack of control over his emotions. I see it with fear that he is going to kill himself. All scenes where Ram hallucinates, loses his mind (and temper), hurts himself, I can never empathise with him because I am always wondering when he is going to hurt people around him.

If the intention of the film is to make the audience feel scared of someone with bipolar disorder, the aim is met. But if you want me to see it as a disorder that is bothering someone I know, you’ve lost your way by miles!

In the name of a film

This is just another flimsy attempt at showcasing a mental disorder that no one in the film making team has any idea about (or worse no experience with). Logical loopholes, perspective issues, meaningless conversations and irritating performances can all be dealt with if only Aishwarya R Dhanush had a vision about 3! Sadly, it falls apart!

Ilamai – A man’s point of view

It’s one of those hep hero introduction songs that the man sings in the bathroom while washing his hair. There are plenty like this in Tamil cinema. This gem popped out while my iPod was shuffling songs! This is such Whatte wow!

Song: Ilamai vidugadhai

Film: Varalaaru (Godfather)

Music Director: A R Rahman (who also rendered two more remix versions of this gem)

Lyricist: Vairamuthu

And literally it translates to this!

Youth is a riddle (#ok)
Women are answers (yes, they have no youth of their own)
How many parrots in cages in Tamilnadu (oh, women can fly)
Each one of them should come home (fly home, of course)
Through the night, spread your wings and talk poetry (that so doesn’t sound right!)
When it is morning, I will hide it, you go (or something to that effect)

Youth is a riddle
Women are answers (#ok)

A satellite would know the treasure hidden in the ground (#whatte)
Only nature would know the treasure hidden in a woman (I’ve heard worse about treasure being dug out, I swear)
Oh female breeze, show me the cold sides of your hot body (sensuality, is it?)
My eyes are on your chest (#honest)
I had decided to live like Lord Ram post marriage (And?)
Until then of course, I have begun my efforts towards living like Lord Dasarathan! (Mythology mess)

Youth is a riddle
Women are answers (#ok)

I am your hero (What’s new)
But I am the villain for your clothes (That!)
If I touch your love organ (Uh huh?)
Your shyness would break (Sure)
On the chest there is much, why aren’t you generous, don’t kill me, come running to plant the root on my chest (Sorry?)
Let the distance between us both be filled with kisses (Lolwut?)
Let the wrinkles in our hearts be ironed out by our lips (ok. That’s it)

Oh oh oh oh sophiya maalika fouziya oh oh yaashika! (Caste no bar. Religion no bar.)

<And the loop>

Muppozhudhum un Karpanaigal – Delusional

Muppozhudhum un Karpanaigal is a horrible mishmash of a psycho thriller, romantic comedy and a sentimental mother-son drama.Having said that, I have to explain!

Opening scene

 Atharva jumps off a wall wearing a hooded jacket and terrible makeup. He almost reminds us of Kandasamy and then we suddenly realise that Kandasamy was in fact better than this (if that is even possible). With a sharp device with a handle (perhaps, meant to be a stylish knife), he tries to kill two men who are very evidently utilising some skimpily clad women for their pleasure. They drive off in their car and then the opening credits roll. If you haven’t already left the theatre, I’m sorry for you (as much as I am about myself now).

 Story and something to that effect

Ram, played rather uncomfortably by Atharva) is this handsome hunk working in a software company in Chennai where he has this other skimpily clad woman chasing him around to “love” her. She changes the “network password” and therefore no one can do his or her work in this “software company”. Atharva asks her to login with the changed password on his Mac and she refuses to do it unless he kisses her OR says ‘I love you’. He, however, refuses to do so because he is committed to this girl in Bangalore. He talks of her and says, “Oru moonu nimisham ava kitta pesi paaru. Nee ponnungardha marandhu neeyum avala love panna aaramichiduva”! Thereon, it only gets worse.

The feminist outrage

 There are two women playing important roles in the film and then some sidekicks. I’ll get to the sidekicks later.

Ram is in love with this ‘dream girl’ in Bangalore called Charu. She joins him for a project, lives in the same apartment as his, makes his coffee, takes him out shopping, insists he bathes very often and motivates him to pursue his idea for a competition (which is a software that saves people from radiation from outer space that is killing sparrows and flowers). When his mother passes away, she goes to his hometown and feeds him, she takes care of him in his depressed days, encourages him to make his own presentation and lets him sleep on her lap when he is upset. She is motherly, displays no intelligence (her idea for the competition was to write software for banking solutions) and is exactly how a woman should be (as decided by you know who).

 Ram is brought up by this widowed mother who is symbolic of how women should be (perhaps in an alternate universe). She gets widowed and brings up her son with the money that her husband had loaned out to a kovil Iyer. One night, a man tries to sexually assault her and in the process tells her that he is doing so because she is beautiful. Oh my god, isn’t it a crime for a widow to be beautiful (on yes, women still have to live in the 16th century)! The next morning she shaves off her hair and becomes ugly and unattractive instantly. Thereafter, men do not sexually assault her and the one who tried that stunt on her earlier also bends his head down while he walks past. She is rude and nasty to everyone else but loves her son dearly. When the son goes to Chennai to make his life, she stops eating and sleeping and dies because she cannot survive without him.

There is this visually challenged woman who uses the phone number Charu used earlier. She takes calls from Ram and talks to him like she is Charu (and has been doing this for years). He is such a darling lover that, this woman now waits for him to call every week. Yikes.

 That woman at work who chases after him to love her, Ouch!

 Motivational Delusion

Half way through the film, we learn that Ram has motivational delusion and he is hallucinating that he has a girlfriend and she lives in Bangalore, when in fact, she lives in the States and she is engaged to someone else. Motivational Delusion, what I believe is a psychological illness, is treated like some kind of a fancy designation to have. The only cure to the disease apparently is Charu’s death (rip off from Chandramukhi, clearly). However, when Ram learns that she is dead (or rather kidnapped), he comes back home, waits for three days and then hallucinates her returning again and lives happily ever after with her. What makes it worse is how he cannot differentiate his delusion from a real person. When real Charu comes to his house, there is no disconnect and people live happily ever after still! Duh, director!

 Not only does Ram hallucinate about this woman living with him, but also about a few men who are out to kill her. He believes that these two men (son of a minister and an industrialist) kidnap her. He chases them around (wearing strange makeup) and finally kills them one day. This, however, is perceived by Charu and her doctor uncle as his ability to keep her safe. Fantastic!

(Moral) Police

There is this Police (uncle of Charu’s) who shows up at many places in the film. The most prominent of all appearances is when he tells Charu, “we both know who committed these murders. But the murdered men are womanisers and criminals. Justice is done.” In essense,the Karnataka Police commissioner does not investigate the murder of his Home Minister’s son out of choice! Fantastic part 2!

The climax

Charu and her doctor friend try to stage her kidnap and murder to cure Ram of his delusion. She gets kidnapped, no doubt, but by her fiancée’s friends who tell her how they’ve killed three women before because her fiancée is more to them than a friend or a business partner. Wah wah! Some gay s3x clan killing women dating one of them? Fantastic part 3!

Finally, the doctor uncle saves Charu and takes her to the hospital. For a good measure he also convinces Charu’s father to get her married to Ram and so she goes back to the apartment to fit into Ram’s delusion. Final Fantastic!

In summary, the best thing about the film is G V Prakash Kumar’s Music. Now, that says it all, doesn’t it?!

If you have a funny bone left in you, here’s a look at the director of the film.