Mithran R Jawahar puts a magnificent twist on the Velai Illa Pattadhari layout. However, this is a film that has an enchanting guiltlessness at its center
There is something serious and dead about the rose-colored edges of Mithran J Jawahar’s Thiruchitrambalam that shouts distress and sorrow. That is what’s going on with the film: smothered feelings. However, the film isn’t generally so horrendously miserable as you would suspect. It is, as a matter of fact, the inverse and overflows with life and chuckling. This is a film that has an enchanting blamelessness at its center. Discussing which, Dhanush assumes the nominal part and he is continually alluded to as Pazham, which frequently implies somebody who is honest in Tamil. Furthermore, who in Indian film can sell honesty as pleasantly as Dhanush? At the point when the entertainer plays a blameless, loser fellow, there is a severe thing about the manner in which he gets it done. We have seen that in Polladhavan. Aadukalam. Celebrity. Raanjhanaa. Vada Chennai. In many movies. There is Nithya Menon, obviously, who can similarly sell honesty. What’s more, they are in a film together. How incredible is that? The solution to that is ‘Megham Karukkatha’, where they dance like two butterflies.
First and foremost, Mithran R Jawahar puts a wonderful twist on the Velai Illa Pattadhari layout. This film actually follows VIP’s design and maybe gets a couple highpoints and Anirudh’s score, yet the similitudes end there. As a matter of fact, it is difficult to say on the off chance that Thiruchitrambalam is a romantic comedy or a cut of life show on homegrown life. Maybe it is both. It has the clothing and language of a romantic comedy since it is Dhanush with three courageous women. However, it is likewise a cut of life show about giving up, controlled by a stupendous Bharathiraja and Prakash Raj.
The “romantic comedy” is only a layer and never at the very front. It is, as a matter of fact, noteworthy how Mithran composes these characters and the particular universes they possess. Pazham attempts to seek after his highschool darling Anusha (Raashi Khanna) in the present. He works at a food conveyance organization and she comes from what resembles the high society. Then, at that point, comes Ranjani (Priya Bhavani Shankar) who comes from Thiruchitrambalam’s own town, where she remains solidly dedicated to her underlying foundations. In both these cases, Thiruchitrambalam turns into the wonderful center person who can’t move on nor down. He is neither here, not there. What’s more, there is Shobana (A fantastic Nithya Menon. Indeed, when has she ever not been astounding?) who is simply there. Mithran blames Anusha and Ranjani’s experience not or to say something. He simply utilizes it to feature this: “What you like and what you need are unique.”
Disregard viewing itself pretentiously, this film doesn’t imagine something amazing; its goals are the size of the settlement where Pazham and Shobana reside. That in itself is an extraordinary gift for a film loaded with life… the way that it is firmly secured through feeling. Thiruchitrambalam is likewise one of those interesting romantic comedies that keeps an even tone all through its span. Furthermore, for each strained second, we get a disruption from the characters.
Take for example the scene where Pazham spruces up to meet Anusha for a date, not realizing she will make him extremely upset in a later scene. Furthermore, the film quickly undermines this with a brazen second with Shobana saying, “For what reason are you dressed like a server?” We snicker. Not to the detriment of the characters but rather the ludicrousness of their actual nature. Fundamentally, the blissful state of mind is kept up with all through. Indeed, even the fantastic scene where Pazham is shown his place in a world outsider to him, when he is tipped by somebody, we get a great disruption. This absence of judgment, this capacity to snicker at your most awful times with somebody who has you covered, makes Thiruchitrambalam nearer to life. Of course, there are knocks in the tone particularly for a piece in the final part. I, as a matter of fact, felt anxious for an injury from a long time ago that returns the type of a battle grouping. In any case, even the “battle” is still inside the structure of the screenplay. We don’t see Thiruchitrambalam battling a miscreant in that scene. All things considered, we see him beating himself and his internal devils of concealment. This is astounding screenwriting.
Mithran has such countless opportunities to turn out badly. Yet, for each landmine that comes as realistic platitudes — cherished companions, lonely love; a legend who is a reliable disappointment and has daddy issues and a mate granddad — the chief continues tossing in shocks by doing a couple of redresses (creations?) to a great extent. For instance, take the scene where Pazham feels the heaviness of culpability, watching his dad incapacitated. Mithran doesn’t promptly go into the nostalgic zone. Rather we get a fabulous exchange from Bharathiraja: “Unnaku avan appa, enakku avan pulla da.” I sobbed. This is a chief who knows what not to do. There are so many satisfying minutes in Thiruchitrambalam that made me cry, take a respite, and chuckle concurrently, similar to a technique entertainer in an educated film.
Some place in the last quarter you sort of think about where the film is going. You wouldn’t fret that as a matter of fact. You pull for Dhanush and Nithya Menon, in any case. You believe that their characters should be together in a blissful marriage, make bunches of children and simply be — keep an eye out for Nithya Menon’s response, particularly what she imparts through her eyes, in that scene on the porch when Dhanush falters and swallows his feeling interestingly. There is such a lot of misery in her eyes yet there is such a lot of trust. Maybe she is saying, ” Please, say it yet kindly don’t.” I was staggered. That is the very thing this film causes you to feel. What’s more, nothing bad can really be said about pulling for cherished companions turned-possible significant others. This is an exceptionally essential human inclination and some of the time in films, the nuts and bolts are just about fine. Thiruchitrabalam is likewise that romantic comedy where you nearly get an air terminal peak. What more do you want, man?
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