When Guna failed to unite a prisoner ( Aadukalam Naren) with his family, Mallika does the job. Mallika, a physiotherapist, silently pines love for him. Guna is a philanthropist who runs an organisation called "Punnagai," a rehabilitation center for jail prisoners. Varun explains the story of his life where he had fallen with Anjana in spite of knowing that her engagement has been called off, but he later sacrifices his love after hearing Guna and Mallika's story. The story revolves around these couples and the trials and tribulations they face. I’d request some close-ups too, so I can find something to admire.Varun ( Vimal) and Anjana’s (Lasini) love story happens in the Ooty mountains (in Tamil literature, they are referred to as Kurinji) Gunasekar ( Cheran) and Mallika’s ( Muktha Bhanu) story happens in Tuticorin seashore (Neidhal) and Paul Harris Rosario ( Arjun Sarja) and Divya’s ( Surveen Chawla) story happens in the city (Marudham).
I just hope they bring the Toda shawls back. But, something tells me, we will soon see another film where the audience is laughing for all the wrong reasons. I wish this franchise is allowed some rest, till a logical story is found. Let’s forgive the placement of ‘Rasavaachiye’, yes the one that follows a funeral! ‘T heeyaga Thondri’, featuring appearances by Hariharan and Shankar Mahadevan, is suitably rousing. I shall go watch some of her old films to see what a performer she was once encouraged to be.Īmong the redeeming factors of the film is the music by C Sathya. The less said of Nalini’s Tik Tok loving character, the better. Arya, oh Arya, why did you need this after Sarpetta Parambarai ? Raashi Khanna, as the unloved daughter of the house, is similarly wasted. Sundar C, who plays the ex-husband of the said character who has been through a divorce, stays back to save the house.
Why do we still write female characters that lack any nuance, any layer? Why do we think humour stems out of another’s pain and insult? Why is a divorced woman always a thimirupudichava (arrogant)? These are questions directed at the wall, but still, have to be asked.
Remember the hill people? Again, an all-male crowd! Why, why?īarring one potent line that Andrea Jeremiah (Eshwari, whose wedding is gatecrashed by the chief guest) gets, where she asks if women are possessions to be taken by whoever ties a thali on them, not one single female character has anything of substance to offer the film. But when the woman is the one wronged, the one who has gone through horrible injustice, should the audience heart not beat for her? Instead the hill people begin their chants and prayers to save the zamindar (Sampath, the one capable of so much, reduced to a one-note role he can sleepwalk through). There are others, who severely exercise their biceps, throwing all manner of things into the holy fire and also doing a bit of jugglery with ropes to tie the spirit up.Īt its core, Aranmanai, as always, is about a woman wronged. There is a palace set in a geographical location you don’t know much of, but it sticks out like a sore thumb,much like the hill people who come down to the temple in the plains, wearing the most lovely poothkuli (Toda shawls).
Throw in some terribly lame humour, one track of which involves a couple that has not yet consummated their wedding, some awful excuse of a romance (a song plays like a second after a funeral where the heroine sheds tears), gyaan about women and divorce, and some CGI, and you get Aranmanai 3. And, it is our tragedy that we get to see the film after Vivekh is no more among us.Īs always, this so-far successful franchise (never mind what we reviewers say, the rest of the audience laughs on point for every misogynistic joke and for every instance of body shaming, so expect a fourth film too!), is about what happens in a palace, and the spirits that inhabit it. To reduce a comedy actor of his calibre to this level takes some effort. My biggest problem with writer-director Sundar C’s Aranmanai 3, though, has to be the image of the late actor Vivekh it has left us with.
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