Romance Archives - akhilpillai

Why ‘The Lunchbox’ More Than Just a Love Story

Whenever someone inquires about my favourite romantic films, my mind categorises them into ‘pre-The Lunchbox’ and ‘post-The Lunchbox’ eras. Before experiencing The Lunchbox, it was ‘10 Things I Hate About You’ and ‘Kandu Kondein Kandu Kondein,’ but not any more.

‘In the Mood for Love’ and ‘As Good As It Gets’ are my favourites from the post-Lunchbox era. This transformative journey commenced with a simple, unassuming film from 2013 directed by Ritesh Batra—‘The Lunchbox.’

The Lunchbox: A Lens into Realism

This movie is not just for a weekend entertainment; it offered me a fresh lens through which I could explore the nuanced, unspoken dialect of human connections.

The movie is set in the bustling life of Mumbai, home to the renowned dabbawalas and their near-perfect lunch delivery system. However, an unusual mix-up one day led a dabbawala to exchange lunchboxes, it became the link for an unexpected companionship between Saajan Fernandez and Ila.

As an accountant on the brink of retirement, Saajan’s character reflects every scene with an air of melancholy that resonates with anyone who has ever gone through loneliness once.

Saajan’s routine commute to work begins with a Mumbai urban bus ride, accompanied by a stop at his late wife’s grave before heading to his mundane accountant job.

On the other hand, we have Ila. Movie begins with Ila, a housewife who tries to get her husband’s attention by making tasty lunches for him. She thinks the way to a man’s heart is through his stomach. Her neighbor, Deshpande aunty, helps her out with recipes, joking that her husband will build her a Taj Mahal after tasting the food. Ila sends a lunchbox to her husband’s office using a dabbawala.

From Salty to Sweet: The Beginning

When fate humorously redirects Ila’s delicious lunchbox to Saajan, Saajan’s response to the first meal is precisely what you’d expect from a lonely accountant uncle – “Dear Ila, the food was very salty today.”

That’s all he has to say about the meal Ila put her heart into. However, this complaint marks the beginning of a unique bond between two lonely souls. Here begins the beautiful tale of ‘The Lunchbox’.

What follows is a series of letters exchanged between Saajan and Ila.

Saajan’s letters give a glimpse into his life and the changing world around him, like when he mentions,

“Life is very busy these days. There are too many people and everyone wants what the other has. Years ago you could find a place to sit on the train every now and then but these days it is difficult…When my wife died she got a horizontal burial plot. I tried to buy a burial plot for myself the other day and what they offered me was a vertical one. I spent my whole life standing in trains and buses and now I will have to stand even when I am dead.”

This newfound mode of communication allows them to open up in ways they hadn’t with anyone else before.

This is where I want to tell you, ‘The Lunchbox’ isn’t merely a story of romantic inklings; it’s just one layer of it.

Why The Lunchbox is More Than a Romantic Film

The Lunchbox is a film that explores a wide range of human emotions and relationships through its simple but powerful storytelling. It’s not just a love story between Ila and Saajan. It’s also a story about several characters who are searching for comfort and connection in their mundane loneliness.

Every character in ‘The Lunchbox’ has a touch of loneliness. Ila is trying hard to bring back the missing spark in her marriage; Saajan, a sad widower stuck in the same office job for over thirty-five years without even a friendly chat with his office neighbor; Aslam, the orphan seeking familial bonds; and the Deshpande couple, each lost in their own realm of silence. Even young Yashvi, Ila’s daughter, seems quiet and serious throughout the movie. Something not common for a child of her age.

Maybe this is the same reason, why I am obsessed with the characters of ‘Lootera’ and there Pakhi resonates with the same echo of solitude.

What Lies Beyond Romance in The Lunchbox?

Lens 1

There are multiple instances where The Lunchbox proves that it’s talking about human connections, a deep bond that’s formed between people when they feel seen and valued—not a curious attraction or mere romance.

One line from Saajan beautifully captures the underlying theme of his and Ila’s shared bonding: “I think we forget things if we have no one to tell them to.” This simple line tells us about the deep need we humans have for connection. It also shows how good it feels to find someone to share our everyday moments with, whether they’re boring or happy. Aslam, Deshpande Aunty, Saajan, and Ila are all looking for this kind of connection.

Just like Ila is searching for a new spice to rekindle her husband’s affection, each character is searching for something missing in their lives, and that missing piece is a bond to share!

In addition, look at the vegetable Ila chosen for her delicious dishes. Bitter Guard, Baby pumpkin aka Tinde & even Brinjal —could be a metaphor for their unconventional life choices, or maybe it seems like a gentle reflection of narrative’s core, where bitter experiences pave the path to the sweet essence of companionship, understanding, and perhaps a subtle hint of romance as well.

Lens 2

The Lunchbox is a film that celebrates the unity and diversity of the human connections. The characters in the film come from different shades of life though they are connected beautifully like a string of pearls.

Saajan’s poetic observation is a beautiful example of this. In a scene, Saajan explains his reflections on a painter’s works, “I felt like stopping to look at a painter’s works. All his paintings are exactly the same but when you look close, real close, you can see that they are different, each slightly different from the other…”

After that letter, Ila is sharing her memories with her daughter.

He sees himself in one of those paintings; he compares people to paintings, noting that they may all seem similar at first glance, but when you look closely, you can see the unique differences that make each individual special.

This is exactly what you are seeing in the film. In one angle, they all are same. But if you look close, you will see the differences.

Aslam is a Muslim, Saajan is a Christian, and Ila is a Hindu. Saajan writes in Queen’s English, I never heard someone referring to a ‘Brinjal’ as an ‘Aubergine’ and Ila replies in Hindi.

Deshpande Aunty and Ila share a deep emotional bond, even though they do not have a visual connection. This is because they are both able to sense and understand each other’s feelings.

Here communication goes beyond language, diversities, and limitations; it’s tapping into the essence of human connection.

The Lunchbox and its Painful Romance

In the romantic parts, Saajan’s sadness really hits you when he opens up to Ila, saying that he can only dream through her young hopes. He mentions, “No one buys yesterday’s lottery ticket.” This is a honest way to say that his own dreams are fading away.

But Saajan’s thank you to Ila is really heartwarming. He tells her, “You are young, you can dream. And for some time you let me into your dreams and I want to thank you for that.” You can really feel that he means it.

As the story moves on, Saajan sees that life still has more for him to experience. This part leaves you smiling with hope.

The movie gently encourages us to find the sweetness in the bitter, to look beyond the ordinary, and to appreciate the simple joys that life places in our everyday lives.

In doing so, The Lunchbox is not just a movie; it is a gentle nudge to appreciate the unspoken, the unexpressed, and the unnoticed nuances of human connections around us. In the beginning of the movie, we see Saajan’s neighbour, a young girl, closing the window on him, but by the end, that same little girl is waving at Saajan, and Saajan smiles back.

Reheating The Lunchbox: A Cliched Angle on the Ending

The ending of The Lunchbox really a debatable topic. The internet is full of explanations on climax interpretations. At first, I liked open endings but not recently, since, it confuses us.

Here are my two cents on The Lunchbox ending.

A part of me, maybe the pessimist Akhil, thinks that Ila might have given up and ended her life. When she took off her jewellery, it reminded me of the lady who jumped from the terrace to find peace (news in the movie).

Positive Akhil looks into Deshpande Aunty tells Ila that she was able to clean a running fan. Could this news have given Ila the courage to clear up her own life’s messes? Will the train bring Fernandez to Ila before she leaves? I hope so, deeply.

The Lunchbox tells the stories of people tied together by thin strings of chance: a dabbawala’s mistake, voices across the old walls of a worn building, a basket dropped from one window to another. A lonely man and his letters, a housewife and her delicacies… Through life’s unsure moments, they all found relief in a unexpected bonds, and in the midst of loneliness, sparks of connection showed up, warming the hearts stuck in life’s endless give and take.

The Lunchbox is an experience about the simple everyday interactions between people that make a difference. Experience it!

The Devolution Of Lust Stories: A Review

Before Lust Stories 2, let’s get back to square one. In Lust Stories first edition, the anthology kicked off with Anurag Kashyap’s episode – a phenomenal start, indeed.

Let me paint the picture:

If I’m not wrong, the opening scene featured Radhika Apte, head out of a car, basking in a nostalgic Bollywood tune. Street lamps illuminated her face, her hair waving in the wind, and she’s laying lazily, looking at her young lover, You get all this in one long shot of a taxi cruising on a quiet, lit-up highway at night.

Isn’t it making you see the picture? Can’t you feel what the character’s going through? No dialogues, but it still speaks to you.
That’s my first metric for assessing a film’s quality. How much it speaks to you without dialogue.

After this scene, there’s a chat where Radhika Apte asks her boyfriend if they’re alone at home. He says only grandma’s home, and she can’t hear well. Then they’re in his room, talking about the books on the shelf, sharing thoughts. You can tell loads about the characters from this conversation. Kashyap uses the setting and dialogue to peel back layers of the characters. There’s a lot of talking, mostly by Radhika, but none of it’s senseless.

Why am I talking about Lust Stories 1 while writing about the second edition? Because that’s the easiest way for me to share my experience of Lust Stories 2.

Episode 1: Granny from the Future: Too Much Sex, Too Little Sense

Anurag Kashyap used the atmosphere and ambience to convey the emotions and used dialogue to portray the inner layers of the characters.

It’s not simply about sex or lust. The characters are not talking sex or f*** a lot of times; they are talking about their anxieties, which might be yours as well, and they are unveiling the deceptive covers in front of you. In the first episode, when Radhika Apte asks you, How can you expect one person to be everything, your friend, your lover, and your wildest fantasy? you will be able to empathise with the character Kalindi and be convinced that Kalindis exists.

In Lust Stories 2, everything is flipped. We start with R. Balki’s episode with a granny from the future, or maybe another planet. The episode is all sex or fuck. It feels so fake, full of cringe dialogue. Why did they pick this as the first episode? It made me want to stop watching. But after a break, I gave the second episode a chance. Balki should have made some notes from Anurag Kashyap’s Lust Story episode, especially on world building, character sketching, and dialogues.

Episode 2: A Peek into Hidden Emotions, Konkona Sen Sharma’s Lust Story

In Lust Stories 1, the second episode is from Zoya Akhtar, another great talent. It’s about a relationship between a domestic worker Sudha and the man she works for. It’s a subtle, simple story that leaves a question at the end. You can see that Sudha has almost no dialogue, but you can see her transformation, her anxieties, and, in the end, her acceptance of a hard truth.

In Lust Stories 2, the second episode by Konkona Sen Sharma is very similar to what Zoya did; it is subtle, with almost no dialogue between the main characters except a short tirade. The episode ends with a superb commentary on voyeurism and how some emotions can only be limited to being kept under the wraps. Tillotama Shome nailed it, and I was so happy to see her again in the Night Manager today.

Episode 3: Lots of Lust but a ‘lustful’ Misfire

In Lust Stories 1, Dibakar Banerjee crafted the third episode, and it has a strong message for women. It is about Reena, who is in an extremely unhappy marriage with a businessman. She stuck in her roles as wife, mother, and lover, unable to assert herself as an individual. A single line of dialogue from Reena is enough to understand what’s going on; she says, “You need a mother, not a wife, and I cannot be that.” The movie questions the institution of marriage from a woman’s perspective.

But in ‘Lust Stories 2’, the third episode by Sujoy Ghosh is just a show. Lots of kissing and cleavage, and then a predictable twist. I couldn’t figure out what it was trying to say. At least they should have tried to remove that cliched backstory, which would have helped them make the climax better. If you are a Tamanna fan, go for it; otherwise, just watch the first 5 minutes and the last 10 minutes of the episode.

Even Vijay Verma couldn’t save this one as he did in Dahaad, I believe. By the way, I believe Jenniffer Piccinato is going to be a most searched term after Lust Stories 2. Her video call in this third episode added more Lust than the writers did.

Episode 4: Predictable Fairy Tale, Saved by Kajol’s Eyes

In Lust Stories, Karan Johar surprised me with the last episode. Among philosophical takes and social commentaries, he presented a simple yet thoughtful comedy-drama. But Lust Stories 2 ends with Amit Sharma’s episode trying to be a dark fairy tale and ending up just being dull. The only good thing was Kajol and her beautiful eyes.

There is actually nothing much to explain about Lust Stories 2. The endings or plot points are pretty straight, and if you are still looking for ending explained posts, you should really evaluate your cognitive skills.

In the end, I believe ‘Lust Stories 2’ may disappoint you. They messed up the brand with an amateur job.

Zara Hatke Zara Bachke Movie Review

Exploring Dreams and Quirks of Middle-Class Love

If I were to paint a simple picture of what ‘Zara Hatke Zara Bachke’ is all about, it would be like this: Imagine a slice of life from a middle-class Indian home from Indore, few drama stuffed with humor and woven around the dreams of a young couple. The director, Laxman Utekar, has tried to create a lively canvas where the ordinary becomes extraordinary, much like his previous work, Mimi.

A collage of scenes from Zara Hatke Zara Bachke — Poster Collage: Zara Hatke Zara Bachke

Story of ‘Zara Hatke Zara Bachke’

Let me introduce you to our main couple, Vicky Kaushal and Sara Ali Khan, who play everyday people just like any other middle-class urban couple. Vicky’s character, Kapil, is a yoga teacher with simple dreams and a clever way of finding shortcuts to solve big problems. On the other hand, Sara Ali Khan portrays Saumya, a spirited chemistry professor with dreams that extend far beyond her home and her lovely georgette sarees.

Their everyday life takes an interesting turn when the pressures of living with their extended family become overwhelming. They yearn for a ‘place’ they can call their ‘own’, a home where they can create their own space and cherish their dreams. And that’s when our story, ‘Zara Hatke Zara Bachke’, begins to unfold.

What follows is a delightful rollercoaster of events, ranging from comical to dramatic, all revolving around this relatable and universal desire for a home.

In a nutshell, ‘Zara Hatke Zara Bachke’ take us to witness the dreams, challenges, and hilarious complications faced by this young Indian couple. Especially, while they navigate through societal expectations, personal ambitions, and the quest for a place to call their own.

Why You Should Give A Try?

Firstly, let’s talk about the performances. Vicky Kaushal, known for his versatile acting skills, brings his A-game to the table as Kapil, the yoga teacher with a penchant for finding clever solutions. His portrayal is relatable and engaging, showcasing his ability to bring charm and authenticity to the character. Sara Ali Khan, on the other hand, captivates with her vibrant presence as Saumya, a chemistry professor who yearns for more from life. Her energy and commitment to the role shine through, adding depth to the narrative.

One of the film’s strengths lies in its ability to tackle real-life issues in a light-hearted manner. The storyline revolves around the dreams and challenges faced by a young middle-class couple, resonating with audiences who have similar aspirations and struggles. Laxman Utekar’s direction, as seen in his previous work like Mimi, ensures that the film strikes a balance between entertainment and thought-provoking storytelling.

Moreover, ‘Zara Hatke Zara Bachke’ offers a glimpse into the world of Indore, a city that adds its own flavor to the narrative. The film beautifully captures the essence of small-town life, providing a unique backdrop for the characters and their journey.

What Could Have Been Better?

In my opinion, one thing that really felt odd to me was that the chemistry between Sara Ali Khan and Vicky Kaushal. It didn’t seem to have much chemistry on-screen.

Even though they are both talented actors with their own strengths, their pairing in the movie didn’t create the desired spark.

Sara Ali Khan

I was expecting a Sara Ali Khan from Atrangi Re, unfortunately, I only got that energy from her, not the natural demeanour. If Sara – Vicky chemistry had been stronger, it would have made Kapil’s & Soumya’s journey more interesting. Here audience may feel some disconnect with the story.

Plot of ‘Zara Hatke Zara Bachke’

Another important point to consider is that the plot of the movie. I felt it was stretched out. The pacing, especially in the second half, was not well done.

If the script had been tighter and repetitive elements had been eliminated, it would have created a more focused and engaging narrative.

Originality & Freshness

The story was highly relatable, but it lacked originality and seemed similar to other films like old Dinesh Vijan films or “Dum Laga Ke Haisha” style. If the filmmakers had strived for a more unique storytelling approach, it would have made the movie stand out from its predecessors.

Chemistry between Vicky Kaushal & Sara Ali Khan

As I said before, Vicky Kaushal’ portrayal of Kapil is excellent, but I felt that Sara Ali Khan’s efforts fell short compared to Vicky. It’s important for Khan to refine her acting approach, finding a balance between being authentic and avoiding being too theatrical.

Laxman Utekar’s approach

From an audience perspective, Laxman Utekar’s approach to ‘Zara Hatke Zara Bachke’ should be criticized for lacking energy and excitement. If he had incorporated more dynamic and innovative storytelling techniques, especially during crucial moments of the film, it would have injected more vitality into the overall viewing experience

Final Verdict

In conclusion, ‘Zara Hatke Zara Bachke’ remains an opportunity to immerse oneself in a light-hearted tale that resonates with the dreams and challenges faced by many. So, if you’re willing to overlook its flaws and embrace its relatable themes, this film has the potential to provide an entertaining and thought-provoking experience.

Bookmyshow offers a Buy one Get one offer for this movie (Only for June 2 Bookings I guess) considering that, it’s worth to give a try.

We don’t have so many alternative options this week. If you are looking for OTT Releases this week, here are my suggestions.

Defying the Norms: Modern Love Chennai Review

Modern Love Chennai- As a review, I would say Thyagarajan Kumaraja version of modern love, is a perfect weekend watch if you love to see the shades of romance.

This webseries is a challenge to the mainstream love stories that we are used to.

What’s striking is that each episode is a beautifully narrated tale from a woman’s perspective.

As a guy, it’s really nice to see love from a woman’s point of view. What’s really beautiful is how these stories grow, just like a flower blooming, and at the end, they spread the fragrance and make you smile.

The nostalgic background scores and music by Ilayaraja serve as a soulful thread, and keep you connected to Modern Love Chennai, making sure you feel a part of their world.

Lalagunda Bommaigal: A Tale of Trust, Love, and Betrayal

“Lalagunda Bommaigal” narrates the story of Shobha, a resident of multicultural suburban Chennai. The film, directed by Rajumurugan and featuring Sri Gouri Priya, Vasudevan Murali, and Vasundhara, begins with an abortion and then navigates waves of trust, love, and betrayal, sprinkled with a dash of dark humour.

Rajumurugan’s handling of the sensitive, dark subject, blending in dark humour without diminishing the pain and struggle of a woman, is commendable.

A scene from Lalagunda Bommaigal Modern Love Chennai

Nirav Shah’s exemplar Cinematography

In the first act of the movie, there is a dialogue: “You cannot live with men, but, you cannot live without men either”, and, in the climax, there is another dialogue “You cannot live with women, but, you cannot live without women either”. This summarises it.

One of the things that I loved most about the film was the cinematography by Nirav Shah. The empty roads, night shots, and transitions all reflected what Shobha was going through.
Even the ending shot of the film was beautiful. It showed us the fulfilment that Shobha had finally found. Frames act like a shadow for Shobha’s emotions.

The music composed by Sean Roldan also helps us to empathise with Shobha. It was subtle yet pleasing.

Imaigal: Love Amidst Fear and Loss

“Imaigal,” navigates the life of Devi, who’s in love with Nithya while facing the fear of a retinal degenerative disease. Directed by Balaji Sakthivel and penned by Balaji Tharaneetharan, this episode stands out for its short-sweet yet meaningful narrative.

A scene from Imaigal: Modern Love Chennai

The episode focuses on Nithya’s fear of losing her sight and her love life. It beautifully captures the moments when Nithya and Devi support each other through their struggles. The episode is emotionally resonant and is a reminder of the fragile yet resilient nature of love in the face of adversity.

T.J BHanu & Yuvan Shankar Raja

Although the episode’s pace may seem a bit quick, it’s effective due to its well-written script and sincere performances by Ashok Selvan and T.J. Bhanu.

But I felt that he struggled to portray the character of a middle-class man as convincingly as T.J. Bhanu. This may be because Ashok Selvan is not typically cast in these types of roles, and he may not have had as much experience with the struggles of the middle class 😉

As a result, in the second half, there was a slight disconnect between him and the role, which made the couple appear somewhat mismatched on screen.

The music by Yuvan Shankar Raja fills in the silence with a depth of emotion, while the cinematography by Jeeva Sankar expertly catches subtle emotions with close-up shots. It’s a worthwhile watch, reminding viewers about the fragile yet resilient nature of love in the face of adversity.

Kaadhal Enbadhu Kannula Heart Irukkura Emoji: A 90s Love Mashup

“Kaadhal Enbadhu Kannula Heart Irukkura Emoji” is all about the romantic adventures revolving around Mallika, who is desperate for love.
If you’ve seen the Malayalam movie “June,” you may find some familiar plot elements, as this episode feels like a condensed version of the same.

Directed by Krishnakumar Ramakumar and featuring a star-studded cast including Ritu Varma, Samyuktha Viswanathan, Pawan Alex, Aniiruth Kanakarajan, and Vaibhav Reddy, this episode is a sweet nod to 90s nostalgia. However, the writing by Reshma Ghatala comes across as average, with several scenes evoking a sense of déjà vu.

The story is about Mallika, a teenager who loves 90s romantic movies. She is obsessed with the scenes and dialogue, and she is eager to experience love for herself. She falls in love with different people at different stages of her life. Through these experiences, how her character arc changes and her perspectives about love evolve is the rest of the story.

A surprising Cameo and a Striking Dialogue

There is a cameo by Bhradwaj Rangan and it was hilarious and interesting.
What makes this episode special is the reference of all those 90’s kids favourite romantic songs and multiple Maniratnam & Gautham Menon movie references. I felt like it’s a 1990-2000 love mashup.

Ritu Varma as Mallika: Modern Love Chennai

One intriguing dialogue from Mallika caught my attention. She states, “there are no breakup songs for women in Tamil cinema.”

This line served as a humorous yet sharp commentary on a stark reality in the film industry.

Margazhi: A tale that Blooms Like Jasmine

Margazhi, is a heartfelt teenage love story directed by Akshay Sundher and penned by Balaji Tharaneetharan,and this is one of my favourites in recent times.

You can see Balaji’s signature in the dialogues and character development. The narration reminds me of European classics, with its slow pace, steady frames, poetic moments, and close-up shots.

The story is about Jazmine, who is depressed after her parents’ divorce. Her father suggests that she join the church choir to help her feel better.
Despite being in the choir, she finds comfort in her earphones and the music of Ilayaraja. However, a silver line arrives in the form of a summer romance that dramatically alters Jazmine’s path.

Everything changes along Jazmine’s character arc – the backgrounds, landscapes, objects, and even color shades. I was truly amazed by the depiction of this transformation.

Sanjula Sarathi’s Spring, Summer, Fall..

In her debut role, Sanjula Sarathi is simply spectacular as Jazmine. Her performance shines in the close shots, She is so expressive in her close-ups. Particularly in one striking scene where she questions, “Why do you love me?” Her portrayal of the reflections and self-fulfilment is impeccable.

Ilaiyaraaja’s musical score adds an extra layer of depth to the story, reminiscent of the “En Iniya Pon Nilave” vibes.

However, the real star of the show, beyond Balaji’s writing, is the cinematography by Vikas Vasudevan. The frames evolve like the seasons – winter, summer, spring, finally blooming into a beautiful cinematic experience.

Don’t miss Margazhi, it’s a beautiful teenage romantic film. It is a must-watch for anyone who loves teenage love stories.

Paravai Kootil Vaazhum Maangal (Gazelles living in a bird’s nest): A Forbidden Love

Do you recall the 1993 classic Marupadiyum by Balu Mahendra, featuring Rohini, Nizhalgal Ravi & Revathi? Or perhaps the iconic song “Aasai Athigam vachu“ by Ilayaraja from the same era?

Well, Paravai Kootil Vaazhum Maangal feels like a more compact, updated version of Marupadiyum. Directed by BharatiRaja, it’s steeped in the same intense emotions.

Pratheep Kumar’s dialogues might seem a tad dramatic, but they’re also poetic, adding depth to moments of character introspection.

The tale kicks off with Ilayaraja’s classic “En iniya Pon Nilave” song, setting the stage for the unfolding forbidden love between Rohini & Ravi amidst the Chennai metro station.

Kishore, Ramya Nambeesan and Vijayalaskhmi: Modern Love

Kishore, Ramya Nambessan, and Vijayalakshmi deliver some standout performances in this episode. They beautifully fill the shoes of Ravi, Revathi, and Rohini, bringing these characters to life. Another shining star is the cinematography by Jeeva Sankar. The way he frames scenes set in the metro, at night, or within a room is captivating. The team’s use of darkness and night shades adds another layer to the storytelling.

Exploring the Labyrinth of Love

In Kishore’s (Ravi) own words, the theme of the episode can be summed up as, “It’s hard to discern when love will happen, or with whom, or even why. We never understood our hearts.”

Vijaya;ashmi as Rohini: Modern Love Chennai

The episode ends with a dialogue from Revathi about emptiness, which reminds me of Thulasi from Marupadiyum. It would be unnatural to find gazelles living in a bird’s nest. Rohini and Ravi are the gazelles here.

Ninaivo Oru Paravai (Memory is Just a Bird): A Modern Love

This episode is a real modern love story filled with all the required ingredients: pubs, smoking, wild sex, post-breakup traumas, and high-end philosophical talks.

Ninaivo Oru Paravai, directed by Thiagarajan Kumararaja and starring Wamiqa Gabbi and PB, presents the tale of Sam & K. They’re a couple who subscribe to a “caveman” style relationship: “You are mine, I am yours, no god, no marriage, no rules”.

The episode opens with the soft melodies of “mella mella ennai thottu”, an Ilayaraja composition later used in Sarvam by Yuvan.
As the couple stirs from sleep following a passionate night, the soft music, subdued room lighting, and red tones set the tone for the film and tell you to get ready for something dark, wild, and passionate, infused with both the sweetness of love and the bitterness of tears.

In a thought-provoking scene, K questions the fate of film characters after the movie ends, which feels like the director is posing these queries to the viewers. It reminds me of the character Mugil (Fahad Fasil) from Super Deluxe.

Philosophical Brilliance of Thiagarajan Kumararaja

This film talks about idealism (what we perceive as the “real world” is essentially a product of our mind) and direct realism. The brilliance of Thiagarajan Kumararaja is that he lets you experience the same (like Nolan’s Memento, where you feel what the character is going through). The storytelling method is so unique and blends beautifully with idealism.

A Scene from Ninaivo Oru Paravai: Wamiqa Gabbi as Sam

In simple terms, Thyagaraja Kumaraja is playing a mind game with you, blurring the lines between a movie within a movie and two real-life characters.

The cinematography by Nirav Shah and Jeeva Sankar brilliantly enhances the film’s ambience, helping us to dig into the deeper layers of the scenes. The corridor shots in the hospital, the indoor shots of unfinished rooms, the close-ups of cigarette packs, the rain shots tinged with pink and yellow, all signal that this is a work by Thiagarajan Kumararaja. The pervasive darkness and red colour tones echo the episode’s underlying themes around idealism & realism.

Memory is just a bird, It is free and unbounded. It flits around, sometimes coming close and at times flying away, but it’s always a part of our world.

Modern Love Chennai Review: Final Word

Overall, considering a review of Modern Love Chennai, I would say it excels in execution and casting, even though not all episodes are great in their vision.

While many episodes were acclaimed for their dialogue and storytelling, some might have seemed cliché or overly familiar. More innovative and nuanced writing could have made these episodes stand out. For example, Ritu Varma’s episode, climax of first episode.

For more movie reviews and suggestions, click here.

Written by Akhil Pillai