There is something sombre and dead about the rose-tinted frames of Mithran J Jawahar’s Thiruchitrambalam that screams sorrow and grief. That is what the movie is about: suppressed emotions. Yet, the movie is not as painfully sad as you may suppose. It is, in fact, the other and brims with life and laughter. This is a film that has a charming innocence at its middle. Speaking of which, Dhanush plays the titular position and he is continuously called Pazham, which regularly means someone who’s innocent in Tamil. And who in Indian cinema can sell innocence as sweetly as Dhanush? When the actor performs an innocent, properly for nothing guy, there’s something austere about the manner he does it. We have visible that in Polladhavan. Aadukalam. VIP. Raanjhanaa. Vada Chennai. In many films. There is Nithya Menon, of route, who can equally promote innocence. And they may be in a movie together. How awesome is that? The solution to this is ‘Megham Karukkatha’, where they dance like butterflies.
Firstly, Mithran R Jawahar places a pleasing spin at the Velai Illa Pattadhari template. This film nonetheless follows VIP’s shape and possibly borrows some highpoints and Anirudh’s rating, however the similarities cease there. In truth, it’s miles hard to say if Thiruchitrambalam is a rom-com or a slice of lifestyles drama on home lifestyles. Perhaps it’s far both. It has the garb and language of a rom-com because it’s far Dhanush with three heroines. Yet, it’s also a slice of life drama about letting cross, powered by way of a top notch Bharathiraja and Prakash Raj.The “rom-com” is only a layer and in no way at the forefront. It is, in truth, incredible how Mithran writes these characters and the respective worlds they inhabit. Pazham attempts to pursue his high school sweetheart Anusha (Raashi Khanna) within the present. He works at a food transport business enterprise and she or he comes from what looks like the top elegance. Then comes Ranjani (Priya Bhavani Shankar) who comes from Thiruchitrambalam’s personal village, in which she stays firmly dedicated to her roots. In each those cases, Thiruchitrambalam becomes the beautiful middle guy who cannot climb atop nor down. He is neither here, now not there. And there’s Shobana (A awesome Nithya Menon. Well, when has she ever no longer been splendid?) who is just there. Mithran uses Anusha and Ranjani’s background no longer as an excuse or to make a declaration. He just uses it to highlight this: “What you want and what you want are exclusive.”Take as an example the scene in which Pazham dresses up to satisfy Anusha for a date, now not knowing she goes to break his heart in a later scene. And the movie swiftly subverts this with a cheeky second with Shobana pronouncing, “Why are you dressed like a server?” We snigger. Not on the rate of the characters but the absurdity in their very nature. In essence, the joyous temper is maintained at some point of. Even the first rate scene where Pazham is shown his vicinity in a international alien to him, when he is tipped through a person, we get a pleasing subversion. This loss of judgement, this capacity to giggle at your worst times with someone who has your back, is what makes Thiruchitrambalam closer to life. Sure, there are bumps within the tone particularly for a portion in the 2d half of. I, in truth, felt anxious for an old wound that comes back inside the shape of a fight series. But even the “fight” continues to be within the framework of the screenplay. We don’t see Thiruchitrambalam fighting a bad man in that scene. Instead, we see him beating himself and his internal demons of suppression. This is exquisite screenwriting.