At one point in Appathava Aattaya Pottutanga (AAP). A group of seniors prepares to force two people of their kind to leave their home and get married. I can’t help but think of the iconic scene from Nadodigal. And director M Stephen Rangaraj also hats off to the film.
The storyline and the plot of the movie:
It was great to see the likes of Delhi Ganesh, Katadi Ramamurti, Shanmugasundaram and Jajaroa slowly moving to the beat of Shambo Siva Shambo. Ensuring rescued Chandra Haasan and Sheila from the clutches of their family. Such a provocative act doesn’t lead to a moment of laughter, but the creators don’t want to laugh entirely either. They are happy, causing smiles and occasional tears.
With a duration of about 100 minutes, Appathava Aattaya Pottutanga wasted no time in establishing himself as a species of NadOLDigal (sorry). Showed us the seniors and their side living in their children’s homes. They are mistreated, they are superficially respected, and they are meaningless.
Thanks to the creators for trying to wring humour and sadness out of such situations. But not all the jokes and mood scenes happen on purpose. The presence of experienced actors in the cast ensures that these strange acts do not make us nervous. Despite the terrible sequence and volume, the fun ratio is mostly harmless. Even if it does elicit a feeling of déjà vu.
Appathava Aattaya Pottutanga talks about parental neglect. We were shown how the elderly were sent to a nursing home at dusk to look after themselves. While this is nothing new in our cinema, it is still a widespread problem. So can the concept be considered obsolete, even if some of the tropics are decades old?
One aspect that must remain in the 1980s is the disfigurement of women in the family.
When boys fail to look after their parents. The blame is often placed directly on the daughter-in-law, described as an offensive hook. Now boys are just chickens. However, in the film that follows, we see that it follows the route previously perfected by Visus Filmen. The late veteran could have been the perfect addition to the cast, and this film could mark the nostalgia factor.
A few years ago, Dhanush made his directorial debut in Power Pandi. Another film is about the importance of parents having their own lives. Although Appathava Aattaya Pottutanga alludes to this issue, children need to take good care of their parents. Isn’t it time to see Rajkirans, Repathys and Chandra Haasan? In these films struggling to control their lives after watching nearly four decades of films. That did the same thing with not-so-great results? It can be so refreshing to see them in these stories, look into them and find love for yourself.
Meanwhile, Meenakshi’s son and his supporters abuse the elderly couple after learning of their mother’s decision.
A couple and four friends decide to flee to a neighbouring country, but fate has other plans. Their plan was unsuccessful, and the six ended up at the police station, where a police officer interrogated them. Will the couple succeed in uniting? Will Minakshi forgive her son?
The plot sounds interesting on paper, but the script falls short. Making it difficult to review the less than a two-hour film. Although they have experienced actors like Delhi Ganesh, Katadi Ramamurti, and Shanmugasundaram. The lack of a script to appear makes the series largely unattractive. There was a genuine effort from these actors. But when they signed their characters. We developed a sense of disinterest in addition to the slow process in the second half.
The film was popularized as Chandrahasan’s last film but had little work in the lazily written roles. Not knowing how the story will continue. The director gathers all the characters in the police station. Where a long series unfolds that tests our patience.
The scene ends in an unusual way, which partially works for the audience. With a predictable nurturing message. It’s effective at turning tails. But the question is how many viewers can last until the end. The chemistry between Chandrahasan and Sheila is not great, but there is a reason revealed in the climax.