“Even that legendary heroine of the 90s — Khushboo — didn’t feature as long as a heroine. Trisha’s career, in terms of longevity at least, is an achievement.”
Aruvi: The film of the year
“Aruvi’s almost seraphic, almost supernal in her ability to see the good in the bad. The problem is, it leaves you wondering if she can even spot bad. You can call her a naïve fool. Or you could call her a saint, which perhaps is why it’s gut-wrenching to see her break down eventually.”
Whistles, not wolf whistles: Why Nayanthara matters
The adulation, the rooting, the selfless connection was always reserved for the hero. The heroine could disappear after the cursory duet or two, but should the hero come into danger, all hell would break loose. BUT. This hasn’t been the case in recent Nayanthara films.
The heroine who doesn’t belong
Do the filmmakers intend the heroine to be a necessary distraction from what they perceive to be the grime of such stories?