Imagine caring so little about novelty in writing that you still define the hero’s mother as one obsessed with television serials, and the hero’s sister as one with an annoyingly chirpy presence.
“One is almost stoic, the other is sensitive to a fault. Later, during a moment of profound sadness and unimaginable pain, she still has the streetsmarts to notice a CCTV camera on the road. A CBI officer at work is one at home too.”
“What’s Kolamavu Kokila really trying to say? There’s the likeable subtext that a woman — her superficial meekness and soft speech notwithstanding — can outwit dozens of powerful men, sure, and really, hurrah for it. Beyond it though, what else is the story saying? That illegal means are justified when your needs are legitimate?”
Mohan Raja is a man of optimism — his heroine, Mrinalini (who everybody keeps calling Mirunalini), has the word ‘positivity’ tattooed on her forearm. You can see why she’d be interested in Arivu.
“It’s important not to confuse the real Sivakarthikeyan with the actor. For instance, I don’t smoke and drink. I don’t chase women. I despise violence. But I cannot tell a director that I won’t do those things in a film. On Remo, one Tamil publication wrote, Remo samudhaayaththin saabakedu. Really? I understand giving me advice, but why would people try to stop a film from doing well?”