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.
“Seemaraja is also the sort of film in which a fat woman comes running and Imman utilises an elephant’s trumpeting as BGM in a bid to get us laughing. The scene’s as funny as a burning orphanage.”
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?”
“Evanukko sutta dosai, namakku vara madhri.”
What it means: Women are objects to be consumed.