“In Hero, Moorthy (from Gentleman) has become older and lost faith in his ability to change this country. He needs younger blood. It’s a passing of the baton, in a sense. A Robinhood to a Robin, if you like.”
“Arumpon himself notes the irony that relatives who are capable of causing great joy, are also those who cause great anguish. This is a fairly deep observation to make of blood relatives. And boy, does Arumpon have relatives.”
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.