“Meenakshi Sundareshwar” Review: Slow film frustrated by its overwhelming conflict

Abhimanyu Dasani-Sanya Malhotra does not insinuate or send everything to matchmaking. Indeed, and it is a fact of life for millions of young Indians.

“The first meeting of a boy and a girl for matchmaking:

This was one of the first family-oriented boxing, Bollywood. And with that in mind, Meenakshi Sundareshwar, a full bite in the name of a film, is pretty good. Meenakshi (Sanya Malhotra) is not wrong to be humble; he doesn’t blink.

He speaks openly and is a vast Rajinikanth fan; Sundareswar (Abhimanyu) is a committed programmer. An engineer who thinks in line and line and is not familiar with books and films. You let him sleep, he said.

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Oh, oh, what do you think? The sleepy metaphor doesn’t bode well for a thin film and seems ready to slowly wrap its central pair of modest, girl, glorious sky, no “bubbles”. But just an intelligent man, a little tricky, a little lacklustre, but very calming.

The way it starts is promising and captures the local flavours of Madurai, where it mainly thrives. The famous temple on which the film’s name is based, the busy Idli Dosai dispenser called “Chaos” (the film is smart enough not to say “sin”).

The one-screen hall where crazy hordes of Rajini fans bathe their clips in milk and dance. As the movie plays – just colour and brilliance grace each station. After all, this is a Dharma production. Looks great in his DNA.

Sundareswar’s courtyard, lit by hundreds of twinkling slides, lit up. The bachelor block he and his colleagues hang out in Bengaluru advises on this side of the class. Without any faux pas: no underwear (the Tamil word for it for those who hear and smile) or empty beer bottles insight.

Where exactly is the film goes in between:

I also like that the film is not interested in satirizing all the work or sending it to matchmaking. It is a fact of life for millions of young Indians who live with their wives and children in their parents’ homes and struggle and get along in their journey.

The beautiful song “Tittar Bittar”, recorded with great fun, truly captures this part of life – living together with father-in-law, naughty children and their countless moods. Minakshi’s slight distaste for the strong aunt-in-law is beautiful, even dramatized. Young brides living in ordinary families know how hard. It is to admit they may have lived romantic lives before they crossed their brazier of law.

But what makes this film hesitant is not giving us the apparent conflict that stands in the way between a couple forced to live apart in two cities and have to settle for video calls or text messages.

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For such a “traditional” pair, the sudden set of handcuffs and other annoying accessories that come with it seems forced, even if it’s funny for a moment. Have they never heard of s*xting? It’s a change of tone and feels fictional and stuck, like some of the other storylines.

The problem with playing an uninteresting character is that you can come out unattractive. Abhimanyu did not earn enough to rise above his average South Indian man, getting married and earning the money he would make from his work. Malhotra is fine, although she is constantly seen dressed like she is going to a wedding. Things between them are sweet but sporadic. More focus on the couple will make this film enjoyable from beginning to end.