Kushi Review (2023)

There are some interesting ideas/themes to have been explored in Kushi, starring an endlessly charming Vijay Devarakonda and Samantha, mainly in the second half of the film when their marriage increasingly deteriorates like her father Chadarangam Srinivas had mentioned. There is gender equality, infertility issues, even a moment when class difference between Government employee and private employees, is touched upon. But to the films good/bad, Writer-Director Shiva Nirvana refuses to engage with those, focusing his camera primarily on the couple's attitudal பிரச்சனை.

After a விபத்து regarding their pregnancy, Aaradhya seems to be more affected by it than Viplav, but then again it is also shown to us that it's Aaradhya who is more interested with the pregnancy than Viplav. But Viplav also seems to dismiss Aaradhya's emotional pain as something that's normal (like the doctor mentioned) but then again he is also an atheist and she a theist, and it makes sense that she reacts more emotionally than he does as he believes science greater than she does and she is also guilt-ridden about not following her father's advice for a பூஜை.

But then again, the first பாதி of the film also had a certain kind of whimsical comedy nature, wherein something even like the India Pakistan conflict is treated somewhat jokingly or the line when Viplav scolds Mani Ratnam and ARR for showing a போலி image of Kashmir, calling in

to the artifice of the cinematic image. The way his "Mani Ratnam" idea of Kashmir breaks down is shown in 1 sequence where he is asking for food and all give him just a single thing everywhere.

The lies that ஆராத்தியா and her friend tell to Viplav to ward off his "stalking" border somewhat on unbelievably too much but Shiva uses the absurdity of the situation to show Viplav's love for her despite her background.

When her friend tells they are Pakistani terrorists(it's a lie) and Vennela Kishore's கதாப்பாத்திரம் translates it, he says "But even they are also human". Aside from the obvious politics of it, it conveys his love for her and his reaction makes sense when she tells she is a Brahmin. But also the track about them trying to find Aara Begum's (Aaradhya) lost little brother also seems too stretched out to retain its comedic potential.

The other idea that's conveyed somewhat more consistently is the ego சண்டை between Lenin Satyam, Viplav's father and ‌‌‍‌Chadarangam Srinivas, about their respective atheism and theism. The film practically opens with Satyam condemning theism in the college he works and at one point regarding the couple's pregnancy, both the father's talk only to prove their respective ideologies rather than as fathers. The film climaxes with both the fathers putting aside their differences in a moving scene with a simplistic but still effective "human is greater than his ideology" idea.

The problem with the படம் is that the mismatch that Chadarangam Srinivas predicts and the issues that the couple's face don't feel that issue-esque and feel one sided as actually it seems that it's VJDs Viplav who seems to be the person who is problematic rather than Samantha's Aaradhya. We see issues that he sees but even we feel that he is in the wrong. A situation where he forces her to apologise to someone close to them is a prime example of it. There are similar other sequences where we feel that it's just simple issues coming in between. தெரியும் no one expected Revolutionary Road levels of couple issues, but it feels as if that if they had actually lived together for a year, such issues wouldn't have popped.

But what the film does well is that it maintains the tone that it set and follows to it,

The picturisation of "Aaradhya" பாட்டு is absolutely the best part of the film where

Hesham Abdul Wahab brilliantly supports it with his music and Sam And VJD'chemistry showing the depth and beauty of their relationship.

You just can't forget the moment in the song when Viplav gifts Aaradhya a God Statue that she didn't buy out of respect for Viplav. That is the best