Premalu Review (2024)

Having watched this right after Lover, its makes for such an interesting duology, cos both films, which came this year, deal with Gen-Z relationships in way which is like, Kodi and Anbu. Lover is the film you watch in your 30s, having experienced life; Premalu is the film you think you want to live in, when you are in your 30s.

There is the belief that cinema is a means of escapism. It is absolute bullshit. It is not a wall showing images. It is a mirror showing our own images, built in different bodies. Kind of like having a body double, like in Animal. We do not and can never see new things in cinema. What we only see is a new way to see the same old thing.

So, you have a problem in your relationship which is on the verge of splitting because your other half is splitting (to another country)? You don’t need to prevent them from going. All you have to agree to is a long-distance relationship.

The final section of the utterly hilarious Premalu, involves the classic trope of the “airport chase”. Except here, it is the boy (Sachin) going away, and the girl (Reenu) realises her feelings for him. Adding another layer to the chase is Reenu’s jealous, attention seeking office colleague, Adhi, who chases them to get revenge, on Sachin and Reenu.

Adhi, writing wise is the most interesting character. He is essentially Madhan, from Lover, except that he is pushed to such a degree of over the topness, which of course is perfectly opposed to the film’s high energy nature and naturalism which other characters have, that we realise; we don’t have to be a “pretend to be perfect man” like Adhi, who actually, searches jokes, to impress Reenu, after she laughs at Sachin’s jokes in a wedding event; we just need to be like Sachin, probably the most innocent, sweet guys of the romantic genre.

When suggested of a plan to embarrass Adhi in his office, he outright rejects the plan, though if you have seen “Theeya Vela Seyyanum Kumaaru”, the lead there actually does the plan. But despite all the sweetness, it is Sachin’s bestie, Amal Davis, who will probably walk away with the most credits for the film.

Sangeeth Prathap, plays Amal, in the quintessential best friend way. But owing to Sachin’s own innocence, he brings out humorous one liners and jokes, ably supporting his friend through thick and thin, even crying with him when Reenu rejects Sachin’s proposal.

The direction by Girish AD, is great. Not because, he chooses brilliant frames. But because, knowing the mood and tone of the film, he ably uses zooms, swish pans, etc to keep the film in perfect sync with the high energy comedic nature.

The writing, though here, is absolutely the best. There is a particular payoff, with a pepper spray, which is so brilliant but is also terrifically subtle, because of the writing for the character who gives it. It keeps the jokes at a constant level. Even the first time that Sachin has a breakup, the film treats it comically. Many of the film’s “serious” scenes, have a comic undertone to them. As a result, when the real emotion hits, we tremendously feel touched by the sadness. We realise what is happening now is not just a “crush”.

The film has such a tremendous sense of joy to it. It radiates with such happiness; it tells you to let go of the inhibitions and enjoy the beauty of love. The film is so much in love with “being in love”, that we yearn for such a relationship.

That relationship is the one that we and cinema have….