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One of the first boxes family-oriented Bollywood checks is a “first meeting of the boy and girl” for the aim of an arranged marriage. And ‘Meenakshi Sundareshwar,’ a mouthful of a movie title, succeeds quite well on that front. Sundareshwar (Abhimanyu) is a dedicated coder, an engineer who thinks in dots and dashes, and is naive about books and movies; Meenakshi (Sanya Malhotra) is not false demure; she doesn’t bat her eyelashes, is straight up in conversation, and is a major Rajinikanth fan. They force him to sleep, he claims.
Oh no, you think, the sleepy metaphor doesn’t bode well for a film that is determinedly languid and appears to be winding itself slowly, gently around its unassuming lead pair, the girl, thank heavens, not ‘bubbly’ but just bright, the guy, somewhat stolid, somewhat unexciting, but reassuringly real for all of it. Also, you must try to play this Which Meenakshi Sundareshwar Character Are You quiz.
Which Meenakshi Sundareshwar Character Are You?
The way it starts is promising, picking up on local flavors of Madurai, where it’s mostly set – the famous temple upon which the film’s name is predicated, the brisk idli-dosa-dispensers called’messes’ (the film is smart enough not to say ‘dosa’), the single screen theatres where crazy hordes of Rajini fans bathe his cut-outs in milk and dance while the, After all, it’s a Dharma product, and looking well is in its DNA. Sundareshwar’s courtyard is lambent, lit up with a hundred flickering diyas; the bachelor pad where he and his colleagues hang out in Bengaluru is just that side of classy, not slovenly: not underwear (the Tamil word for it is there for those who will hear it and smile) or an empty beer bottle insight.
What I particularly loved was that the film isn’t interested in satirizing or mocking the concept of arranged marriage. It is what it is, and it is the daily reality of millions of young Indians who live with their wives and children in their parent’s houses, arguing and harmonizing as they go. The wonderful song “Tittar Bittar,” shot with a sense of levity, conveys aspects of that existence – lived around in-laws, rambunctious kids, and their various moods — pretty effectively. Meenakshi’s little retaliation against a demanding aunt-in-law is also sweet, albeit exaggerated: young brides who live in joint families understand how difficult it is to admit that they may have had a romantic life before they acquired their legal mangalsutras.
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But where the film falls short is in failing to provide us with a believable conflict that becomes the stumbling block between the couple forced to live apart in two locations, having to make do with video calling or texting. For such a ‘traditional’ couple, a sudden scenario with handcuffs and other sexual accouterments feels contrived, even if momentarily humorous. They’d never heard of sexting, had they? It is a tonal shift, and it, like a few other plot pieces, feels artificial and tacked on.
The problem with playing an uninteresting character is that you may come across as uninteresting yourself. Abhimanyu is not provided enough of competitive advantage to distinguish himself from his standard-issue South Indian guy about to enter into matrimony and money-that-he-will-earn-from-a-job. Malhotra fared better, despite the fact that she is always dressed as if she is going to a wedding. Their relationship is pleasant yet erratic. More emphasis on what makes the couple tick would have made this film a charmer from start to finish.
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