How does a woman who is pregnant at a past age see her children and this community? What are the challenges that the mother and her husband face? – This is the online version of ‘Veetla Vishesham’.
The Sathyaraj-Urvasi couple, who are railway DDRs, have a son of marriageable age and a son who is in high school. Sathyaraj’s mother KPAC Lalita also lives with them. In this situation, the couple is shocked to hear the news that Urvasi is pregnant one day. How does Sathyaraj convey this message to his sons and his mother, and what are their reactions to it? ‘Veetla Vishesham’ is a film that mixes humor and emotionally tells how the public approaches this. The film is a remake of the 2018 film ‘Badhai Ho’ starring Ayushman Khurana.
The comedy scenes fit in well with school teacher RJ Balaji. There seems to be a drought in acting in emotional scenes and romance scenes. The scenes confirm the need for additional expressions. Aparna Balamurali, on the other hand, did not impress much. Sathyaraj scores us as an innocent father and a man who gets entangled with his mother-wife, especially in the climax scenes. Attracts in scenes telling of wife’s pregnancy.
Urvashi is intimidating in acting. In scenes that sanctify motherhood, she culminates in acting as ‘Ambala Tadia’ intimidating, confronting embarrassing situations, carrying on her face some kind of fatigue caused by pregnancy. Urvashi occupies the entire climax scene.
The concept the film is trying to convey is important. ” Even if a girl does not have a child before the age of 25, they will still talk; Even if they have a child after the age of 50, they will still speak ill of it. The first half of the film moves with humor and the second half with emotion. Most comedic scenes keep the general audience entertained.
But, the emotional scenes could not word the original life. For example, in ‘Badhai Ho’, when the color of Sathyaraj’s mother character changes, the verse he speaks disturbs us. But, in this film for its remake, those scenes could not help but convey the feeling of watching a serial. Although it is not appropriate to compare the two films in essence, the script would have received more attention if the verses and scenes had been changed to suit the Tamil audience while it was being remade intact. This issue is for those who watch the movie ‘Badhai Ho’ and enter the theaters with the same mind set. Those who watch the movie ‘Veetla Vishesham’ without seeing that movie are less likely to have the above mentioned hurdles.
Besides, it is dangerous to try to sow poison in the style of comedy in the course of the film. In particular, in the scene where Urvashi gives birth to a child, when she is throbbing with labor pains in the hospital, she will say in one place that it is God. Then one of the nurses nearby said, ‘That’s it madam, say’ Asaph ‘as soon as the baby is well tolerated. When ‘Asappa’ says ‘Tell’, Sathyaraj, who is standing opposite him, says ‘Murugan say Muruga Muruga’ and the scene is set. This is an extra fitting scene that is not present in the film ‘Badhai Ho’. Even the dangerous scene. I don’t know why this unnecessary nail has been added. The directors don’t realize how the audience will absorb it.
In an environment where the hospital is throbbing with labor pains, is RJ Balaji in need of scenes that could provoke such religious conflicts? Unnecessary scenes that speak to the micro-politics that Christians will engage in religious conversion, even in that context, cause embarrassment.
Karthik Muthukumaran has done what is necessary for the story in cinematography. Although the climax song in Kris Gopalakrishnan’s music gives emotional connection, it is annoying to transmit the feeling for his background music serial in some important places. In the background music, there seems to be even more focus.
Overall the film will bring new experience to those who have not seen the original work and half satisfaction to those who have seen the original work. However, viewers of the film can understand the making of the two if they look at the original work ‘Badhai Ho’.