Pon Ondru Kanden is a simplistic love triangle film with forced comedy, caricature characters, and archaic screenplay cliches, lacking contemporary connection
Gist of the Story
Childhood rivals Siva and Sai grew apart when a female got in the way of their relationship. When they reunite in Chennai years later, Siva helps Sai take care of his mother. A triangle of love is created when the two men meet Sundari.
| Directed by | V. Priya |
|---|---|
| Written by | V. Priya |
| Screenplay by | V. Priya Reema Ravichander |
| Produced by | Jyoti Deshpande Yuvan Shankar Raja |
| Starring | Ashok Selvan Aishwarya Lekshmi Vasanth Ravi |
| Cinematography | AT Bagath |
| Edited by | Sathish Suriya |
| Music by | Yuvan Shankar Raja |
| Production companies | Jio Studios YSR Films |
Detailed Plot
The three main characters in Pon Ondru Kanden are the gynecologist Siva (Ashok Selvan), the chef Sundari, also known as Sandy (Aishwarya Lekshmi), and Sai (Vasanth Ravi), who must care for his mother Sacu, who is suffering from dementia. As it happens, Siva and Sai were competitors in childhood who split up when a female got in their way. However, as the years go by and they get back in touch, the once-enemy-turned-friends are now living in Chennai, with Siva supporting Sai in looking after the latter’s mother. Different paths lead them to Sundari, which begins the process of determining who will end up with her.
Artistes’ Performances
Ashok Selvan moves with understanding and accomplishes what is necessary. Although Vasanth Ravi is talented, his personality is a dead weight. He did a terrible job acting loudly to try to convey the naivete of his role. Although Aishwarya Lekshmi has a wonderful appearance, she lacks emotional nuance in her portrayal. Playing a domestic worker, Deepka Shankar’s comedic antics don’t make the audience laugh.
Direction / Technical Side
The advertising materials for the film warned and seasoned almost everything Pon Ondru Kanden had to offer. It’s really just a straightforward love triangle at its core. It also doesn’t offer enough surprises, nor does it make grand claims. However, the movie likewise adheres to its predecessors’ love triangle movies in not providing clear answers. The movie suffers from repetitive and abrupt changes, while having a relatively short running length of two hours. Though tipped to be a climax moment, the final disclosure falls flat, disappointing the audience as well as the characters.
The film is a pretty broad-stroke endeavor because of the desperate attempt to make everything humorous. The sequences are poorly written for comedic effect, and the conclusion is the worst example of forced comedy. Priya’s film is an attempt at a rom-com, complete with caricature characters, forced humor, and archaic screenplay cliches. The problem is that it has the patience to connect any of these components with the realities of contemporary relationships. The three protagonists make an effort to provide some flare to the story, but they primarily give off the vibe of being in an advertisement. Nonetheless, considering the direction the movie goes, it is really better for it that none of the characters take the idea too seriously since it keeps the mood light.
Verdict;
Pon Ondru Kanden is a straightforward love triangle film with repetitive and abrupt changes. It suffers from forced comedy, caricature characters, and archaic screenplay cliches. The protagonists give off the vibe of an advertisement, but the film’s lack of connection to contemporary relationships is disappointing.