In the realm of Tamil cinema, director Priya V takes the helm with her latest cinematic endeavor, “Pon Ondru Kanden”, a romantic comedy that aimed to charm audiences with a tale of quirky middle-aged protagonists and their pursuit of love. With aspirations of infusing the freshness of Priya’s earlier works like “Kanda Naal Mudhal” and “Kannamoochi Yenada” into this romantic narrative, one might have anticipated a story filled with clever contemporary humor and metaphors for the youthful spirit. The hope was to see these characters, portrayed by a skilled ensemble of actors, resonate with the younger generation through their engaging arcs and modern-day sensibilities.
Yet, what unfurls on screen in “Pon Ondru Kanden” is far from these expectations. Rather than the anticipated light-hearted flick, viewers are presented with an excruciatingly monotonous love triangle involving two frenemies, Siva and Sai, played by Ashok Selvan and Vasanth Ravi respectively. The two characters, despite years of harboring grudges, come together at a school reunion and inexplicably form a quick camaraderie. The film, however, avoids detailing the foundation of this sudden friendship.
The directorial choice to juxtapose Siva’s city-slicker lifestyle, with his multiple dates and bar crawls, against Sai’s small-town innocence—the latter portrayed as someone baffled by the urban landscape and its social norms—feels like an overused trope milked dry. This lackluster technique permeates through Sai’s character development, casting Vasanth Ravi in a role that diverges significantly from his usual fare, yet ultimately feels like a misaligned fit.
This mishmash extends to Sandy (played by Aishwarya Lakshmi), the obligatory female prop caught in the duo’s rivalry. As a chef entangled in this struggle for love, Sandy’s character is stifled by the script, becoming nothing more than a living plot device oscillating between the two lead male characters. The viewer is never quite privy to her internal struggles or aspirations, leaving them unable to empathize with her position within the love triangle.
The cumbersome progression of the narrative is made all the more arduous by its reliance on clichés and plot conveniences, with pivotal moments often hinging on Shiva’s access to certain locations or professions to push the story. One of the rare breaks from the overdrawn storytelling comes in the form of a well-executed medical camp scene where Shiva and Sandy’s interaction is depicted with deft camerawork and a harmonious score, briefly reflecting Priya’s admiration for the filmmaking style of Mani Ratnam. Unfortunately, this oasis of creativity is quickly engulfed by the surrounding desert of banal narrative choices.
The significance of “Pon Ondru Kanden” lies not just in what it is but in what it represents—a misstep at a time when romance genres are evolving to cater to newer audiences. As films like “Good Night” and “Lover” delve deeper into relationships, and the success of the Malayalam movie “Premalu” ignites excitement for potentially refreshing romantic comedies, the expectations for Tamil cinema in this genre grow heavier.
Priya V, whose past works hinted at a deft touch with endearing tales, may have hoped to provide Tamil cinema with a similarly groundbreaking film with “Pon Ondru Kanden.” However, with its one-dimensional character portrayals and a narrative that slogs through its duration, the film falls markedly short of achieving such a feat.
“Pon Ondru Kanden” is a movie that leaves a lot to be desired—a venture that could have celebrated the complexities and vibrancy of love and friendship but instead serves as a stark reminder of how far astray such potential can wander. This romantic comedy, currently available on Jio Cinema, will likely be lamented for its squandered opportunity to create something truly resonant for a new generation of filmgoers.
