‘Pantranthu Po’ Movie Review: A Gentle Reflection on Escapping the Grind

It is a poleroid of characters who can see themselves a million Indian middle-class families-it is about the dreams that have closed them for a lifestyle and environment, ebms and flowing in search of dreams, and flowing out of the rote and getting out of the rote and the world is comfortable to see as an eight-year-old boy who knows how to climb the mountains, but how to climb. With a mysterious simple language and a vowel which is casual and comic, But po Ram’s diverse filmography is a striking departure with the voice of Miscellaneous Filmography. The writer-director manages to achieve much through an elegant base and filmmaking of Azat.

The first sequence of the film is this type of essence. A background track for a drone shot and a nursery poem takes us to a upper-middle-class apartment in Chitlapakam, Chennai-the songs were suggested how the house was encroached on a lake, which becomes a mate for delicate footing for the dreams of the working class, along with a pointed political comment. This apartment is the house of an eighteen-year-old Ambu (even his name means Sneh; Child actor Mithul Ryan has given a shoulder to the film), whose over-activism and curiosity needs all the attention of their parents. His father, Gokul (Shiva’s performance will make the father of every middle class feel like a ‘Agila Ulga Superstar’), owns a biological food business, while his mother, Glory (we need more Grace Antony in more Tamil Comedy), currently busy in a sari stall in an expo in Koimbottor, to return soon.

Grace Antony still from ‘Pathranthu Po’. Photo Credit: Special Arrangement

From a distance, Anbu has almost everything that will ask a boy of his age: dotting parents who work hard to ensure that he gets the best education; There is also expensive toys, and a ‘crush’ that responds to the emoji of his heart! There are indications of how bad he has become to calm her in the endless efforts of her parents. The way Gokul cut the call from Ambu’s angry school teacher, or whenever he leaves Ambu alone, or how he locks the gate, or the child speaks to a delivery agent who offers a peaceful agent offering pizza to his mother, indicating that it is habitual in this house.

But this is not a common case of just throwing tantrums to a child. There is an inexplicable restlessness in the child, which starts understanding more about us and Ambu’s parents when Gokul and Ambu (whose waveboard-riding copy fly a bird fly) go on a casual road trip to the suburbs, a trip that brings a very surprising and colorful characters-as is the emperor, which is not an amazing, which does not have any way, which does not have an amazing opening Is joyful. Religion is great, which climbs on trees and calls a bird; And Vanitha (Anjali), Glory’s long -lost ‘crush’ and her soft -spoken husband Gunashekhar (Aju Varghese). We also go on a rocketship on Mars and wish to come out of a duck egg for a dinosaur.

But poAs the title tells, there is a story about the need to fly away from all, we implicate ourselves in search of dreams, and something to think is something to think about how most of us must have come or have craved for an Ambu to take us out of our mantras and we can be extended towards the mountains. It is a gentle music road comedy – a rareness in Tamil cinema – which wants to climb the mountains, go through a sunflower ground, sleep over a tree, swim in a lake, or hold a duck egg in your hand.

The sequence slowly moves into a linear fashion, and the information that we need about their past is either described as a matter of supreme or becomes important for the characters, such as how the family of glory has not talked to him because he has married someone from a different religion against his will. A big strength of But po Komal, Deadpan is a comedy that divides you every fifth minute. Like an attractive school-time poetry, simple Tamil and songs in English act as an attraction with statement. In addition, nothing seems to be there, and the description of the baby playing with a tractor toy or a football jersey of a football jersey was later remembered.

Still from ‘Pathranthu Po’ in Shiva. Photo Credit: Special Arrangement

Bhasha Ram opposes the story to tell the story, which has an appeal for one of those gold stories that you can see again at any age and always find a little more to love, laugh and think. It is a film that accepts bad in the world but forces you to see good and expect kindness from fellow humans. A tea stall owner goes to any length to help a father. An auto driver is sympathetic to the plight of an helpless woman. A father sees a painful but cheerful ‘no smoking’ campaign from his son. A poor old homeless man buys breakfast for his unexpected, rich guests. The kind people who go out for the world get a way to return to them.

It is, finally, a film that also turns ‘Sathini’ (‘Devil’) into a word. The RAM touchs some worldly subjects, including caste, religion and class, but like an analogy, he keeps mentioning in his interviews, these comments flow deep into the stream, and at the top, it flows peacefully as a river.

In colloquial Tamil, ‘Malai Etatan’ – which is translated into ‘she enhanced the mountain’ – it is used to refer to someone throwing tentrum to someone. But po There is a film about a film, which learn to climb a mountain, literally and metaphor, but it is also a story that urges us to fly on the hills and remember that we used to throw a tentrum when we seemed inappropriate every time we seem inappropriate. Perhaps this is a romantic perspective on life in the modern world, but a romance is to listen to Ilaiyaraja on an old tape recorder sitting on a hill. But po Reminds us that life loses its magic when we cannot dream of hatching dinosaurs with duck eggs.

Pernthu Po is currently running in theaters