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Oru Pakka Kathai begins with a Bhagavatham discourse. Director Balaji Tharaneetharan makes use of this prolonged sequence to arrange his characters. We see Meera (Megha Akash, strong as a younger lady discovering herself in a state of affairs out of her management), an peculiar younger lady. We are launched to her dad and mom, who’re your typical middle-class dad and mom. We meet Saravana aka Sara (Kalidas Jayaram, successfully capturing the genial boy-next-door high quality of the character), her boyfriend. They have been relationship since faculty, and each their dad and mom have even agreed to marry them off as soon as Sara clears his arrears and will get a job.

Everything appears to be advantageous. And then, Meera misses her interval. Suddenly, there’s some stress. Her mom, who initially dismisses this as regular, turns into involved as soon as she realises the truth that her daughter has a boyfriend. She takes her to their household physician solely to be advised that the still-in-college Meera is pregnant! Sara is given this information. His dad and mom, too, are advised of this improvement. Both units of fogeys determine to get the 2 children married on the earliest. But right here’s the catch! Meera continues to be a virgin!

And thus, Balaji Tharaneetharan connects us again to the start of the movie, the Bhagavatham discourse. During this time, now we have additionally had a scene the place a cartoon depicting Lord Krishna’s beginning is taking part in within the background. And now we have additionally met Sethu, a faculty child who believes he’s an avatar of God.

Oru Pakka Kathai is persistently intriguing, stuffed with deadpan comedy and relatable characters who inhabit a world that feels very a lot lived-in. As he confirmed with Naduvula Konjam Pakkatha Kaanom, the director provides us comedy out of significant conditions. Like when Sara goes to Meera’s home after she has been declared pregnant, a second ripe for melodrama! The director avoids explaining issues by dialogues, with each line of the characters coming throughout as very measured. Even one other melodramatic second, of the kids’ dad and mom discussing the prospect of marriage is handled with understated humour. The director fantastically captures the awkwardness that the characters really feel with making the actors’ eyes dart in every single place however in the direction of the individual they’re speaking to. No one can deliver themselves as much as utter the phrase intercourse. Even the scenes during which Meera and Sara attempt to make sense of the being pregnant are stuffed with humour. And Govind Vasantha’s (credited right here as Govind Menon) music provides stress. These scenes are proof that drama can be thrilling and suspenseful.

But then, the private story of a younger couple turns into a bigger story on religion and superstition. Suddenly, this oru pakka kathai begins to really feel like an limitless tome with darkish humour getting leeched off this story, and indecision creeping into the best way to finish this story about easy individuals trapped in a rare circumstance. Even the couple get relegated to the background at one level. This tonal shift brings down the storytelling by a notch, because the goalpost shifts to telling a message. To his credit score, the director does attempt to keep away from making this appear heavy-handed, however by the time we get a choose proclaims his verdict, we realise now we have come a good distance from the intimate drama that the preliminary parts promised.