Achcham Yenbadhu Madamaiyada - Respecting women and relationships isn’t passé yet

A Visitor Column by Sai Shyam G

When most of the Tamil filmmakers are busy making stalking fashionable, glorifying infatuation as love and churning out one ‘Loosu ponnu’ character after another, here is Gautham Vasudev Menon standing tall majestically and relentlessly giving relationships and women their due respect. To judge whether Achcham Yenbadhu Madamaiyada is a good film or a bad one might be an easier thing to do, but let’s not ridicule the efforts of a sensible writer in doing so.

Leela (Manjima Mohan) is the most relatable and respectful portrayal of an urban woman in a Tamil film, in a long, long time. She is such a refreshing change from the so-called beautiful leading ladies who fall in love at the drop of a hat for reasons best known to them. More importantly, the way the protagonist (STR) holds Leela and their relationship in high esteem throughout the movie is highly commendable.

One thing I really admire about Gautham Menon is that he invests his time and energy in creating beautiful moments rather than making full-fledged convincing entertainers. For instance, the Central Park scene from Vinnai Thaandi Varuvaaya will stand the test of time for decades to come. Similarly, AYM has many heartwarming moments throughout, which are so easy to be overlooked. It is these subtle moments which actually show us what a filmmaker is actually made up of. Gautham Menon, for sure, is a class act, when it comes to creating such everlasting moments.

From not showing Leela in objectionable camera angles to not making the protagonist utter offensive double entendres, Gautham Menon ticks all the boxes for handling a matured relationship with immaculate ease and authority. If you are an aspiring filmmaker who is looking for inspiration to handle relationships in your screenplay, look no beyond this man.

‘Rasaali’ is nothing short of pure MAGIC. Gautham Menon just effortlessly nails the bike journey with realistic and candid moments along with AR Rahman’s captivating tune and Thamarai’s magical lyrics. Yes, it is the usual sophisticated visuals which we see in a Gautham Menon’s film, but the poignancy and the charm involved in them uplift them to an all-new level. Be it the way how villagers are showcased as the perfect hosts or how the lead pair discusses about sharing the same room during their trip, this film just lets people be themselves without taking sides or getting judgmental, which is a rare phenomenon these days. It was extremely heartening to see the protagonist walk out of the room when the leading lady had to take a shower, rather than imposing a romantic bath-tub song there.

Finally, here’s a humble note to Gautham Menon. I’ve seen your recent interviews, wherein you have been reiterating that you want to plunge into commercial route of filmmaking. I don’t know what it actually means, but all I can request you is to continue to treat women and relationships with dignity as you have always been doing. There are a handful of directors who can make mindless entertainers, but not many can walk in the path which you have made your own. We need more filmmakers like you to aptly reflect the society, rather than badly influencing it. If someone tells you it’s pretty old-fashioned to respect women in your films, be proud of that. Certain things ought to remain old-fashioned forever!

Keep creating more amazing moments Gautham! Films might vanish from the memory, but the beautiful moments might remain in our hearts forever.

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