Gemini Ganeshanum Suruli Raajanum (GGSR) Movie Review - A Time pass entertainer
Playing a Casanova needs a freakish charm, you need to live the role; Atharvaa is certainly one among Kollywood’s good candidates to play this role. With a title that draws inspiration from two of Tamil cinema’s finest actors, the director takes cue from Gemini Ganesan’s playboy image to cast it upon Atharvaa and dies the same from Suruli for Soori. Gemini Ganesanum Suruli Rajanum (GGSR) has all the ingredients for a simple romcom but falls grey on clichés and the love portions.
The film goes about showing romantic journeys of the lead hero Gemini (Atharvaa) as he gets help from Suruli (Soori) to invite his past lovers for his wedding. The journey leads on to a flashback when our Romeo relates his past love stories, not one or two but three which gives a shock to Soori. After establishing his character as the typical sidekick, Soori's role suddenly becomes serious at the end; kudos to the debutant director for this mature transformation. In a nutshell, GGSR is the story of a guy who loves to woo a girl but hates the idea of marriage and doesn’t run away from it but smartly manages to come out of the relationship. Does he find the true love? Well, watch to find out.
The director is quite strong on what he wants out of GGSR; with the idea of establishing a playboyish image on Atharvaa, he ushers the love portion by portraying the leading ladies as naïve and dumb. They too just fall flat for the hero without a strong reason. The love portions are comical and don’t make much sense as it is just presented without a proper motive. Even a talented actress like Regina Cassandra has nothing to offer other than some cuddly smiles and some ooze of glamour. It is no different for Aaditi Pohankar who seems to fall for the hero without any effort from him side. As the love story moves on to Pranitha’s timeline, the director uses the age old trick for wooing a girl - playing the Samaritan. Its only with Aishwarya Rajesh that we get to see some sense driven into the screenplay, but sadly her character isn’t given much scope in the film.
While the director doesn’t seem to have hidden any trick up his sleeve on the love portions, he does it fair and square in the last 45 minutes of the movie with enough space for hilarious conversations between Soori and Atharvaa. The end note with Soori’s lengthy counselling session and reasoning behind Atharvaa’s various love escapades is dealt well, although the justification comes after a tiring three sub-plots of romance. It makes up for what the film lost in the start. Music by Imman is forgettable, Saravanan’s camerawork is colorful by touching right shades for a youth centric film.
GGSR is a time pass romantic comedy. The film could have been more interesting if love portions were portrayed in a convincing manner.