![]() At one point, the film does feel like a story of a police officer who wants to give his daughter a life his father couldn’t. There’s a wonderful father-daughter relationship. ![]() The problem with ‘Yennai Arindhaal’, and of course with its creator Gautham, is the filmmaker’s growing obsession with some of his familiar tropes – the hot-headed and loud villain Victor (Arun is terrific in the role), who reminds you of Pandian from “Kaakha Kaakha”, the perennial danger the protagonist’s family gets into, the weakness for women, the role of a father, the songs that stop and break into conversations and again continue playing, the narratives that lose steam in the end and finally the length. And the same line resurfaces in a scene towards the end when both are talking on cell phones and the screen splits into two halves separated by a thin black line. Gautham uses a thin line to separate the police officer Sathyadev from the gangster Victor. Sathyadev is a man with an itch, as he describes himself, for inviting trouble. Talking about human drama, there’s a lot of focus on friendship and betrayal. ![]() And it costs them heavily in their careers. There are two scenes where both Sathyadev and Victor end up doing something because of the weakness for the woman in their lives. ![]() In this story, the women also become the weakness of the heroes, for Ajith and Arun Vijay, who plays the antagonist Victor.
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