Vishal Menon
In Nayanthara’s 75th film Annapoorani where it becomes more than a self-serious drama about breaking glass ceiling(s).the sheer audacity of it all makes you fall for the film’s naïveté and silly assuredness.
It’s one of the few instances in the film where you’re not sure the filmmakers are being serious, In most of the remaining runtime, the film isn’t happy being a sweet, simple movie about a young girl who wants to become India’s best chef.
A great film that’s about a woman first having to break out of the challenges of her own home before she tries to fight the odds in the world outside.
If this is decades’ worth of conservatism for Annapoorani in the film’s first half, it transforms into corporate-life jealousy and nepotism when she moves out. But instead of treading these paths with a certain lightness, everything is tuned to an epic-scale.
By this point, the film has transformed into full-blown soapy territory with multiple reaction shots of people tearing up, But by trying to make a full-fledged buffet, the film forgets that it could have been a very comforting film.
Softeness of the film’s first half where Annapoorani was just a regular girl who wanted to get out of her home and cook some chicken, about simple dreams and the everyday battles that you get you there.