- In-Depth Stories
- Web Stories
- Reviews
- News
- FC Lists
- Interviews
- Features
- FC SpecialsFC Specials
Mature Romance. This term’s meaning and how Tamil cinema explored it needs to be discussed at micro levels. Mature romance — when looked through the prism of age, we learn that Kollywood has never boxed love or romance only for the youth. Even when we say, “Idhellam youth (u) matter (u) aachi” and focus mostly on young adults and their exploration of life, we do get glimpses of older people discovering and rediscovering love. The chemistry between Sivaji Ganesan and Padmini in Vietnam Veedu (1970) remains palpable even today and shows for how long Tamil cinema has been portraying the old-age romance in all its beauty. On a lighter note, think of Gemini Ganesan’s Vishwanathan Iyer or Manivannan’s Mudaliyar trying to pull off many gimmicks to win the love of Shanmugi in Avvai Shanmugi (1996).
But a mature romance also suggests a more committed and serious relationship where love is not fleeting. And a different perspective on the term is where the ‘maturity’ in the relationship is more a by-product of the characters’ attitude. Irrespective of these different layers, a mature romance on screen is often a result of sensible writing—accomplished with love, life and a lot of soul. Here are 13 such romances that give us cutesy couple goals, a hope of finding love even in the autumn years and a rational look at relationships.
A woman whose heart was broken once in her early 20s decides to stay single forever. But what if she rediscovers love in her old age? After a brief meeting at a hospital during their master health checkup, Navaneethan (the late Kravmaga Sreeram) and Yashoda (a wonderful Leela Samson) slowly warm up to each other. But when they fall in love, their age and health issues become a hurdle. For instance, when Yashoda meets Navaneethan in a park a day after he proposed, the latter doesn’t react. Yashoda feels embarrassed. But only later when they meet does she understand that it is because of his eyesight that he didn’t really notice her. While Navaneethan promises to be by her side and shower her with love that she never received, Yashoda wants to be the memory that he is gradually losing. And just like that, there is as much vulnerability and commitment as love and romance in their relationship.
A beautiful movie on re-marriage, Rhythm, which came out 13 years before Raja Rani encapsulates the spirit of the Atlee directorial — “There is love after a love failure, there is life after a love failure.” Both Karthik (Arjun) and Chitra (Meena) lose their spouses in a train accident, and when fate brings them together, Karthik wishes to marry her but Chitra is hesitant. Chitra’s adopted son Shiva, who is very fond of Karthik, becomes the cupid. In turn, Karthik’s parents become the messengers who try to get them married. More than a relationship, both of them dream of a family together.
In Kaala, the relationship between Karikaalan (Rajinikanth), who is the head of the Tamil people in Dharavi and his wife Selvi (Eswari Rao) is built on years of trust and happiness. So when Karikaalan’s former sweetheart Zareena (Huma Qureshi) makes a reentry into his life, Selvi is flustered but she immediately asks everyone to leave the room and lets the duo interact for some time. When Selvi gives Zareena a cup of coffee with less sugar, Karikaalan talks at a high pitch initially, asking her to add more sugar. But with one look from Selvi, he tones down and mumbles. Similarly, a few days later, Selvi argues with Karikaalan that since he met his childhood love, she also wants to go back and meet a guy who used to love her. He tries to convince her with cliched dialogues and some awkward but cute ‘I love you’ exchanges. The friendly dynamic they share, the banters, and the song ‘Thanga Sela’ are some of the warm moments that portray their relationship in all its sweet mess.
OK Kanmani follows the love life of Adhi and Tara, but it is also very much about Ganapathy uncle (Prakash Raj) and Bhavani aunty (Leela Samson in her debut). It is through the older couple’s life do Adhi and Tara, and many of us realise the beauty of a long-time commitment and the love they show in making small adjustments. When Bhavani, who suffers from Alzheimer's disease, begins to forget things, Ganapathy patiently and lovingly helps her navigate life. When Tara asks, “Enaku vayasaagi na Bhavani aunty maari aaiten ah? (What if I become like Bhavani aunty when I grow old?)” Adhi says, “Naa paathupen (I will look after).” — And that’s Adhi’s marriage proposal.
Unmarried middle-aged people are society’s favourite gossip muse. So how would it be when they fall in love? Un Samayal Araiyil, coupled with some wonderful food porn, explores the emotions of middle-aged people who find love. There is of course ecstasy, a break from monotony, and a chance to get away from the watchful eyes of society but what tags along is a ton load of insecurities — both physical and emotional. On top of this, it gets more complicated for Kalidasan (Prakash Raj) and Gowri (Sneha) as they fall in love with each other’s voice and personality, oblivious to the other person’s age. Like the multi-layered cake they make (Joan’s Rainbow) and the slowness associated with cooking, the two share a long-distance romance that slowly blossoms with multiple layers of love and chaos.
An arranged marriage with six years difference between Dhanapal (Samuthirakani) and Amudhini (Sunainaa) creates a bigger gap than they assume, and like a dream, 12 years pass by. With kids to look after and expenses to pay, the gap widens. Somewhere Dhanapal’s work life and his kids partly compensate for his not-so-happy relationship. But stuck at home, Amudhini struggles to find a space to let out. For instance, they have sex almost every night, but Amudhini is not satisfied. She tells her virtual assistant (the AI, who she fondly calls Ammu), “Everyone needs something to fall asleep and my husband wants sex. But I want to have meaningful sex.” It is well-known yet surprising how even the little pleasures and joy we derive out of our relationships soon turn monotonous, like our daily routine of eat-work-sleep and repeat. And Halitha Shameem beautifully shows how love and romance are important even post-marriage and underlines the need for communicating.
Romance among couples of different ages has become more common on the big screen because heroes today play their age in films. In Kabali, we get to witness the romance between Radhika Apte’s Kumudhavalli (aka Kumudha) and Rajinikanth’s Kabaleeswaran (aka Kabali) 25 years after their marriage. Since we are told that Kumudha is dead for the most part, their love is established in bits and pieces, as Kabali speaks about their relationship and how she has always been there for him, motivating him to fight several obstacles. So, along with Kabali, we also keep feeling her presence through his thoughts. When they find that she is alive and finally meet — you see a different Kabali, in both looks and emotions — a clean-shaved one at his most vulnerable yet happiest moment. In the song ‘Maya Nadhi’ that follows, besides them glancing at each other now and then, there is also a sense of satisfaction as if they were never separated.
Two people lie to their families and meet secretly but (fortunately) get stuck together because of the Covid19 lockdown. The couple we are talking about are not in their 20s or 30s; instead, they have children of that age. And the best part of Ilamai Idho Idho is that they are not old lovers who find a way back to each other. They met and fell in love much later in life. “What makes us happy is how they make us feel - foolish, happy and Ilamai (youthful),” Rajeev (Jayaram) says when he meets Lakshmi (Oorvasi). From breaking coffee mugs because of shaky hands to getting drunk and lying to their children that they forgot to call because of old age, their senility and mischievous acts go hand in hand. At that age, when loneliness slowly begins to engulf them, and a marriage with so many sacrifices leaves one of them unfulfilled, they finally feel noticed and loved in each other's presence.
“I am not a young girl to elope and get married quickly. We have to think about my job, your reputation and both of our families,” Bharathi (Tamannnaah) tells Kamalakannan (Udhayanidhi Stalin). If you are thinking they are having this discussion when they feel it’s finally time to tell their families, you are wrong. This is them proposing to each other. Kamalakannan asks her to accompany him to his alumni meet, and that’s their first date. Bharathi has already saved money for her own marriage. But they are also ready to leave it all behind if their families disapprove — “We will stay good friends,” Bharathi says and Kamalakannan laughingly agrees. But their mature romance or practical thought does not mean they are ready to let go of their relationship if the world is against them — Kamalakannan agrees when his grandmother disapproves of their relationship but also goes on a silent hunger strike. And after marriage, while Bharathi leaves for work at 7 in the morning, Kamalakannan takes care of the household work and they divide their domestic chores equally; mature and modern in every sense.
At your deathbed, when your family members are planning for mercy killing, what would be your last thought? Probably your first love and a whole bucket list you never got to strike off. Karuppu Durai (aka KD), an 80-year-old man sets out to fulfil all of his wishes before his last days come to an end. One of which is to meet his childhood sweetheart Valli. As an old woman walks into the house, the kitchen smoke dubs for the misty fog. The old man’s face, covered with a white beard, brightens as his eyes glow. But he confirms if she is Valli before he introduces himself. Once she knows who has come, she immediately rushes out and washes her dirty hands and face. After which, they share a shy conversation, he gifts her favourite gooseberries, eats the food she cooked and admires her eyes and the wrinkles around them — making up for the life they didn’t get to share.
Vidukathai is a film I watched when I was too young, but watching an 18-year-old girl taking a firm stand on marrying a 40-year man when her friends and teachers advise her to do otherwise is something I have always remembered. When I said sometimes mature romance is about the “maturity” the characters show, this one tops the list.
Anandhi’s (Neena) unwavering attitude and the clarity she shows in her relationship with Neelakandan (Prakash Raj) and the choices she makes are beautifully captured in Vidukathai. Even when Neelakandan is indecisive, feels insecure and guilty, and wants to give Anandhi a better life, he vulnerably cries as he is unable to leave her. On the other hand, a calm and collected Anandhi explains to him why the age gap or the society isn’t a problem and that their love is beyond all that.
The Padmini in the title refers to the 'Premium Padmini', the car owned by Pannaiyar (Jayaprakash). While Pannaiyar loves his car the most, his love for his wife Chellamma (Thulasi) and the understanding they have is the heart and soul of the film. During a friendly fight, Chellamma challenges Pannaiyar to learn to drive and take her to the temple on their anniversary.
One scene that encompasses all of the love they share is when both of them realise Pannaiyar might not learn to properly drive the car before their anniversary. So they individually tell Murugesan (Vijay Sethupathi), who usually drives the car, to stage as if Pannaiyar is driving so that the other person can happily enjoy the ride. Watch out for the beautiful scene which is usually written for the youth in love — Pannaiyar and Murugesan walk towards the car, and the former keeps asking Murugesan to check if his wife is looking at him or not, and the couple starts blushing when they finally look at each other.
Mature romance in Yennai Arindhaal is not overt. It does not hit you the way the other films in this list do because everything is subdued and should be read between the lines. The normalcy with which the romance of a single mother, Hemanika (Trisha) is spun in this film — with no stress on how Sathyadev (Ajith Kumar) becomes a part of her world; there are no questions about her past, no hesitation in getting into a relationship or even no scene where Sathyadev and Hemanika discuss the future of Isha (Hemanika’s daughter). Kudos to the writing, the events transpire so organically that the way they both approach each other, the love they shower upon Isha and the depth of their relationship are tenderly understated.
