Irugapatru movie review: A fulfilling drama about relationships that may have been more life and less message

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Synopsis of the movie Irugapatru: Three married couples' problems are threatening to end their marriages. Is there a potential that they will remain partners?

Irugapatru Movie Review: The central theme of Yuvaraj Dhayalan's Irugapatru is the marital problems of three couples. The three storylines unfold as parallel plots, but a relationship counsellor who also happens to be one of the couples serves as a unifying thread!

Couples have a wide range of different challenges that come up. Because of his wife Pavithra's (Abarnathi) weight gain after giving birth, Rangesh (Vidaarth), an IT worker, feels that divorce is the only option. Arjun (Sri) and Divya (Saniya Iyappan), two twentysomethings, are constantly irritated with one another and wonder where their love disappeared after being married. Additionally, Manohar (Vikram Prabhu) finds it annoying that his wife Mitra (Shraddha Rama Srinath), a marriage counsellor, can't seem to turn off the psychologist in her when she's at home.

Despite the prevalence of violence and hero worship in contemporary mainstream filmmaking, Irugapatru, along with movies like Dada and Good Night, demonstrates that drama and emotions are still welcome. Although it doesn't exactly explore new ground, the film is a compelling story about a romantic struggle. It can feel at times like couples therapy 101, which is both a benefit and a disadvantage. There have also been occasions when we have entered a relationship workshop if the things it raises regarding romantic relationships seem pertinent. This is mostly because the director uses language to impart interpersonal lessons rather than looking for a visual medium to convey his ideas. Even the confrontational score (by Justin Prabhakaran)

However, the director mainly succeeds in keeping the tone lighter. He will occasionally lighten a serious atmosphere with humor. For instance, in a scene where a character breaks down upon realizing his mistakes, we get to witness a dialogue between him and his employer (the late Manobala, who makes the most of the situation's comedic possibilities) that makes us grin.

Regarding the lead couples, the sophisticated settings and stylish attire are insufficient to compensate for the flimsy wording in the Mitra-Manohar track. They are the ones who prepare cakes, call aval upma, poha, and go camping while holding hands and watching the romantic montage from Up. Briefly put, a pair that look like they belong in a stylish TV ad for paint or coffee. This could actually be a criticism of the movie as a whole because of its sanitized approach—"Let's not make the characters unlikeable or the situations too awkward," seems to be the guiding principle. Not even the tension that grows between them appears to be a major danger to their union. 

But, Arjun and Divya's relationship appears to be seriously troubled, as seen by the former's actions, which border on emotional abuse. However, the way this is handled here also lacks depth, and the filmmaker never makes it obvious why they must fight against their love for one another in order to keep their failing relationship intact. Fortunately, the two young performers elicit some sympathy from us through their roles.

The Ragnesh-Pavithra song, which is the most relatable and well-performed of the three, by Yuvaraj, makes up for the somewhat disappointing impression that these two stories leave us with. The performances and the writing are both sufficiently precise to give us a sense of well-worn emotion. Ragnesh's problem, which initially comes across as strange and chauvinistic, turns out to be very personal as we hear him open up to Mitra in a moving monologue that Vidaarth skillfully delivers. Additionally, Abarnathi uses her voice modulations and subtle body language to highlight Pavithra's naivete. It's a delightful performance that immediately wins our empathy. Having said that, there's a chance that this episode will be misunderstood and that it will give married women a negative standard for their bodies.

Despite these criticisms, the movie mostly keeps us interested and gives us the kind of cozy, comforting feeling that only well-made feel-good movies can. That is the reason behind Yuvaraj's success as a director here.