HI Tamil Movie Review
Cast-:
Nayanthara, kavin, Bhagyaraj, Radhika sarathkuma r, Prabhu, Vtv Ganesh, Sathyan, Amrudha srinivasan, Aadhithya kadhir, Kureshi, Fepsi Vijayan,Renji panicker,Kaviya arivumani, Mirchy kemy,poornima Bhagyaraj,KPY Sureshi,Amrutha Srinivasan and Others.
Crew-:
Written & Directed by: Vishnu Edavan Creative producer: Gubendiran Co producer: Vinoth CJ, K.S.Mayilvaganan Produced by: Vignesh Shivan, Nayanthara, SS Lalit Kumar Director Of Photography: Rajesh Shukla Editor: Philomin Raj Music Director: Jen Martin Art Director: Kannan.S Choreographer: Brinda, Dinesh, Kavya.G Stunt: Dinesh Kasi Costume Designer: Kavya Sriram, Anu Vardhan Publicity Designer: Viyaki Stills: Theni Murugan Additional Screenplay & Dialogues: C U Muthuselvan PRO: Yuvaraj Co-Director: T.S.Vinobala Associate Director: Thangavel Selvamani, Padhman.M Assistant Director: Niranjan, Arun Associate Editor: Sakthivel Varadharaj DI: Annapurna Studios Colorist: Andreas Brueckl Vfx: SPECTRE POST VFX STUDIO , SOZO Sfx: Sync Cinemas Chief Costume Designer: Nagu Production Manager: Parthiban Natarajan Production Controller: S.Krishnaraj Production Executive: G.Murugapoopathy Zee Studios Team: Distribution & Revenue Head: Girish Johar Marketing Head: Ameet Bhuvan Production & Commercial Head: Vikram Vora Legal: Sucheta Burman Finance Head: Nilesh Deorahand Others.
Story -:
Produced by Lalit Kumar (Seven Screen Studios), Nayanthara and Vignesh Shivan (Rowdy Pictures), and Umesh Kumar Bansal (Z Studios), the film *Hi* is written and directed by Vishnu Edavan, with additional screenplay and dialogues by Muthuchelvan. It stars Nayanthara, Kavin, Bhagyaraj, Prabhu, and Radhika.
Mayilsamy (Kavin) flees to Chennai to escape the pressure to marry imposed by his hot-tempered father (Bhagyaraj) and family; he is driven to this after being humiliated and rejected by a female relative he had loved, and finding no other romantic prospects…
Devayani (Nayanthara) also runs away to Chennai to escape a forced marriage—which her alcoholic father (Prabhu) has agreed to—proposed by a terrible relative; she had previously lived burdened by the care of her alcoholic father after her mother left, believing herself to be a jinx…
Circumstances force them to stay together in the same house. Mayil falls in love with Devayani but is afraid to express his feelings, as their interaction remains formal and distant.
Both seek employment; Devayani lands a well-paying job caring for an elderly woman. Mayilsamy’s attempts to confess his love prove unsuccessful.
Through the elderly woman’s family, Devayani secures a lucrative job abroad. Her ambition is to work there, earn money, and return to properly care for her father. Meanwhile, a photograph they took together reveals to both their families that they are in Chennai.
Both families arrive; Mayilsamy’s father strikes him, while Devayani’s relative drags her away.
To help fulfill Devayani’s dream of going abroad, Mayilsamy claims that they are in love and that she is three months pregnant.
Realizing this is a plan to save her, Devayani goes along with the ruse.
Believing her to be their future daughter-in-law, Mayilsamy’s family brings the “pregnant” Devayani home and cares for her.
The two keep postponing the wedding by telling various lies to buy time until the visa arrives.
However, moved by the affection shown by Mayilsamy’s family, Devayani reveals the truth—that she is neither pregnant nor in love with him—leading the family to give Mayilsamy a sound thrashing.
Although friends suggest that Devayani would accept his love if he confessed it, Mayilsamy refuses, insisting that one should not coerce someone into love by citing past favors; what actually unfolds forms the rest of the story.
Watch The Video-:
Movie Review -:
Although Kavin’s backstory is run-of-the-mill, Nayanthara—seen waiting at a Chennai bus stand with a sickle in hand—captivates the audience.
Despite signs of aging, the intensity in her eyes and her signature pouting lips remain as potent as ever; she delivers a solid performance, as always.
Kavin acts with enthusiasm. His attempt to infuse the performance with subtle comedy works in some places but falls flat in others.
The dialogues grab one’s attention.
Certain comedic elements added during the dubbing phase manage to evoke laughter.
Rajesh Shukla’s cinematography makes the visuals vibrant, while Jen Martin’s music adds emotional weight to the sentimental scenes.
Philomin Raj’s editing does a great job of assembling the existing screenplay.
The screenplay moves weakly—starting ordinarily, offering brief moments of interest, followed by lulls and stretches of aimlessness. Moreover, the narrative often takes a convoluted, roundabout approach to simple matters.
There are also forced songs that serve merely as convenient bathroom breaks.
The late Bhagyaraj is made to speak quite explicitly—a stark contrast to the days when he used to employ subtle, veiled innuendo in his films.
Radhika’s character lacks sufficient screen time or substance; only Prabhu manages to come out unscathed.
The subplot involving Mayilsamy searching for Devayani’s mother follows a tired template—and even that isn’t executed well.
After a scene where the mother anxiously insists that Mayilsamy must arrive within an hour and a half, he shows up three days later—yet no one questions it. Even Devayani, who is present, isn’t asked about his whereabouts.
Forget about logic. Is this how such a crucial stage of screenplay development is handled so carelessly?
Especially when Suhasini appears in that pivotal role—meant to be serious and sentimental—the entire theatre bursts into laughter. It’s just unbearable.
The film possesses an artificial, plastic quality throughout that feels far removed from reality.
You can plough a field by hitching up a bull, but what happens if you use an elephant? The field gets ruined.
Similarly, they have unleashed an ‘elephant’ like Nayanthara into the ‘ploughing field’ of this movie. This story simply isn’t meant for her.
Had the screenplay moved in the right direction, fifteen minutes could have been trimmed from this two-hour-twenty-four-minute film.
However, there is only one scenario in which you might like this movie: if you watch it immediately after seeing a truly toxic film, you will end up liking this one a great deal.
This Is My Personal Review So Please Go and Watch The Movie In Theatres Only.
Written By CNN Online Media Admin Ratting CNN Online Media Admin 4 / 5.