Anbanavan Asaradhavan Adangadhavan

Anbanavan Asaradhavan Adangadhavan Movie Review | AAA | Silambarasan | Shriya Saran | Tamannaah Bhatia | Rocheston TV

Movie Info

  • Director: Adhik Ravichandran
  • Actor: Silambarasan, Tamannaah, Shriya Saran
  • Music: Yuvan Shankar Raja
  • Cinematography: Krishnan Vasant
  • Edited by: Ruben
  • Produced by: S. Michael Rayappan

Movie Reviews

Anbanavan Asaradhavan Adangadhavan: A Demeaning, Cringe worthy and Misogynist Vehicle Supporting Tiresome Heroism

Movie Review by Trijai Nerthi (Rocheston Certified Movie Critic)

Director Adhik Ravichandran’s Anbanavan Asaradhavan Adangadhavan is a pointless film that has no viable story. Supported by a weak, offensive and misogynistic screenplay, this film throws unwarranted hero worship on your face whilst desperately trying to build a hero out of a character who is undeniably chauvinistic and unbearably icky.

The film has one sole purpose. It is a vehicle meant to admire, glorify and self-indulge its central character with Silambarasan Thesingu Rajendar (STR) remaining firmly at the centre of its universe. Even if you are a fan of the actor, you will be disappointed by this film’s obscenity and lack of proper reasoning.

From the very beginning, Anbanavan Asaradhavan Adangadhavan follows the route most STR films tend to take. He meets with wronged circumstances that turn him into a man who either hates woman or views them as objects. The film goes on to reinstate the same pattern by featuring a character seeking revenge for having been victimized by women. No matter how many of these repetitive equations you throw into this picture, you cannot justify the film’s troubled and disturbing perspective towards women.

In one scene, a young Michael (STR) uses plentiful opportunities to misbehave with Selvi (Shriya Saran), his love interest. He even tries to watch her undress. Later, an older Michael, now popularly known as Ashwin Thatha lectures younger men on doing away with the nasty things he continues to do to women. When you use hypocrisy to glorify such behavior, a filmmaker’s supposed responsibility flies right out the window.

The misogyny doesn’t end there. In one scene, an older character states that he will be marrying a younger woman since he is tired of paying for each intimate encounter he has with women. The film further degrades itself by lending the audiences with an assumed-to-be comical explanation for Tamil women’s relatively darker skin. Such distasteful and cringe-worthy humor should be condemned rigorously.

The fact that Anbanavan Asaradhavan Adangadhavan received a U/A certificate while films like Lipstick Under My Burkha were banned points to the loopholes in the certification board that is easily manipulated by sub-standard star vehicles.

Even if you take up the herculean task of looking past all these troublesome aspects, the film has nothing to offer. It is nothing but a two and half hour introduction and glorification of a hero who should ideally be deemed a villain.

Shriya Saran and Tamannaah are used as glam dolls who have very little to do in the film. Their respective characters Selvi and Ramya never interest you as they helm their roles with an inexpressive scale of emotions. All the objectification this generation has rightfully been opposing is glorified over and over again in the film. Their obscene roles make you realize that this objectification and vulgarity concerning women in the Tamil Film industry can be overcome only if heroines stop signing on such regressive roles.

From Acham Yenbadhu Madamaiyada to Anbanavan Asaradhavan Adangadhavan, STR’s bloated screen presence indirectly signals at his careless attitude which discredits the characters he tries to assume. Even though the film is stuffed with heroic scenes, none of them take off due to his flat rendition. It is also to be noted that no amount of sub-standard prosthetics can cover up Ashwin Thatha’s creepy behavior and icky characteristics.

Yuvan Shankar Raja’s music is easily one of the better aspects of this otherwise failing film. In most of the hero glorification scenes, Yuvan’s background music strikes through the repetition and instills a layer of freshness.

In a recent interview, director Adhik Ravichandran mentions that he doesn’t want to be a responsible filmmaker. Perhaps, if he realizes that artistic responsibility isn’t an option, he could make better films.

On the whole, Anbanavan Asaradhavan Adangadhavan is a juvenile, vulgar and misogynistic excuse for a film. If your self-worth is of an acceptable level, stay far away from this demeaning film.

I don’t like it

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