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The film keeps intercutting the flashbacks of their love story with what looks like a murder scene. But there was no warning or foreshadowing to explain this change in behaviour, both in Ram as well as the film. Like Ram’s character, the film too is attempting to be bipolar. We soon learn that the first half was meant to be deceptive. For once, we weren’t just seeing how amazing the hero’s life has become after falling in love.īut the film quickly transforms to become something else altogether. Or even the way Janani requests Ram to take her around on his bike, but only till the end of the street. Like those beautifully “unchoreographed” seconds in ‘Idhazhin Oram’ where Janani and her sister go crazy dancing in the rain on their terrace can you think of a better example to visually express “Joy”? Or that moving shot of Janani sneakily hiding a laddoo under her kurta to bring it back for Ram from Tirupati. The first half of this film is filled with dozens of moments like these. Can a million ‘Why This Kolaveri Dis’ come close to this feeling? And when Anirudh’s ‘Idhazhin Oram’ slowly takes over, she breaks into, what must be, THE most rewarding smile in Tamil cinema. There’s a pause as the noise of the lecture going on in the background gets muted. She looks back again and just stares for a second. She’s at once embarrassed and also delighted. But Ram is right there, sitting a few rows behind. On the second instance, when she looks behind to notice the empty bench, you see her disappointment. The bench he usually sits in remains empty for the days that follow and Janani, who was irritated with his presence, now feels something is missing. But when she decently calls him out and insists he stops following her, he listens. He joins the class and starts following her as she makes her way back home. Ram, being the obsessive Selvaraghavan hero he is, does his own bit of stalking, finds out her school from her uniform and follows her to her tuition class. She senses trouble, quickly says thank you and leaves. He fixes it, looks at her and asks, “which school?”. It’s raining and Janani’s cycle chain is broken and Ram gets off his bike to help her fix it. This leads to a beautifully ordinary love at first sight scene. We cut to Ram and we see him eating fruits out of a bowl using a fork and a moment later, his mother brings him his lunchbox and she says she has packed chicken curry and fish fry. Janani is getting ready for school and you hear her mother shouting from the kitchen asking her if she should pack curd rice for lunch. Like the simple yet effective way we’re introduced to both Ram (Dhanush) and Janani (Shruti Haasan) and their respective backgrounds. Dialogues and scenes in these portions feel so real, so “lived in”. But that’s not to takeaway anything from Aishwarya Dhanush’s work in this film because watching 3 that night in GanapathyRam, after all that hype had died down, didn’t feel like just another movie…it felt like a discovery.Ī reason for this is how brilliantly adept Aishwarya Dhanush is at handling teenage romance. I would even go so far as to call it the most Selvaraghavanesque non-Selvaraghavan film. But 3 was ambitious and experimental, a tad too much for the guy who just wanted to go to the theatre to witness this blue whale of a song play out on the big screen.