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Ulahannan's character looks underdeveloped, but his feelings of desolation and melancholy are relevant and viewers may be able to relate with it, especially married people.
However, the transition that he makes from being this snobby husband to a starry-eyed toyboy is unnatural.
In addition to the major theme of family life problems, there is this preachy peach that director Jacob covers the sweet and sour grape-flavored cake with at the end.
Nonetheless, this too relates with the primary theme, which goes on to say that if there is a lack of plain-spoken love between the heads of the family, it will affect the foundation of the whole family.
The family collectively lead a smooth life with minimum interactions between each other, but the biggest victim of this lack of interaction seems to be the patriarch of the family.
Ulahannan is thus perceived as a reticent, aloof government employee who even keeps his handful of friends at a distance - be it at the workplace or at one of his colony building's terrace where adult men get together by evening to down few ounces and engage in casual banter.
The equation of Raghu and his son Abhi passes through various stages, and Raghu his son making the mistakes he did once.Everything, to convey a point or two about the importance of uncensored love in a family.At first look, you would think it's similar to Khalid Rahman's 2016 drama, Anuraga Karikkin Vellam, but then you chuck that thought off and compare it with Jeethu Joseph's 2013 path-breaking crime drama, Drishyam.Cannot be called a flaw per se, but it makes the whole film look like a skit that should have been presented and done with in 20 minutes.In fact, that becomes plain when in the second half, the family hop from one tourist destination to another just to kill time and bore its audience with the ridiculously expanded 160-minute play.
Regardless of everything, the makers have to be lauded for slyly incorporating 51 shades of gray into this genre.