Noted American chef and author Julia Child once said, "People who love to eat are always the best people." And just like many of the other things she has said, this makes absolute sense, too. And if food is one way to enter a person's soul, then art is another. This seems to be the theme of actor-filmmaker Dhanush's much-anticipated film, Idli Kadai, which is set to hit the screens on October 1.

This is not the first time Tamil cinema is using Tamil Nadu's kitchens to tell a story. Through the years, we have seen many instances where food is the essence of a film or a scene or a dialogue, and it is this emotion that somehow transcends the test of time to leave such a palatable and more importantly memorable taste in our mouths and minds. Here is a salivating jog down food street where a delectable spread is ready, and take it from us... these dishes taste best when shared..

Pure as palkova - Annamalai

Before the meek milkman turns into a stop-at-nothing entrepreneur/hotelier, Annamalai was Ashok’s friend. At the heart of Annamalai lies the purity of friendship, and director Suresh Krissna wonderfully portrays the birth of that bond through a charming scene at the very beginning of the film. After a minor brawl between a young Annamalai and Ashok, the former’s mother invites the latter home and serves him homemade Palkova. With a deceased mother and an ever-busy father, Ashok instantly falls in love with the warm inviting bond that binds Annamalai's family. The entire emotional foundation of the film begins with a moment of shared palkova.

The magical feast - Mayabazaar

Ghatotkacha magically gobbling up an entire feast meant for hundreds, in Mayabazaar (1957) is one of the most iconic visuals in Indian cinema. The song, ‘Kalyana Samayal Sadam’ (’Vivaha Bhojanambu’ in Telugu) shows the mythical Ghatotkacha (played by an eccentric SV Ranga Rao) entering a wedding venue and playfully eating everything prepared for the wedding guests. With stop motion animation scenes shot across four days, the entire song not only demonstrates the extent of Ghatotkacha’s powers but also stands as an exceptional demonstration of Indian cinema’s rich imagination and technical prowess.

Taste buds and tyrants - Em Magan

In Em Magan, Nassar plays a strict, short-tempered father (Thirumalai) who strongly imposes his will on his meek son, Krishna (played by Bharath). While the film shows the controlling nature of Thirumalai in almost every scene, the one that stayed in the collective memory is the one where he forces his son to eat mutton liver, a food that Krishna despies, which quickly erupts into a fight. While we have many examples of how food becomes a love language, the Em Magan scene subverts that notion and shows how any show of affection could also become a form of control, and food is no exception.

The binge worthy biriyani - Kaithi

A tense scene, enemies on the prowl, the police are drugged and subjugated, and there is just one convict to rely on. And what does he do in that crucial moment? He sits down to have a steaming hot plate of biriyani. In one of the most iconic scenes in director Lokesh Kanagaraj’s filmography, we are introduced to the calm and collected demeanour of Dilli by showing him sitting down to fill his tummy. Nothing, not even a threat to his life, will stop the man from getting his hands on biriyani for who knows how long. Can we really blame him? We most definitely cannot, and that’s the moment we relate to the convict and attach ourselves to him.

The paranormal padayal - Muni

Rajkiran going to town on an expansive food platter is a genre of its own in Tamil cinema. The actor’s scene from Muni, where he diligently consumes a large banana leaf full of food, is a key marker of his character in the film, and also serves as an homage to similar scenes in his earlier works. At a crucial scene towards the end of the film, Muni (now a ghost) is subdued after he reveals the truth about his death to his people and eats a large feast prepared for him. The scene touches upon the roots of padayal, the act of offering food for idols and ancestors in the South Indian tradition.

Love language - Muthal Mariyathai

Even the most stubborn soul melts away when someone serves them food with love and care. In Bharathiraja’s critically acclaimed Muthal Mariyathai revolves around the poetic romance between a young woman (Kuyil) and an older village chief (Malaichami). In a crucial scene, where their relationship takes a new dimension, Kuyil entices a stubborn Malaichami to eat her meen kuzhambu. A hesitant Malaichami feigns disinterest but quickly takes up the offer, and quickly surrenders to its taste, as it reminds him of his mother’s cooking. The scene portrays Malaichami’s innocence under a tough exterior while also showing us how Kuyil manages to show her love through all that, with her love language being meen kuzhambu.

Passion and parotta - Vennila Kabaddi Kuzhu

Apart from being humorous, Soori's idea to have parottas when their team gets disqualified from the kabaddi tournament is probably one of the most humorously zen ideas Tamil cinema has explored. Happy or sad, have your favourite food. The scene also serves as a guideline on how to eat a parotta. Without salna, just shred the parotta and have it. With salna, cup the parotta and have it. The scene is also timeless for the romance involved in it. The romance between a man and the parotta. As Soori gets conned by the eatery owner, he wants to start all over again for his love of parotta. And thus Soori became the surname for this comfort food for many years to come.

Hospitality and Idli upma - Surya Vamsam

Tamil families are forever indebted to director Vikraman's Surya Vamsam for expanding their breakfast options and preventing wastage of leftover idlis. It is quite normal for the audience to adopt the sartorial choices of an onscreen character, played by their favourite stars. But Surya Vamsam and Idli Upmas do not happen often. This delectable dish plays a pivotal role in mending the fractured relationships in the film. This is also one such breakfast idea that even brought disparate families on the same page. With its simple preparation, ingredients, and pocket-friendliness, idli upma can even be a much-needed source of inspiration for couples determined to dance for 'Natchathira Jannalil' someday.

Seafood shenanigans - Vetrivel Shakthivel

Eat on a plantain leaf, a big platter, a high-end restaurant, or a roattu kadai. Nothing beats the happiness derived from stealthy eating. This particular scene from Vetrivel Shakthivel gives the vicarious pleasure of a late-night gastronomical encounter in your kitchen. Food, regardless of a family drama or a comedy, is the biggest thaw in a strained relationship. Both idli upma in Surya Vamsam and meen varuval/kozhambu in Vetrivel Shakthivel bring the family together after a rift and a huge disagreement. This scene provides hacks to restore peace in a family on several levels. If there is a fight in a family, make a lip-smacking meen kozhambu and mollify the disgruntled member, and if you are caught eating stealthily, just do the 'bujuku bujuku bujuku'.

The elevator pitch - Gopala Gopala

Without a six-pack or being a 'rugged boy', Pandiarajan's character in Gopala Gopala gives the typical action protagonists a run for their money with his culinary skills. A man and a woman stuck in a lift usually have a flirtatious conversation. The on-the-ball Gopalakrishnan (Pandiarajan), however, decides to cook for Usha (Khushbu), who is starving. This scene, which cuts between the lift and the apartment, has men rejoicing and women mourning for Gopalakrishnan's absence. In addition to illustrating how the infectiously innocent Gopalakrishnan always outwits the other men, it also stands to testify that women gravitate towards him. Men need to take notes from this movie, particularly this scene; no flower like a cauliflower will help gain entry into her heart.