In Revathy’s web series directorial debut, Good Wife, headlined by Priyamani, there’s an evident attempt at examining what really makes a "good wife." Aari Arjunan, who plays a pivotal role in the JioHotstar series, says, “If someone is called a good wife, then there must be some criteria they’ve fulfilled to earn that label. The idea itself is riddled with loopholes, and that’s exactly what this series questions.” While Aari says this is a topic worthy of deeper debate, Sampath Raj brings in a jolt of dark humour with a wry chuckle, “Maybe I was a bad husband, so in 2003, my wife left me. I didn’t marry again. Maybe she was a good wife, and that’s why she left me.”
In Good Wife, Sampath plays Gunaseelan, the husband of Priyamani’s character Tarunika, whose sex scandal upends her life. Aari plays her ex-lover Hari Deepak, who helps her restart her professional journey as she becomes the family’s breadwinner.
Excerpts from a conversation with the leads of Good Wife:
Priyamani, how is your role as an advocate in Good Wife different from the ones in Grandmaster, Neru, and Salaam Venky?
Tarunika’s journey is filled with personal and professional upheavals. She’s not just a junior advocate; she’s also a mother dealing with the trauma of her children and a woman trying to process her own pain. What makes her different from my previous lawyer roles is the emotional complexity and the multiple identities she juggles: mother, wife, and professional. Also, the cases she handles in the series are based on real-life incidents, which adds more weight to her courtroom battles.
Sampath, how different was it to play a character whose grey shade emerges from his relationship with his wife?
Gunaseelan’s sex scandal and his suspected link to a drug racket shatter the family’s image and stability. In the aftermath, Tarunika rises, takes charge, and regains control of her life. The series also explores how some men grow insecure when their wives become financially independent. There’s envy, fear, and emotional displacement, and Good Wife touches on that emotional complexity quite deeply.
Aari, do you feel you’re typecast in ‘good guy’ roles?
A few of my upcoming films will break that image. I don’t actively choose ‘goody-two-shoes’ roles, but I do pick characters that align with my personal values and social work. Maybe that’s why you often see me playing morally upright characters. But change is coming.
Hari Deepak, in Good Wife, is someone who takes his job seriously. He’s layered—he stands for righteousness but also understands the nuance of defending clients. As a lawyer, you’re expected to justify your client’s actions. But Hari Deepak has his own moral compass, and he chooses to stand with victims.
Priyamani and Sampath, you’ve both worked in films like Thotta, Paruthiveeran, and Custody but never had combination scenes. Did you know each other well all these years? How was it working together finally?
Priyamani: We’ve had a bond off-screen all these years. We would meet at events or even randomly at the airport, and whenever we did, we’d just pick up where we left off, no matter how much time had passed.
Sampath: Our bond is easy and casual; we connect instantly.
What’s different about working with director Revathy?
Sampath: Revathy is an incredibly sensitive director. After handing you a scene, she immediately asks for your interpretation. If she resonates with your take, she doesn’t interfere. If she has feedback, she gives it respectfully. Since she’s also an actor, she understands the craft. When your process and her perspective align, something truly organic emerges.
Aari: This is the first time I am working with a female director. I’ve always worked with men, and the difference when it comes to working with women is that there is always a feeling of being taken care of, especially on the sets of Revathy ma'am, because she is also an actor. If we were preoccupied or worried about something, she would give us the space. With just a reassuring expression, she checks on you and gives you the time you require.
The series also shows the struggle of returning to work after a long break. How real was that for you?
Priyamani: No matter what, when you take a long break and return to your job, it is almost like starting from scratch. You can’t expect the same position when you return from a break, and you have to accept that you have to start from square one. Of course, it is a struggle, but you won’t have a choice but to endure it.
Sampath: Exactly. The world doesn’t wait for you. When you return, you’ve missed time and you have to change. If you’re not open to learning or adjusting, you’ll fall behind. You need to have the humility to catch up.
Priyamani, you’ve spoken about being okay with doing ‘eye candy’ roles. Don’t you think that holds back the progress women have made in the industry?
Being eye candy is part of cinema. And honestly, there’s nothing wrong with that. For decades, women in Indian films existed only as love interests or for the glam quotient. I’ve done those roles too. But now, we are able to voice our desire for more layered characters, and that shift is happening. Still, I don’t think we should shame women for choosing glamorous parts. It’s their choice, and it’s valid.