A dollop of love: Exceptional tales of love from recent, non-romantic films

When Valentine’s Day comes, it’s an excuse to think of love stories in our cinema. In doing so, we think of classics like Alaigal Oivadhilllai and Moondraam Pirai; we think of Minnale and Alaipayuthey; or if you would much prefer more recent cinema, films like Vinnaithaandi Varuvaaya and 96 occur to us. You see the pattern? We think of the romance genre specifically, but what of the wonderful love stories that exist in films of other genres? A recent example is Blue Star, a cricket film that discusses caste but is still one that speaks of a lovely relationship between two equals who help each other. So, team Cinema Express got thinking and we thought it suitable to list some Tamil films, not of the romance genre, which have some beautiful love stories within them. These romances may not have defined the films themselves, but they sure did define the feeling of love for us. And here’s why:

Blue Star:

The scorching Arakkonam sun, a life set to the rhythm of ever-present trains, the crack of a bat, the whizz of a ball, and then there is Ranjith and Anandhi, in their own world. Blue Star is an engaging sports drama that effortlessly blends themes like casteism in a film about warring cricket teams. Even though—through minor alterations—the film could have still worked without Ranjith and Anandhi’s romance, their love moves us all the same. The love track in Blue Star not only adds depth to Ranjith’s character arc but is also a reminder that there is beauty in the melancholy of a love story that ends without a goodbye.
 

Viduthalai-Part 1:

Vetri Maaran’s Viduthalai is an affecting portrayal of how the helpless tribals are viciously oppressed by some power-drunk men in the police force. In such a gripping social drama, the filmmaker still finds time for a breezy romance between a trainee police and a young tribal woman. The love between Constable Kumaresan and Tamilarasai builds ever so slowly, and untouched by the larger chaos in the film. In a film that unapologetically displays the dark depths of systematic oppression and custodial violence, the romance between Kumaresan and Tamilarasi acts like a microcosm for real-world love, which still thrives in times of war and chaos.
 

Parking:

At the heart of Parking, is a story of two people (Harish Kalyan and MS Bhaskar) from two different generations at loggerheads over a... you guessed it. Parking space for their cars. Harish's Eshwar always goes over and above to help his wife Aathika (Indhuja) give the comfort she needs, more so when they are expecting their first child. He decides to get a car only to ensure that his wife travels comfortably. Aathika is Eshwar's anchor to ground him when his rage takes over every issue. When Eshwar and Ilamparuthi's clash goes out of control and they go to the extent of killing each other, it is Aathika who suggests that they move out for their well-being. The love and respect that they have for each other keeps their love wagon rolling.
 

Maaveeran:

Sathya (Sivakarthikeyan), a comic book artist by passion and scaredy-cat by nature who can't stand for himself, is forced to become a 'superhero' when the people around him face injustice and are on the brink of losing their lives because of MN Jeyakodi's (Mysskin) sinister plan. In between this intense superhero drama, comes the soothing Nila (Aditi Shankar), making Sathya's life glow, quite literally. When an employee takes credit for his sketches, she takes a stand on Sathya's behalf, securing him a rightful job. Eventually, both fall in love, and Sathya even sketches a character based on Nila for his comic strip Maaveeran.

At one point, when the voice inside his head stops guiding him, Nila advises him to "create his own story" and take on Jeyakodi. If Nila hadn't encouraged him, Sathya would not have found his inner superhero.


Captain Miller:

Before Dhanush's Analeesan turns into the titular character in Arun Matheswaran's Captain Miller, there is a beautiful moment where the lead realises that he is in love. Arun does not convey this angle explicitly, but we feel it just by the way Analeesan looks at Priyanka Mohan's Velmathi. It is like he just had an epiphany. The love angle is not a central part of the narrative, but certainly a welcoming distraction amid all the fire, smoke, guns, and glory.

This particular moment repeats later in the film as Velmathi nurses a wounded Analeesan (now Miller). Velmathi's reaction to a revelation in the plot is telling because she does not let out her frustration but rather takes it in. Is it because she has seen enough bad men that she knows to find out a good one? Is it because she has a soft corner for Miller from their first encounter? Or is it because she believes everyone deserves a second chance? I want to believe it is all of them combined together.

Chithha:

'Unconditional' and 'unwavering' are the two terms that best explain the love of Eswaran and Sakthi, the childhood sweethearts, who refuse to let go of each other, regardless of the merciless challenges life throws at them.

Even when Eeswaran fails to fulfill a promise that unfortunately puts Sakthi in deep trauma and misery, her eyes long for him and their magical connection, when they bump into each other for years. Eeswaran, who has searched for Sakthi, finds his light and life when he sees her. He goes on to cherish her with all his heart, until a personal tragedy strikes.

The abuse episode of Settai (Sundari) brings out the animal in Eeswaran, Sakthi goes all out to put sense into him while battling her inner demons. How beautiful is it to see two selfless humans, stand up for each other with the little strength they got!


Kanaa:

The name 'Murali' is almost synonymous with tragic love stories, thanks to the timeless, tear-jerkers of the irreplaceable actor. But Arunraja Kamaraja probably wanted to rewrite this rule by naming his male lead with an unrequited love after the same actor and giving him a rather funny ending, in his directorial debut Kanaa.

Even though Darshan's Murali Krishna loves Aishwarya Rajesh's Kousalya with all his heart, he ensures that his quirks or expression of love don't hinder her ambition to become a professional cricketer.  Even when he realises that it is too late to propose and she clearly has no feelings for him, he moves on with a smile, with no sense of bitterness. After all, if we love someone, we should set them free, right? 
 

Kalaga Thalaivan:

Magizh Thirumeni is known for interlacing level-headed, realistic romantic angles, in all his films, regardless of their genres. Even when Kalaga Thalaivan was considered to be one of his weaker directorials, the sane love track of Maithili and Thiru was praised by many. Niddhi's Maithili could have clearly come across as a caricaturish, plastic character in the hands of an inferior writer. But Magizh ensures that the character has life, purpose, and a say. 

Even in the crucial climax portions, where she chooses to go along with the hero, akin to a cliched commercial heroine, Magizh gives her character a twist and makes her snap out of the decision. She realises the intensity of the sacrifice she is about to make, snaps out, and chooses to hold on to her nourishing life as a service-minded doctor. Well, why should the hero be the only rebel with a cause in a tale?