29 Movie Review:
Cringe. Gone are the days when the world collectively rejoiced in the celebration of romance with grand gestures and seemingly over-the-top overtures. Now, especially on social media, any such move showcased there for posterity falls into just two categories: Cringe and Cringe-free. This slotting is done by the people witnessing these gestures, overtures, and everything in between. What about the ones who are doing these gestures? Do their hearts still flutter when they see a balloon that is filled with their partner’s carbon dioxide? Do butterflies swarm their stomach when their partner holds their hand, or when they see each other in their favourite dress for the first time? If all of these are as special in 2026 as they were in 1976, then what exactly is cringe? Is it the action or the packaging for an audience who might not necessarily want to witness this action? Even if the packaging isn’t all glossy or wrinkle-free, director Rathna Kumar’s latest film, 29, works because there is a sense of honesty and warmth in these actions, even if some make your eyes roll to the back of your head.
The film is divided into 10 chapters, and even if a few of them feel too quirky for their own good, this is Rathna’s way of telling a story, and so be it. In 29, the romance between Sathya (Vidhu) and Viji (Preethi Asrani) isn’t beautified by filters and flowery language; it is left out there for the world to see and judge. Here, it is writing the names on the walls of public transport, huge rocks in archaeological marvels, and even on the sands of the beach, where you can’t even bear to see the waves wash them over. From the word go, Rathna Kumar gets us ready for a romantic ride where the problems are purely internal. There is no random stranger or a random occurrence that comes in to shake things up. Even when there are enough and more reasons for the romantic boat to capsize, none of them come out of the blue. It is very much within the scope of their characters. Even with an antagonist (Mahendran) in the mix, Rathna Kumar never lets him meddle with the romance. Sathya and Viji love each other in the way they know how; when there is an issue, they react in the way they know how; and when there is a fight, they hurt each other in the way they know how.
Director: Rathna Kumar
Cast: Vidhu, Preethi Asrani, Avinash, Mahendran
29 has more than its fair share of issues. Not every problem is fleshed out well, and some of the narrative detours aren’t convincing enough. While the concept that there is more to life than love and romance is praiseworthy, we are once again left to deal with the extraordinary, even when the film is about two ordinary people. Why should success in romance hinge upon the superlative success of its participants? Can’t people who are happy with their status quo ever be successful in love? Don’t people in 9-5 jobs fall in love? Why is the fight for identity of the self labelled a success only if it revolves around a holier-than-thou cause? While these portions, thankfully, don’t take a lot of time, 29 is bombarded with romantic portions that oscillate between ‘awwww’ and ‘get on with it already’.
For these ‘awwww’ moments to truly work, any romantic film needs three things: 1) Compelling performances, 2) Soulful music, 3) Refreshing writing. And 29 gets more than half right. Preethi Asrani as Vijayalakshmi brings an earthy effervescence that the film thrives on. Of course, there are moments that make you wonder if the performance and the writing fall on the right side of the thin line between cute and caricature. However, to quash these doubts in the bud, Preethi knows when to dial up the cuteness and charm and when to dial it down. On the contrary, Vidhu doesn’t always hold our attention in the film, which is a welcome detour from his roles in Jigarthanda Double X and Retro. The sobering nature of his character is reflected in his performance, but he doesn’t always deliver the emotions with the required intensity. Mahendran gets a raw deal, much more than usual, but Avinash, as Vidhu’s friend Mani, is a hoot and a half. The soul of the film is undoubtedly Sean Roldan’s music, and it is beautiful how his decision to let silence do the singing comes through. The way music has been used in the film is a big plus for 29. Another strong facet of the film is its production design, which bolsters the writing in wonderfully encapsulating the idea of ‘90s kids without resorting to stereotypes. However, some of the dialogues should have stayed back in the times of ‘A time before Tinder, Bumble, and Oyo’. They could have also taken with it a few gags involving Sathya’s ‘naive’ friend, who wants to go to Bengaluru, and certain sweeping statements about love that would have sounded dated even in the early 2000s.
Although 29 is essentially about a pining romance, it doesn’t quite move away from where it started… the question of identity. Is it sufficient that a person is identified only by their partner? Should people be boxed by their gender, sexuality, nationality, caste, and class? The straight answer is a resounding ‘NO’. But are we truly devoid of labels? In 29, Rathna Kumar tries his best not to be subsumed into cliches, despite resorting to most of them. It is a very tricky ride, and is one that Rathna doesn’t always ace. But that’s okay because these subversions elicit a reaction. Even when the guy always comes bearing gifts when meeting the girl, it is the girl’s actions that ring louder throughout the film. The first touch, the first kiss, the first stream of tears, the first slap, the first declaration of love in private and public, and even the first one to renege on a decision. Everything happens from the girl’s side, and it is a definite refreshing change of pace. And why is it even more special? Because the writing doesn’t shout about this from the top of the terrace, but reminds you of the same while nudging you as you exit a crowded lift. How often do you see a son wanting to be like his mother, even when the father is a wonderful person? How often do you actually see what it feels like for a woman to fall in love? We are not often shown the woman playing with the wind while sitting on the pillion of a friend’s scooter. We don’t often see a woman finding herself all the more beautiful because she understands what her man sees in her. We see a woman, 22, who loves the idea of being in love with a 29-year-old man, but not at the expense of who she wants to be as an individual.
This film suggests that love doesn’t always stand the test of time, but identity certainly will. This is also a film that says love could stand the test of time, if identity does. And right from Meyaadha Maan to 29, Rathna Kumar is clear about just one thing when he is telling stories of people who might not always deserve each other, but definitely deserve to be loved: Love can be ‘cringe’ for the ones who are not in the equation… So why bother making it universally palatable?
