A Family Flick That Fumbles Its Own Ties
Tamil cinema has a knack for churning out family entertainers that blend comedy, drama, and sentiment, especially around festive seasons like Diwali. Brother, released on October 31, 2024, fits this mold, directed by M. Rajesh and starring Jayam Ravi, Priyanka Mohan, and Bhumika Chawla. Produced by Screen Scene Media Entertainment, this comedy-drama promised a lighthearted romp with a sibling twist, backed by Harris Jayaraj’s music and a colorful cast. Now streaming on ZEE5 since November 29, 2024, it’s had its moment in the spotlight—but does it hold up as a Diwali treat, or does it leave you wishing for a tighter family reunion? Let’s unpack this rollercoaster of laughs and tears.
The story centers on Karthik (Jayam Ravi), a law school dropout with a penchant for trouble and an unfiltered sense of justice. Living in Chennai with his parents, Kumaraswamy (Achyuth Kumar) and Saraswathi (Seetha), Karthik’s impulsive antics—like securing a demolition order for his apartment without consulting anyone—drive his family up the wall. Enter his doting elder sister, Anandhi (Bhumika Chawla), who whisks him off to her disciplined in-laws’ home in Ooty, hoping to reform him. There, her husband Aravind (Natarajan Subramaniam), a forest officer, and his parents—Sivagurunathan (Rao Ramesh), a pompous collector, and Hemamalini (Saranya Ponvannan)—run a tight ship. Karthik’s chaos clashes with their order, sparking a rift that fractures Anandhi’s family. What follows is his quest to mend the mess he’s made, with Archana (Priyanka Mohan), Aravind’s sister, playing mediator and love interest.
The first half of Brother is its saving grace—a playful setup that leans into Rajesh’s signature quirky humor. Karthik’s oblivious bravado—think Thillalangadi vibes—sets up chuckle-worthy moments, like his botched stint as a hospital bouncer or a disastrous family dinner. Jayam Ravi owns this space, dialing back his action-hero heft from Siren for a carefree charm that’s infectious. The Tamil cinema trope of an unruly brother tamed by a sister kicks in, and Bhumika’s Anandhi brings a quiet warmth to their bond. Harris Jayaraj’s “Makkamishi” pumps up the energy, its catchy beats a theatrical highlight, while Vivekanand Santhosham’s lush Ooty visuals add a glossy sheen. The interval block—a heated clash with Sivagurunathan—promises an emotional payoff, hinting at a deeper family drama.
But the second half is where Brother trips over its own feet. What starts as a breezy comedy pivots into a soap-opera melodrama, complete with shouting matches, tearful reconciliations, and a jarring tonal shift. Karthik’s reformation feels abrupt—his sudden self-awareness after a contrived flashback about his birth lacks punch. The conflict—Anandhi leaving her in-laws after a slap from Aravind—could’ve explored domestic tension or self-respect with nuance, but it’s reduced to a trivial spat over a fired maid. The resolution, involving a school skit and a public apology, is so cheesy it feels ripped from a ‘90s TV serial. Rajesh, once a maestro of irreverent comedy in Siva Manasula Sakthi, seems stuck in a time warp, recycling tropes without updating them for today’s audience.
Jayam Ravi carries the film on his shoulders, blending humor and heart with ease. His scenes with Rao Ramesh, who chews scenery as the egoistic collector, spark the most life—two bulls locking horns in a way that’s both funny and fraught. Bhumika Chawla shines in her limited role, her sibling chemistry with Ravi a rare anchor. Priyanka Mohan’s Archana, however, feels tacked on—a glamorous love interest with little to do beyond smiling and supporting. The ensemble—Saranya Ponvannan, VTV Ganesh, MS Bhaskar—delivers sporadic laughs, but their characters lack depth, existing as props in Karthik’s chaos. Natty’s Aravind is a bland foil, while the goons chasing Karthik add pointless action beats.
Technically, Brother is a mixed bag. Harris Jayaraj’s score peaks in the second half, with re-recording that tries to lift the drama, but the songs beyond “Makkamishi” fade fast. The cinematography captures Ooty’s charm, though the editing by Ashish Joseph can’t salvage the pacing slump. At 141 minutes, it’s brisk for a Tamil drama, yet feels bloated with forced sentiment. The dubbing and dialogue, penned by Rajesh, aim for punchiness—“Thambi” gets tossed around like confetti—but often land as cringe instead of clever.
For Tamil audiences, Brother is a nostalgic throwback—a middle-class hero fixing a family mess, straight out of Visu’s playbook. Its Diwali release alongside Amaran and Bloody Beggar gave it a decent theatrical run, but it bombed at the box office, overshadowed by flashier fare. Critics range from 2 to 3.5 out of 5, praising Ravi’s effort and the first half’s fun, but slamming the outdated script. Streaming has kept it alive, but it’s no classic.
In the end, Brother is a film with heart but no heft. It’s enjoyable in bursts—Ravi’s antics, the sibling bond, that earworm track—but falters when it tries to get serious. Rajesh’s comedy roots clash with his stab at drama, leaving a middling mess that neither tickles nor tugs enough. If you’re craving a no-brainer Diwali watch with familiar beats, it’s passable—best paired with snacks and low expectations. But if you want a family tale with soul, this brother’s too scattered to bring it home.