Kushi (2000), rerelease after 25 years

Kushi (2000) rerelease today was fun to watch, even though I knew the scenes almost by heart. I was surprised to see the hall half full for a film that came out a quarter century ago, considering most in the audience would have been toddlers when it first released. This shows the lasting allure of romantic films that are relatable, combined with fine direction and good acting by Vijay and Jyothika. Mangoidiots rates the film a Ripe.

The story is as simple as it gets, but it is the storytelling and screenplay that elevate it. A young man and woman fall in love instantly, but their egos stop them from expressing it. In the end, true love wins and unites them in marriage.

Vijay and Jyothika bring the characters alive with their energy and natural chemistry, perfectly suited for their real and reel ages. It is interesting that, except for a handshake in the second half, there is no physical contact between them, apart from a stage dance and a dream sequence. Also, there is no villain standing in their way. The only fight sequence comes from a strongman character, the father of another girl who is in love with the hero’s friend, which feels like an excuse for some action. Director S J Suryah opens the film with a narration that sets the stage, though the core is a regular love story.

The biggest strength of the movie has been Deva’s background score and songs. Wikipedia may detail the inspirations behind each track, but I remain a fan of Deva and still love his work here. Shilpa Shetty and Mumtaj, glamour queens of the time, were added just to give a song each, more due to box-office compulsions than for the story. Vivek and veteran Vijayakumar have small roles but leave a mark.

One standout moment is when Jenny accuses Shiva of ogling her hips. With just a stare, the story takes a new turn. It is a simple scene but brilliantly executed, something that remains a textbook example for new filmmakers and actors. Even modern AI systems may struggle to recreate the nuance here.

The climax stays fresh even after so many years. The hero goes to Egmore station, expecting the heroine to board the Nellai Express, while she goes to Central, thinking he would be on the Howrah Express. Then, both trains leave at the same time, and they miss each other. Watching this, I wondered if the choice of the hero being from Kolkata and the heroine from Nellai was decided to justify this parallel track of trains and timings. Otherwise, Tamil cinema rarely sets its hero in Kolkata.

Kushi remains a reminder that a simple love story, told with the right mix of emotions, music and performances, can stay timeless across generations.