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Good Night (II) (2023)

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Good Night Movie Review : Good Night: The snoring is loud enough in a very enjoyable way

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Adithyaks 261 days ago

korrapatithalaiva 44 263 days ago

Nice movie��

Mohammad Danish Abbasi 1 278 days ago

What a lovely movie fantastic her smile I'm Big fan Meetha Raghunath����

Guna Ravi 11 318 days ago

very good movie for comedy and real life style

mg magesh 16 347 days ago

எதார்த்தமான அழகான கதை நல்ல படம் சிரிக்க வைக்கும் அழுக வைக்கும் சிந்திக்க வைத்த ஒரு படம்

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Good Night: A Battle of Good Egos

by survi · May 27, 2023

Star Cast : Manikandan, Meetha Raghunath, Ramesh Thilak, Bucks, and Balaji Shakthivel Music Composed by Sean Roldan Good Night Tamil Review Produced by Nazerath Pasilian, Magesh Raj Pasilian, and Yuvaraj Ganesan Directed by Vinayak Chandrasekaran

In Indian Mythology, Shiva is known to be a “Good God”. While Vishnu is known to be “Good yet to be Cunning when needed”. The thing is, Shiva goes by rules and emotions while Vishnu came to make rules and break them as well if required. Brahma, on the other hand, is given the status of a creator who takes a neutral side from both but is equally knowledgeable and powerful. He also depends on both of them to set things straight when required. Shiva is so naive and by the book, according to mythological stories that he doesn’t think about consequences but act by the situation. He can give and take everything in one second but his only drawback is again his commitment to nobility and honesty. Many evil rakshasas have taken advantage of his “Bhola” tag or “naive” tag.

He is also Rudra, the man with anger that can burn the universe in its entirety. Even the multiverse for those wondering. But he will never destroy what is part of Vishnu, hence, he tries to keep his anger in check. He meditates for eons and eons to keep the balance of his emotions intact and Vishnu goes into sleep for the same period of eons. His meditation lies in sleep while Shiva meditates like a good Yoga Guru. With such powers and great responsibilities on their shoulders, they might have to act in a certain way at certain times. Understanding them and looking at their drawbacks and taking the responsibility of keeping them happy at all times, while guiding them in the right direction, if required takes a lot out of any person.

Hence, the Ultimate Goddess Adishakti had to divide her powers and bring to life Parvati, Lakshmi, and Saraswati. Parvati – a Goddess with extreme calmness and instinct to understand Shiva. Lakshmi – Goddess who represents entire wealth and happiness can only understand Vishnu’s actions. Saraswati – Goddess who represents entire knowledge can help Brahma in creation. Why so much mythology class? Well, in mythology, Indians have talked about how husband and wife should be as a couple. Shiva-Parvati together are called Ardhanariswara and Vishnu-Lakshmi are called Lakshminarayana. Filling the gaps between each other and encouraging each other to become even better personalities than before and helping them reach their full potential is all about marriage . But Shiva and Parvati have a battle of good egos, trying to adjust their life for each other. When it comes to Lakshmi and Vishnu, they have similar personalities but Parvati had to do penance as Sathi/Dakshayini and Girija to please Shiva. Because of his honesty, he considered himself not fit for family life . It took years for every other Angel and Vishnu to convince him to at least consider. Even then Parvati had to be the one to express her desire to be with him and then convince him for the marriage. Good Night deals with one aspect of Shiva-Parvati’s married life .

Spoiler Alert

G ood Night is such a movie that how much content you give away that much of the experience is lost while watching it at the theatre or OTT. The director tried mixing director Visu ‘s family with Balachander ‘s style of screenplay and characters. Visu families have situations with characters trying to always hold their ground until they are exposed completely and asked to realise their mistakes. But these characters create fun to watch. Balachander, on the other hand, takes characters that have strong morality and then puts them in situations where they have to react . Those reactions start to define them and you can see if they are hypocrites or people with high morals as they claim. Visu asks you to go by the morals predefined or “correct” themselves. Balachander breaks those morals if required to showcase the character’s actions. He doesn’t justify them unless he has to, while Visu tries to take a side from the beginning. So, mixing both sensibilities is not easy as one is realistic while being dramatic another is realistic in the “story or director’s vision defined” world. The director Vinayak Chandrasekaran brought out situations that resemble Visu’s family and gave characters that come from the Balachander world.

To do something that is right, “Motor” Mohan [Manikandan] has to try even harder than ever and find a solution. Just like how Shiva tried to control his anger to become a husband. On the other hand, Anu [Meetha Raghunath] has to stop self-loathing and be the aggressor if required to take a firm decision just like Parvati. Is the journey going to be easy? No, one person knows how to love and another just got used to it being her strength. Motor Mohan is a really good person. He knows how to love a person and not how to accept their side . When Anu says, “I’m unlucky”, he takes it easy because it doesn’t seem to him like a red card in her personality. They both have to work on it. They don’t because he is self-centered in a good way. He thinks she might have a problem with him, when actually she has a problem of her own . Film doesn’t delve much into her side of the problems. Balachander could’ve easily done that. Hence, we are left with the question, Can the person who knows how to love turn it into hate under extreme self-destructive good ego? Anu started accepting life as it comes . It is good to live life without frustrating ourselves. But when you want something and you think you can adjust with it, then you end up frustrated further. Mohan asks her to eat something and after hesitation and when she is also tempted she agrees to order. Mohan doesn’t add to it and immediately, accepts and orders. She likes that nature in him. He understands how she can be hesitant. She likes that aspect. In the film, the aspect of her affection and trust in him needs to be questioned. It does but then rotates in a loop . Hence, we end with a question, Can the person who accepts life-as-is demand him to be the way she likes and wants and ever come out of her darkness, if required ? The film is all about them and the situations around them.

Both the actors K. Manikandan and Meetha Raghunath gave apt performances to the characters. Meetha, understood how she can be a submissive naive girl while growing into a firm person who can voice her thoughts if required. Their performances make the movie. Even other characters also give us the experience of watching into the lives of someone in our neighborhood. Good Night is held together by performances and Sean Ronald OST. For example, take the scene of Anu loving to cuddle Mohan while sleeping. After a few days, she wakes him up and sees if he stops snoring. He wakes up and sleeps again casually. At a later point, completely disappointed by his failures, he wakes up and she wakes up. He takes it as a sign of him disturbing her. But she tries to say she wants him beside her. This subtle scene and transition shows, how good they are as actors. Sean Ronald composes music that goes with the film and nothing tries to move a piece of puzzle out. It just fits into it. Cinematography and production design added to the environment of Mohan and Anu. Catch the lack of detailing in Anu/Mohan’s flat and the unkept old look in Mohan’s parents’ house, Anu’s grandparents’ house. The feeling of someone living for years has been achieved in the first shot. Many Tamil films tend to get these things right in production design but they tend to go overboard. Here, realism gets more importance than “filmy grandness”.

Vinayak Chandrasekharan decided to keep things simple and real . But then, some cliches and a few emotional scenes seem to have been kept too casual. An open conversation between Mohan and Anu, voicing their concerns is needed before the resolution . The characters needed to realise where they are going wrong before taking decisions. Also, the initial portions do a good job of establishing but then the characters lose some clarity and clear graph as we move into the story. Balachander is a genius-level writer in keeping those characters intact and if the director learns from him, that aspect, his next would be even better and great . Visu tends to fizzle out the drama before pre-climax and then drag out the conflict for some more time before a resolution that seems simple. Both work but Balachander characters need Balachander-level justification.

Had the writing for Ramesh, Raichal Rabecca , and Balaji Shakthivel [ Premisthe Director] characters had been better in terms of exploring their equations with the main characters, the experience would have been better. Also, Raichal character trying to establish that connection with Anu – a Balachander touch, would have worked out even better to the emotional core and Anu’s self-loathing personality. Also, Ramesh and Balaji Shaktivel could have become two sides of Mohan’s consciousness – another Visu and Balachander touch, if writing explored in that direction. Balachander kind of a writer-director got to my mind with the first scene, itself. Yes, web series directors in Tamil are trying to get realism and neo-realism into their execution. But Balachander made it cool and aspirational right away in the 1970s. More than the realism, the shot division and continuous shots, establishing everything without trying to give a voice-over or separate build-up take us into the film and let us pick the characters we like. That is Balachander’s specialty in my perception and this director showed a tendency to adopt that aspect. Hence, the comparison to push the team in that direction.

On the whole, Good Night is an embrace that lasts with us until U-Turns start to bother us. There are some in writing which needed to exceed limitations while it compromised to a decent level. The compromise in budget or execution is not an issue but the compromise in ambition to write a free-flowing serious conversation without cutting into comic relief could’ve been avoided. It felt like the writer wanted to keep it all light for fear of making it melodramatic and too filmy. These flaws don’t bother you too much while watching. The movie asks you to have a Good Ride into the Night problems of a couple that can only be solved by themselves . In a way, asking us to also address our issues from a third-person or second-person purview which may never look bigger than what is precious to us. Sometimes in life losing a battle feels like the ultimate win. You need to lose your adamant self and discover new horizons . Good Night is such a humble attempt that leaves us with a good aftertaste .

Theatrical Trailer : Good Night Tamil Review

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Great review, i love it

Thank You, Mirka 🙂

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Good Night Director Vinayak Chandrasekaran: I Wanted My Film to be Titled ‘Kadhalikka Neramillai’

Vinayak Chandrasekar’s debut directorial Good Night is unique and refreshing in more ways than one. And its layered writing shines through when simple moments of sweet little nothings turn into a delightful comedy with huge emotional payoffs. With the protagonist Mohan ( Manikandan ) suffering from snoring issues, Good Night seems to be a fitting title. But Vinayak reveals that he initially had a different name in mind. “We tried to get the title Kadhalikka Neramillai, a 1964 film starring TS Balaiah and Nagesh, but we couldn’t get it. That’s when my mentors TJ Gnanavel (director of Jai Bhim (2021)) and Vinci Raj (publicity designer of Kaala (2018)) suggested the title Good Night . I wasn’t convinced; I had my insecurities. However, I should thank them as the title was well received by the audience.”

Mohan (aka Motor Mohan) is a middle child who shares a tiny home with his mother, a bratty younger sister, an elder sister, Maha (Raichal Rebecca) and her husband Ramesh ( Ramesh Thilak ). There is a story behind his name as well, quips Vinayak. He says, “I am a big fan of Mohan sir and the name seems to be more common and realistic. His mother might have been crazy over actor Mohan during her college days as well. I had a scene in my mind connecting all these dots. So I decided to name my protagonist Mohan.”

While the characters in Good Night are quirky and relatable, what makes us enter into their crazy world as soon as the film starts is the long single-take introduction sequence. As the camera moves into the different rooms, registering the film’s geography, we get to see how the gossip about the younger sister’s arrears spreads like forest fire in the small colony, while Mohan and Ramesh place dibs on who gets to use the bathroom. Vinayak portrays the family dynamics also in this scene - we see Manikandan argue with his mother for cooking the same dish every day and then pull Ramesh's leg for sharing an intimate moment with Maha. Vinayak says that this single-take sequence was filmed 17 times before the entire scene fell into place. “We have a certain timeline for films. I had so much to say, and hence I was compelled to establish all the characters within the first few minutes of the film. Thereby, I planned for a single shot and planned for little things, including Ramesh asking money from Mohan, the neighbour aunty requesting gravy from Mohan’s mother, and many more.” 

Speaking about his favourite moments in Good Night, the director points out that it was when Ramesh loses his child and lets out a loud cry, which is one of the saddest moments in this breezy film. “We spoke about the scene and planned how to execute it for a long time but we okayed it in the first take. I had tears in my eyes when Ramesh Anna performed this scene. Everyone clapped after the shot and I hugged him so tight. Ezhudhum podhe romba baaram ah irundha scene (even when I was writing this scene, I felt very sad and deeply affected), so it was an emotional moment when Ramesh performed it so well. I am happy that the audience also connected with it.” shares Vinayak.

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Good Night review: The Tamil film will definitely go down as one of the most charming movies of the year

Good night review: a moving film about ordinary people and their problems. the tamil drama focuses on a man, whose biggest problem in life is snoring..

If feel-good cinema is a genre, then debutant Vinayak Chandrasekaran’s Good Night, a moving film about a young guy’s snoring problems, deserves a place right at the top. At a time when filmmakers are so obsessed with making pan-India films with stars, Good Night comes as a whiff of fresh air. Malayalam cinema has championed the art of making films about common people and their problems. In Tamil cinema, films like Thiruchitrambalam, DaDa and now Good Night are the perfect examples of stories that touch upon common, everyday problems and present them in the most lighthearted way. Also read: Pathu Thala, Simbu's predictable but engaging gangster film works only because of him

Even before the film starts (as the titles appear on screen), we are introduced to our protagonist Mohan, who has been struggling with his snoring issues. He belongs to a lower-middle class family and works in an IT company. He has the most mundane life, but that’s never been much of an issue for him. It’s his snoring that has been the biggest problem in his life. Thanks to his snoring, he earns the moniker ‘motor’ Mohan in his office and he always gets picked on by his colleagues. Mohan lives with his mother and two sisters – with the elder one married and her husband also stays with them. When Mohan meets Anu (Meetha Raghunath) by accident, love blossoms between them in the most unusual way and it also marks the beginning of a major turnaround in his life. In no time, Mohan and Anu get married and little do we know that the snoring issue can wreak havoc in their lives.

Good Night is one of those rare Tamil films where you find yourself laughing uncontrollably for most part. The humour flows seamlessly and some of the scenes, which are written so well, are genuinely funny. It isn’t easy to make a film about ordinary people and their problems and yet keep audiences invested. Good Night does that so convincingly and one of the main reasons for it is the writing. Vinayak Chandrasekaran succeeds in this because he doesn’t try too hard, and that’s what makes everything about this story highly compelling and at the same time quite accurate. Snoring is more or less an issue in every household. We all have a family member or a relative who’s a loud snorer. This is what makes the conflict in Good Night highly relatable.

This is also a film about insecurities in modern-day relationships and the lack of communication. Unlike the first half which is highly entertaining, the film gets adequately emotional in the second half. Post marriage, the way Mohan and Anu struggle to deal with their core problems is exactly how most youngsters deal with their issues in modern relationships. Mainstream cinema rarely has vulnerable men who can cry their heart out. Most of the time, it's portrayed as a weakness. Good Night is an exception and every time Mohan sheds a tear or two, there are quite a few of us who would connect with him on an emotional level. But won’t express it fearing it is a sign of weakness.

The film gets the casting on point and every character shines with neat performances. It is Manikandan, who’s so far sidelined to play character roles, that gets a major breakthrough with Good Night. He’s brilliant all the way and is ably supported by Ramesh Thilak, Meetha and Balaji Sakthivel in key roles. Good Night will definitely go down as one of the most charming films of the year.

Film: Good Night

Director: Vinayak Chandrasekaran

Cast: Manikandan Kabali, Ramesh Thilak, Meetha Raghunath

• Tamil Cinema

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Good Night Movie Review (2023)

• 12 May 2023

Vinayak Chandrasekaran's 'Good Night' is an easy watch with a few good laughs, but it struggles to hang on to a single tonality

Good Night Movie Cast & Crew

Good Night , written and directed by Vinayak Chandrasekaran, has been sold as a comedy about a man with a snoring problem – but it's actually more of a drama, and it's about a lot more than that man with the snoring problem. But let's begin with the beginning, where we meet the family of this man, Mohan, played by Manikandan. We meet his mother, his two sisters, the brother-in-law who lives with them, and also a neighbour who comes and freely asks for a favour. The milieu is instantly established in a matter of minutes – and it's the same with Anu, played by Meetha Raghunath. She's a loner whose only "family" is the lovely old couple she rents her room from. The casual rapport between this older duo is fantastic. I wanted to watch a whole movie about them.

I also wanted to watch a whole movie about Mohan's older sister, Maha, and her husband Ramesh. Raichal Rabecca and Ramesh Thilak play these characters, and they are superb together – they make us believe they are actually a real-life couple. The writing in these parts feels like a comfortable old sofa. If we see them getting a little physical despite the fact that anyone could barge in at any time, we also realise the love they have for each other and the fact that they are desperately trying for a child after five years of marriage. One of the most amazing scenes in the film is when this woman realises that the very same people who cursed her when she was "barren" are now nicer to her, after she gets pregnant. The way she yells at her husband, the way he almost storms off, the way he quickly returns and makes us smile – it's brilliantly written and acted.

The scene-writing has this lovely quality of starting somewhere and ending somewhere else, like the quarrel that ends with the discovery that the sister is pregnant. Mohan works in IT and earns quite a bit more than Ramesh, who repairs water filters. This leads to a lovely bit where Maha calls him and says she is going to use his credit card for a scan and asks him to give her the OTP he will soon get on his phone. There is no embarrassment on her side, and from his side, there is no sense of being exploited. This is the nicest film family you've seen in years. And there are big laughs in the way Ramesh becomes "family" with everyone whose home he services, including Mohan – that's how he married Mohan's sister.

And it's again a water filter issue that unites Mohan and Anu. There are laughs here, too, but this pair does not click. Manikandan is very good in a part that's all over the place – he tries his best to not let the cracks in the half-tragic, half-comic character show. But Meetha Raghunath has a permanently  lost look and she's unable to fully convey the emotions of a character who – like Mohan and his snoring – has issues of her own. And this is why the film never realises its potential. This central relationship starts off well enough, but it becomes very repetitive – and in the second half, it becomes extremely contrived. It's never clear why Mohan would not consult a sleep specialist earlier. And once he does, it's not convincing that he doesn't go back again. 

Instead, we are given a lot of supposedly "comic" scenes of Mohan trying to stop his snoring problem using YouTube videos – it doesn't work after the third or fifth time.  The scene of Mohan's younger sister's friends laughing at his snoring, the scenes of Mohan's bad relationship with his boss (played by Bagavathi Perumal) – these seem very artificial. Why not treat the Mohan-Anu scenes with the same dignity as the Maha-Ramesh scenes, where even a big tragedy is never allowed to get out of hand? Good Night – at first – shows so much promise that it's a pity the film sinks into a melodramatic mess that's unable to decide on a tone. But for a first-time director, there is certainly a voice here – and I left the theatre hoping that the next time, this voice will be heard louder, and with more confidence.

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Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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Good Night Review: Sweet Watch!

PUBLISHED DATE : 11/May/2023

Good Night is an emotional comedy drama starring Manikandan and Meetha Raghunath in the lead roles. It is directed by debutant Vinayak Chandrasekaran.

Manikandan is an IT employee who is ridiculed by the people around him due to his snoring problem. Meetha Raghunath and him fall in love and they get married. Only then, the heroine finds how loud her husband snores while sleeping, the marriage life drama unfolds.

Writing/ Direction:

Snoring is such a relatable topic, the core will instantly connect with everyone. The beauty is that the story doesn’t stick only to it, characters and situations are very well written for us to empathize with the on-going drama. Manikandan is like a next-door guy whom we see in our day to day life, while Meetha is silent and has a lot of past hardships going on in her head, these traits of the lead characters are quickly yet strongly established. The love portions are so adorable as we watch with a little smile on our face. There are plenty of comedy moments powered by lively dialogues at wacky spots, the jokes land exceptionally well as they have a very authentic approach to it. The drama and the characters involved in it evolve simultaneously with the screenplay, the undercurrent snoring problem gets registered as well. Absolutely no complaints with the first half which offers a non-stop tornado of entertainment. The second half has its strengths and weaknesses in an equal split. The reasoning behind the drama is strong, it has two layers in fact, snoring which is natural and Manikandan struggles to handle his self-guilt. But somehow the incompleteness in certain scenes and storytelling slowly moving towards the cinematic side lowers the impact. Also, the length appears to be an issue, the drama is stretched out without a powerful conflict to drive forward. The climax is underwhelming too, the way things conclude between the characters could have had a little more realistic sense. However, the second also has impressive sequences that are engaging for sure, but just could not invest that much.

Performances:

Manikandan is such a delightful performer and he proves it time and again. He is so natural on-screen and the character he has played here is likable. Neat act by Meetha Raghunath, subtle on-screen by perfectly adapting her role. Ramesh Thilak is another spontaneous and a momentous performer who can play two extremes, he scores in both the comedy and the emotional situations. The equation between Balaji Sakthivel and his wife's character is so cute. Likewise, most of the characters are portrayed with solid writing and they all blend beautifully.

Technicalities:

Superb work by the sound department, not just the snoring noise, impressive sounds are planned and used as per the edit transitions. Lovely work by Sean Roldan, he makes the montages more memorable by his songs and the background score also helps the different moods of the story. Quality camera work, the team has given everything that is required to present a scene to its full value. Plenty of sharp and thoughtful cuts, but the overall runtime could have been a bit crisper.

Offers a rare yet a relatable core topic, such a lively flick that gets dull marks with its setup that has some admiring establishment scenes and great laugh value. The second half is decently made, but the emotional drama lacks impact.

Rating - 3/ 5

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