3BHK
Introduction
The never-ending adventures of a middle class family are accurately showcased during the two decade period in the new Tamil film 3BHK. There is a sense of hopelessness coupled with resilience that keeps them going. If it was a game of test cricket, then the recurring goal would be to see off the rocky passage of play, but do the middle class even have that luxury of putting away a half-volley without worrying about their own dismissal? It is the kind of conundrum that you witness with a sense of uncertainty as you are introduced to the family patriarch Vasudevan (R Sarath Kumar), who after years of tirelessly working is still finding his identity in the city. The specific conflict revolves around his wish to purchase a flat of his own in the city of Madras (Madras because the film kickstarts in 2006). There is a layer of uncertainty tagged to this aspirational dream, of the possibility ever of owning a place in the city that is booming alright, but at a speed that their family can’t quite keep pace with. Hence, the vicious circle for Vasudevan and his family revolves around shifting rented houses frequently, in the quest for a better tomorrow. And like most fathers, it is Vasudevan ho chooses to keep running this rat race without a clarity of its finishing line (firstly with his own siblings, and now with his close family).
Story & Screenplay
The writing in 3 BHK is designed to be an endless loop, a tunnel so long that you won’t realise a fleeting moment of light that is passed within seconds, only for another tunnel to arrive in the very next moment. Yet, this vicious nature of the screenplay isn’t made out to be repetitive due to its fabulous characterization that arrives with its touch of sensitivity. If it is the endless slog of Vasudevan, the pressure of keeping the momentum going is with his elder son Prabhu (Siddharth), who unfortunately for the family isn’t great in studies. The family often looks upon Prabhu as an investment, that often doubles up as a palpable sense of pressure for Prabhu, even as you witness him failing in school. Prabhu is essentially a Raju Rastogi (Sharman Joshi) coded character from 3 Idiots (2009) who would often buckle under the needs and wants of his family at a very early age.
In fact, the change of times is represented by a hint of symbolism – that of a computer that ironically acts as a nemesis for both Vasudevan and Prabhu. For Vasudevan, it is a machine that would potentially take his job away, for Prabhu it is a boom that people would push him to ride on. You almost notice Prabhu wilting like a flower devoid of water, while excessively receiving sunlight. In a scene when you notice a character trying to change his decision of opting Mechanical Engineering, simply because an IT boom was around the corner, you notice a reluctant Prabhu succumbing to it, just so that the IT boom could help secure a home for his family. And this coming of age story could also be viewed from Prabhu’s point of view – treading a similar path as his father, in a never-ending generational cycle without any objectivity on the future.
Elsewhere, you are also introduced to Vasudevan’s younger daughter Aarthy (Meetha Raghunath), the brighter student between her and Prabhu, who happily takes the bullet for the greater good of the family. In an early scene, you witness Aarthy laying a blueprint of saving, coaxing her family to religiously follow the savings model in order to save the deficit amount to buy a home. In another scene, you see her securing higher marks than Prabhu in her boards, but still volunteering to complete her basic education in the same school simply because it is affordable to the family, even as the primary focus of a breadwinner lays with Prabhu. It does tell you a thing or two about her selfless but practical mindset, being fully aligned with her father’s goal of wanting to purchase a new home for themselves. As a parallel characterization, the mother of the family Shanthi (Devayani) has similar traits as that of Aarthy, being selfless and having a calming demeanor about the situation of her family. Perhaps you need a calming influence in a family after all!
The obstacles in the drama are frequent, so much so that you don’t really get to witness the family celebrating the smaller victories of life. It is kind of a broad-stroke that remains relatable, given how life itself is an epitome of problems that recur at various instances in the drama. The commentary on the financial dynamics of a middle clasd family is definitely in play, even as you witness a host of internal expenses of the family – in a scene, you see Vasudevan arranging for an amount over a period of time, only for the news to be imparted to him that the estate property prices are on the rise. It is kind of a parallel that you draw that the city is evolving faster than the family. In another scene, you witness an unforeseen medical issue that emerges, always a ‘parasite-like’ event for the middle class that would drain all the savings in a single go.
Even on the personal front, you see the family coaxing Aarthy to marry in an affluent family, with a gaze on how she would be settled in life, and invariably the family would as well (and boy, does that backfire). Elsewhere, even Prabhu is struggling with his tryst with IT – finding trouble to first crack an interview, and later struggling to survive in the IT world. Also unlike Aarthy, he doesn’t succumb to the marriage pressure of being involved with an affluent family. Instead, you see him marrying his childhood sweetheart Aishwarya (Chaithra J Achar), a woman who would go on to support him at various instances in the drama. But if I were to realign with the theme of the drama, the decades pass by but without a bearing fruit for the family, until the members of the family decide to recalibrate.
The recalibration is generally a process associated with a family resolving the knots in their relationships, in order to reassess and realign their lives for the better. And it is here that the emotional core of the drama is retained – you witness relationship conflicts being amended, a few career choices being reworked and restarting their dream of achieving a home of their own. This formulates a beautiful passage that will well up your eyes, particularly in the manner in which the drama reaches its destination. It is bittersweet yes, but also brimming with hope, a searing aftertaste that formulates the impeccable screenplay here.
Dialogues, Music & Direction
The dialogues are warm and relatable, often going hand-in-hand with the broader theme of the drama, which is survival. The bittersweet nature of the drama is expertly exhibited by the simplicity of the lines, that does convey the intended emotions brimming beneath the surface. The music is decent and while the songs aren’t exactly memorable, they go well with the narrative structure while conveying the atrocities of living a middle class life. The BGM in that regard is good, maintaining an emotional thread with respect to its characters and their conflicts. The cinematography comprises of frames that are simplistic but definitely accountable for the emotional core of the drama. If you are emotionally invested in the characters and their journeys, then much of it has to do with the frames here.
The editing is fragmented, almost unfolding most of the drama in an episodic fashion. But the relatability of the characters, made me want to overlook this factor, something that doesn’t necessarily disconnect you from the drama even while ensuring that the drama is afloat. Director Sri Ganesh does a wonderful job here, almost giving an impression that this theme of a middle class crisis is everyone’s story, and that everyone may have experienced it at some point. There is a sensitivity and simplicity in his narrative style, that allows raw emotions to land even as you are invested in the world and the characters that he builds. There is a sense of sincerity that cuts through his art, that invariably reflects in his treatment with the drama. The direction is excellent here!
Performances
The performances are excellent by the members of the cast. Yogi Babu as Broker Babu, Vivek Prasanna as the manager of Vortex and Saraswathi Menon as Madhu are important cogs in the narrative, and each of them have their moments to shine. Chaithra J Achar as Aishwarya is sincere and earnest, a trait that reflects at regular instances in the narrative. Her support for her man remains unwavered, and it comes from a place of warmth and fidelity for a person who was in close quarters to her own struggling days (during childhood, and later on, as an adult). She is immaculate to witness. Devayani as Shanthi is the silent pillar of support for the family, a soothing influence that keeps the spirits up for the folks around her. Her vibe is gentle so much so that even her pain is masked, even as she silently goes about her chores without any complaints or ambitions. And she does a wonderful job here.
Meetha Raghunath as Aarthy is a little more fiery but in the same practical mould of her mother. There remains a difference in thinking wherein she is known to voice her issues, but only when it is unbearable for her. In that sense, she is resilient too while happily sacrificing for her family. And all of these emotions are wonderfully carried out by Meetha. Siddharth as Prabhu is a layered character who needed to internalize his pain, and the conflicts that were inflicted on him at a very early age. Prabhu is resilient too like his sister, but doesn’t have a distinct voice (for most parts of the drama), silently suffering through his insecurity for years. And the generational pressure also gets to him at times, resulting in frustration that only further fuels his silence. At the end of the day, he just wants to make his father proud, but is often unsuccessful here. All these emotions are wonderfully nailed in a brilliant performance by Siddharth.
R Sarath Kumar as Vasudevan remains a tragedy hero, much like most middle class men for their families. And the hero here is unsung too, going about his chores much like Kannan from Madras Matinee (2025). But unlike Kannan, he has a goal of owning his own place in a big bad city that offers no remorse. Unfortunately for him, his situations aren’t bright, a fact that spills upon his family too. In fact even in a scene following his surgery, you see the softness of the man while inquiring on the amount spent on his operation. It is symbolic of regret, but also resilience of having to restart at multiple instances in his lifetime. The conflicts are simple but recurring wherein the tall frame of a man often gives way to his understated nature, all of which is beautifully expressed in a performance that stays with you.
Conclusion
Backed by sincere performances, 3BHK traces the harsh struggles behind the great Indian middle-class dream filled with regret and resilience that makes for a brilliant watch laced with a layer of relatability. It is the year of humane stories for the Tamil Film Industry, and this is another gem in that list. Available on Amazon Prime and Highly Recommended!