Aranmanai 4

n “Aranmanai 4,” the latest installment of Sundar C’s horror-comedy franchise, viewers are treated to a familiar blend of ghosts, gags, and an uninspired storyline that has grown increasingly predictable over time. The film, like its predecessors, relies heavily on tried-and-true tropes of Tamil horror, with a plot that is as thin as the supernatural veil it attempts to weave.

The Plot: Haunted by Familiarity

The narrative revolves around Saravanan (Sundar C), an honest lawyer, and his aunt (Kovai Sarala), who rush to the fictional village of Kovur after receiving devastating news about his sister Selvi (Tamannaah Bhatia). Upon arrival, they find that the palace Selvi’s family resides in is haunted. What follows is a predictable series of events where the characters, one-dimensional and poorly developed, attempt to rid the palace of its ghostly inhabitants.

Clichés and Predictability

From the outset, “Aranmanai 4” suffers from an overabundance of clichés. The audience is greeted with the all-too-familiar setup of a haunted palace, a family in distress, and a series of feeble attempts to exorcise the spirit. The predictability of the plot is perhaps the scariest element of the film, with jump scares and ghostly appearances that can be seen from a mile away. This predictability raises the question of whether the Tamil audience has become so attuned to the Aranmanai formula that they can foresee every twist and turn.

Characters: Shadows of Potential

The characters in “Aranmanai 4” are mere shadows of potential, with little depth or development. Selvi, despite being central to the story, is largely reduced to a figure of distress, her backstory and aspirations left unexplored. Maya (Rashi Khanna), a doctor and granddaughter of the palace’s former owner, adds little to the narrative beyond superficial involvement in the ghost-hunting efforts.

Kovai Sarala’s comedic talent is underutilized, her character relegated to delivering weak punchlines meant to inject humor into the otherwise tepid script. Even the supernatural elements fail to captivate, as the audience is well aware of when and where the scares will occur, stripping the film of any genuine suspense.

The Feminine Gaze: A Missed Opportunity

The treatment of female characters in the film is particularly disappointing. The post-credits scene, featuring Rashi Khanna and Tamannaah in a provocative dance number, feels out of place and panders to the male gaze, much like similar sequences in the previous Aranmanai films. This approach not only undermines the film’s horror elements but also raises questions about the necessity and appropriateness of such scenes in a genre that traditionally relies on suspense and fear.

Visuals and Music: Falling Short

The visual effects in “Aranmanai 4” are lackluster, often failing to convincingly portray the supernatural phenomena that are central to the story. Hiphop Tamizha’s energetic yet grating music does little to elevate the film, often feeling more like an assault on the senses than an enhancement of the narrative.

A Glimmer of Folklore

One of the few redeeming aspects of the film is its incorporation of the Baak, an evil spirit from Assamese folklore. The portrayal of this spirit, which murders individuals and assumes their identities, adds a slight edge to the otherwise mundane plot. This element is handled decently well and provides a brief respite from the overwhelming cliches that dominate the film.

Verdict: In Need of Divine Intervention

In “Aranmanai 4,” Sundar C’s reliance on a formulaic approach results in a film that fails to excite or scare. The divine intervention used to save the characters within the movie might as well be a plea from the audience for cinematic salvation. With its predictable plot, underdeveloped characters, and uninspired execution, “Aranmanai 4” is a clear indication that this franchise may have run its course. Perhaps it’s time for Sundar C to retire the Aranmanai series and explore new creative avenues.