3BHK on OTT: Siddharth's family drama is now streaming and here are 5 reasons to watch it now
3BHK on OTT: 5 reasons why you should watch Siddharth's family drama
A star-studded ensemble
3BHK features known cast members, including actors Siddharth and Sarathkumar at the forefront. The film also features Good Night fame Meetha Ragunath, Devayani, Chaithra J Achar in her Kannada debut, Yogi Babu and others. With such known faces, the cast serves as a major highlight for 3BHK, driving relatability with audience easily able to get associated with the story and their characters.
A story rooted in reality
3BHK takes a simple plot, that is a middle-class family striving to own a house of their own. It is the average dream of any such Indian family. The film takes this as the concept, and makes a screenplay that is relatable on many levels. Not only this, 3BHK also delves into other woes of middle-class such as education loans, the pressure of conducting extravagant weddings, and working-class pressure to entwine it as a family drama.
Reunion of iconic duo Sarathkumar and Devayani
3BHK marks the reunion of iconic onscreen pair Sarathkumar and Devayani. The duo last shared screen space in the 1997 film Surya Vamsam. The veteran actors play the elderly couple with two children, as they strive hard to give decent lives to their offsprings, while morally support each other.
Fan of Surya Vamsam?
Not only do the iconic pair of Surya Vamsam has come together in 3BHK, but the film also explores the sturdy and steady growth of middle-class individuals. Surya Vamsam is a celebrated family drama which explores the family dynamics between a father and son. In 3BHK, not only the film explores the same bond, but also talks about other issues like cons of arranged marriage, the placement of women in society, the gender norms in a limited way. While 3BHK may not concentrate these in depth, it certainly acknowledges them.
A film for all
Looking to watch for a film that can be enjoyed by all? Then 3BHK is your go-to this weekend. A family entertainer, it has some for all. Be it the pressure of being a breadwinner, or a woman's constraints in case of marital discord, 3BHK explores these issues.
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India Today
4 minutes ago
- India Today
Tamannaah denies rape of Avantika in Baahubali: It's finding herself through a man
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Kyunki woh hamesha aapko aisa mehsoos karate hai ki aap jo bhi kare uske baare mein aapko sharmanaak hona chahiye. jab woh aapko mehsoon kara sakte woh aap pe control paa sakte hain. (When people can't control you, they use a technique and that is shame and guilt. Because they always make you feel that whatever you do, you should feel ashamed about it. When they can make you feel that, they can gain control over you.). This is one aspect of the conversation."The actor also highlighted what she views as a deeply rooted hypocrisy in Indian society regarding natural human processes. She pointed out the contradiction in how society treats the very process that brings life into existence, noting that despite its fundamental importance, it remains heavily stigmatised. "In our country, people look down upon the idea of the process by which you and I are here today. If our parents didn't come together, I don't think you'd be here. Neither would I nor would anybody else be. And we look down upon it so much, we are so repressed," Bhatia on this societal contradiction, she said: "Jo itni pure cheez hai, usi ko ham sabse gandi nazar se dekthe hai. Woh nazariya jo hai, wo ham sabko aise mehsoos karate hain that we have we have to be ashamed about that aspect of our lives - to hide and not discuss, or we can't be open about that conversation). The thing that is so pure, we look at it from the dirtiest perspective. That perspective makes us all feel that we have to be ashamed of that aspect of our lives - to hide and not discuss or we can't be open about that conversation)."advertisementThe conversation took a more specific turn when Bhatia addressed criticism of certain film sequences, particularly defending the artistic vision of directors. "Log hamesha aapko mehsoos karane chahte hai ki aapne kuch galat kar diya. But, yeh sabse basic cheez hai life ki. Isiliye aaj hum hai. Ye mujhe aaj tak baath samajh mein nahi aayi ki log kyun - jab aap ek film dekhte hain - wo ek director ka vision hota hai (People always want to make you feel like you've done something wrong. But, this is the most basic thing in life. That's why we are here today)," she said, expressing confusion about why people judge films without understanding the director's intent. Bhatia recalled a conversation with renowned director SS Rajamouli, who explained his vision for the stripping sequence in 'Baahubali 1': "I remember when Rajamouli sir was explaining that entire sequence to me, he was like, 'she is that divine feminine, who is wounded. She is beautiful. She is feminine. She wants to be loved. But, she has gone through so much hardship in her life that she feels like she needs to push everybody away. She can't let anybody inside because they will always take advantage of her. So, she holds boundaries. But, here, there is a young man who is merely trying to woo her to make her see how beautiful she is.'"advertisementDescribing the visual storytelling approach, Bhatia explained: "Agar aapko yeh visually darshana pade, toh there was an entire sequence about, kuch baali shift ho jahte hai, bindi lag jahte hai - jab apne aap ko dekhte apna khud ka chehra dekhti hai - wo dekhti arrey mujhe hameesha se lagtha tha ki mujhe apna aap ko itna strong kar diya tha ki apni jo namrata hai wo kahi na kahi gum ho gayi thi. (If you had to show it visually, then there was an entire sequence about some bangles being worn, bindi appearing on her forehead - when she sees herself, sees her own face - she sees 'oh, I always thought I had to be my warrior.' She had made herself so strong that her essence, her innocence, had gotten lost somewhere. And this is Shiva's character who helps her reconnect with herself)."The actress emphasised how individual perspectives shape the interpretation of artistic content. "Yeh tha nazariya. Ab yeh unka nazariya hai. yeh har cheez ko vaise hi dekhthe hai. Kyunki everyone perceives. Aapna kuch bhi dikha liya vo sabse purest cheez dikha lijiye. Agar kiso lagta hai sex is a bad thing or your body is a bad thing, usko vohi dikhayi dega kyunki woh uska nazariya hai, uski soch hai. Ek filmmaker aapko kuch bahut hi beautiful dikhana chahta hai lekin aapko kuch aur dikhta hai. (This is how everyone sees everything. Because everyone perceives. Whatever you show them, even if you show the purest thing. If someone thinks sex is a bad thing and your body is a bad thing, that's what they'll see. Because that's their perspective. A filmmaker wants to show you something very beautiful, but you see something else. That's their thinking)," she conclusion, Bhatia firmly rejected negative interpretations of the artistic work, stating: "I don't think I take the burden of that and, as creative people, I don't think it was the rape of Avantika. It was Avantika finding herself through a young man who was wooing her."The actress's comments reflect ongoing debates in Indian cinema about artistic freedom, societal norms, and the interpretation of intimate or romantic scenes in films. Her stance emphasises the importance of understanding creative vision rather than imposing predetermined judgments on artistic expression.- EndsMust Watch
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4 minutes ago
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Actor Tamannaah Bhatia talked about her choice of films and songs, adding that they need to have an impact on or influence her audience's lives. In an interview with The Lallantop, Tamannaah said that her projects can't be something that she only does for a living. She said, "so be it", if a child has to watch her song while eating their food. Tamannaah Bhatia in a still from her famous song Aaj Ki Raat from Stree 2. Tamannaah talks about toddlers watching Aaj Ki Raat When the host asked which song she was talking about, Tamannaah replied that it was Aaj Ki Raat, her dance number from Stree 2. She said, "I can't tell you the number of mothers that have called me up and said, 'My child will eat food only if he hears Aaj Ki Raat'. Because bacche apne diaper mein aise aise hil rahe hote hai (moves side to side)." Tamannaah says babies don't remember lyrics When the host said that, this raised concern about the mothers, Tamannaah added, "Mummyo ka concern hai ki bacche khana kha rahe hai ya nahi? Priorities hote hai. Ek aadh saal mein unko kaunse lyrics samajh mein aayenge (Mothers' concerns are whether their kids are eating properly or not. There are priorities. What lyrics will they understand at the age of one)? There is music. We forget films, we remember the songs. It's the fact." About Aaj Ki Raat The song Stree 2 was a sensual dance number featuring Tamannaah. The song, a seductive medley, talks about a woman urging her lover to only watch her from afar and not touch her. The song and music video, featuring Tamannaah, were both popular. Stree 2 is a comedy horror film directed by Amar Kaushik. The film stars Shraddha Kapoor, Rajkummar Rao, Pankaj Tripathi, Abhishek Banerjee and Aparshakti Khurana. It earned ₹900 crore, and was among the biggest hits of 2024. About Tamannaah's upcoming film Tamannaah is gearing up for her upcoming film VVAN: Force of the Forest. Directed by Deepak Mishra and Arunabh Kumar, the film will also star Sidharth Malhotra. Set in the dense, mythical heartlands of Central India, VVAN is rooted in Indian folklore and promises a gripping cinematic experience filled with ancient legends, hidden temples, and secrets buried deep within nature. The film is set to release on May 15, next year.
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When asked if he had second thoughts on the relevance of the story as the film faced delays, he avers that the breaks helped better the narrative: 'I was aware that this story would remain relevant. We used the breaks effectively to improvise the scenes that were already written or assess the portions that had been filmed. If we thought an emotion or a plot point was conveyed sufficiently, we re-examined what we were planning to shoot to avoid repetitions.' Two-part story Kingdom is the latest in the list of films to opt for a two-part story. Gowtam says this was part of the initial plan, so as to do justice to the multiple characters and subplots. 'The promotional plans were designed to reveal different aspects of the protagonist's character and the subplots. The first poster revealed that he is a cop, the next visual teaser pertained to a subplot, and the next one outlined his bond with his brother. We thought all this would culminate in giving people an idea of the film.' In an earlier interview with The Hindu, Gowtam had revealed that Jersey went through eight or nine drafts. In the case of Kingdom, he lost count, says the director with a laugh. 'The challenge here was to weave in multiple subplots and characters, so it went through several iterations. If one sub-plot doesn't work, it will affect the story and the core emotion. That was always the concern.' Batting for originality There have been comparisons to older films, ranging from SS Rajamouli's Chatrapathi to Karthik Subbaraj's Retro. Both Retro and Kingdom were in production at the same time, and broad similarities would be incidental. Gowtam considers the comparisons to Chatrapathi and says with a smile, 'To be even compared to that film gives me a high. But honestly, both are very different films. I am most sincere in my efforts to write an original story and never seek shortcuts of replicating a scene from any other film. If someone in my team points out any similarities, I rewrite it. My writing will never consciously replicate an existing work.' He is yet to take a closer look at the feedback on Kingdom and is yet to watch the film in theatres. He admits that he is reluctant, even scared, to watch his films in the theatres. 'I remember watching Malli Raava in a hall. The guy next to me got up and walked away. I cannot take it if someone pulls out a phone, etc. I haven't even watched Jersey completely in a theatre; I watched a few scenes and exited.' The anticipation for Kingdom stemmed from Gowtam's collaboration with Vijay, and recently, the director revealed that he had first pitched Malli Raava to the actor before Sumanth came on board. Gowtam states that he does not get weighed down by expectations: 'I don't write a script to suit an actor or to cater to a particular market. Once the story is completely done, there may be some enhancements for popular appeal. But the story and its emotional connect are of prime importance to me.' Adventurous colour palette The visual palette is one of Kingdom's highlights and Gowtam credits it to production designer Avinash Kolla and cinematographers Girish Gangadharan and Jomon T John. 'When I write, I have a fair idea of the shot divisions, visual texture and music. But a lot depends on the cinematographers and I had great people on board. Girish began working with us and because of a six-month break, he moved on to work in Coolie. Jomon stepped in. We tried to be slightly adventurous with the colour palette. For example we had a greenish tinge in the prison sequence, contrasted by darkness. In one scene, you can see the shadows and highlights of faces but not the expressions; we tried to capture the mood. These creative calls worked.' Filming in real locations, as opposed to relying on VFX, also helped. Gowtam explains, 'I could see the energy of the actors on locations; a real location helps enhance performances and removes artificiality.' Next up, 'Magic' In between Kingdom, Gowtam also quietly completed a film titled Magic, an Anirudh Ravichander musical starring relatively new and young actors. 'This isn't a Hollywood or Broadway sort of musical where dialogues are conveyed through lyrics. This will be a chilled out film about a music band in school; it has 11 songs.' The film is likely to be up for release in a month or two. Before Kingdom 2, Gowtam hopes to take a break and work on another film. 'Vijay is busy with Rahul Sankrityan's and Ravi Kiran Kola's films, and I have been invested in Kingdom for too long. It will help to take a break and return with a fresh perspective.'
