Cinema VinesVenky Atluri’s latest venture, Vishwanath & Sons, arrives with a bold premise that places a 25‑year‑old surrogate mother, played by Mamitha Baiju, in a romantic orbit with a 51‑year‑old industrialist and Olympic gold‑medal pistol shooter, portrayed by Suriya. The film, released this week, tackles the power imbalance head‑on, a departure from Atluri’s earlier romances where the leads were more evenly matched. The narrative centers on Sanjay Vishwanath, a 40‑year‑old businessman who inherits his family’s manufacturing empire and is also a celebrated sports shooter. His mother, Radhika Sarathkumar, worries that he will never marry and that the family will lack an heir, prompting him to arrange a surrogacy in the United States to appease her. When the child is born and later faces a medical emergency, Sanjay is forced to reconnect with Maddy, the 22‑year‑old surrogate, and the two begin a relationship that challenges societal expectations.
Critics have given the film a moderate three‑star rating, noting that while the age‑gap romance isn’t flawless, the performances of Suriya and Mamitha Baiju bring authenticity to the story. The director’s attempt to balance Boomer sensibilities with Gen Z attitudes results in a film that sometimes feels self‑aware yet occasionally slips into clichés. The supporting cast, including Raveena Tandon, adds depth, but the film’s pacing and character arcs sometimes wobble, especially when dealing with heavier themes such as childhood trauma, societal ostracism, and the complexities of modern parenting.
Despite its uneven execution, Vishwanath & Sons addresses significant issues head‑on, even if it does so indirectly. The plot explores the idea of a man who treats a child as a luxury item, comparable to a Rolex, and the emotional fallout that ensues. Maddy’s character is portrayed as having a full life ahead of her, yet she falls deeply in love with Sanjay, adding layers to the narrative. The film’s humor and drama blend to create a story that feels both familiar and fresh, drawing parallels to classic tales like Jean Webster’s Daddy‑Long‑Legs while updating the context for contemporary audiences.
In sum, Venky Atluri’s film offers a mixed bag: a daring age‑gap storyline, strong lead performances, and a willingness to confront complex social topics, all tempered by uneven storytelling and a sometimes disjointed tone. Fans of Suriya and those interested in modern family dynamics will find reasons to watch, but they should be prepared for a film that oscillates between earnestness and melodrama.
