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Siddharth’s 3BHK: Drama feels real, but is it?

Published On: July 4, 2025
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3BHK is a poignant family drama that explores the relentless pursuit of homeownership in Chennai, resonating deeply despite some narrative contrivances.

A Shared Burden: The Opening Scene

The film opens in 2007 with Prabhu (Siddharth) and Aishu (Chaithra J Achar) anxiously checking their 12th-grade results at a cyber cafe. This initial scene, brimming with fear and shared anticipation, immediately sets the tone for the film’s central theme: how personal anxieties and aspirations are often intertwined with those around us.

Director Sri Ganesh cleverly uses this relatable moment to illustrate that life’s pivotal outcomes, while individual, are frequently experienced collectively. It highlights the quiet understanding and support that defines intimate relationships.

The Dream of a Home

At its heart, 3BHK chronicles the Vasudevan family’s decades-long struggle to own a home in Chennai. Led by the endearing patriarch (R. Sarathkumar), their journey reflects a universal low-to-middle-class aspiration in a city where real estate perpetually soars.

The narrative unfolds through a series of rented homes, each bringing its own minor but nagging problems. This constant instability, coupled with financial anxieties and the looming fear of illness, paints a true-to-life picture of lives lived without true freedom or abandon.

Sacrifices for a Shared Goal

Every member of the Vasudevan family contributes to this collective dream. The father works extra hours, while Prabhu sacrifices a conventional adulthood. The mother (Devayani) finds ways to earn, and the younger sister willingly attends a government school so her brother can have a better education.

This relentless pursuit, however, takes a toll, particularly on Prabhu, who feels a persistent sense of inadequacy. The film portrays the father-son relationship with a rare sensitivity, revealing the unspoken weight they both carry as they chase an elusive dream.

Crafting the Narrative

The writing in 3BHK shines in its vignette-like structure, ensuring each scene carries a sense of urgency. Spanning 140 minutes, the screenplay is layered with emotional currents that prevent predictability, even when it verges on over-sentimentality.

The ensemble cast delivers compelling performances, creating a strong synergy. This allows multiple characters to undergo significant arcs, which is a key strength in Sri Ganesh’s storytelling.

Areas for Improvement

Despite its strengths, 3BHK does lean heavily on clichés and can feel overly dramatic at times. The film constantly pushes emotional buttons, leaving little room for the quieter, everyday nuances of life to breathe.

The background score by Amrit Ramnath is almost continuously present, often nudging the viewer’s emotions overtly. This persistent coaxing can become overwhelming, particularly in the latter half of the film, detracting from the natural unfolding of the story.

  • 3BHK realistically portrays the emotional and financial struggles of a middle-class family aspiring to homeownership.
  • It features strong and sensitive performances from R. Sarathkumar and Siddharth.
  • While heartfelt, the film can be melodramatic, with an overbearing background score that might lessen its impact.

Ultimately, 3BHK’s ambition to explore a lesser-walked path makes it a worthwhile watch. Despite its occasional missteps and contrived elements, the film produces genuinely memorable moments that resonate deeply with the viewer, making it a heartfelt, albeit heavy, experience.

Heena Naaz

Heena Naaz is a culture and lifestyle writer who covers entertainment with an eye for narrative and impact. With over 6 years in media, including film analysis and travel journalism, she curates stories that resonate emotionally and culturally. Heena’s features have appeared in digital magazines and campaign content for creative brands. Whether it’s reviewing new cinema or uncovering underrated travel escapes, she guides readers with warmth, taste, and perspective. Find her on LinkedIn.

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