Vishwanath And Sons Movie Synopsis: Will a business tycoon and an Olympian get into a relationship with the mother of his surrogate baby overcoming his reservations around marriage and their age gap? Vishwanath And Sons Movie Review: Sanjay Vishwanath (Suriya), the protagonist of Venky Atluri’s Vishwanath & Sons, seems to have everything — looks, sporting talent, limitless wealth, a loving mother and the admiration of those around him. But, like many Indian mothers, Nirmala Devi (Radikaa Sarathkumar) wants one thing he has no interest in — marriage and a family of his own.Sanju decides to fulfil at least part of her wish by becoming a surrogate father. But when the child needs his biological mother, Maddy Jay aka Madanakameshwari Jyothilingam (Mamitha Baiju) enters their lives. She agrees to stay with the child and Sanju’s family until she is no longer needed, but gradually falls for Sanju, drawn to his gentlemanly nature. He resists, citing their age difference: he is 42, she is 22. Maddy, however, will not give up that easily.Given the precarious nature of the premise, Atluri deserves credit for walking a fine line. He never pretends that this is a conventional relationship, but neither does he allow it to become creepy. The film’s biggest achievement is perhaps the dignity with which it handles the subject. Much of that comes from the casting. Suriya and Mamitha have such disarming screen presences that it is easy to trust their characters’ better instincts, while Radikaa’s warm, stately presence lends further credibility to the family dynamic. The actors seem to understand this too, bringing their most charming selves to the fore.Venky Atluri’s treatment does the rest. He keeps the film light and easy-going, rarely allowing a moment to become too uncomfortable. Even a risqué element, like Sanju’s month-end trips, is played for laughs. The emotional scenes are similarly kept from becoming too heavy. Like the film’s visual aesthetic — from its cinematography and art direction to its make-up and costumes — the emotions are polished and tasteful, almost like a sleek television commercial. Nothing is allowed to become too raw. This is both the film’s strength and its limitation.The screenplay seems to work on a simple rhythm: two lighter moments followed by an emotional one. Repeat. At one point, Sanju tells Maddy that she has a knack for making every moment funny, in a good way. And that is true of the screenplay too. It keeps finding ways to lighten the mood just when things threaten to become too serious. The chemistry between Sanju and Maddy, and especially between Maddy and Nirmala, helps the first half sail smoothly.But the film’s carefully maintained charm begins to fall in the second half. After the exit of a key character, a new relationship subplot never generates the same warmth. The artifice in the writing becomes more visible, and emotions that should have landed strongly rather feel strangely distant. It doesn’t help that we get fights and dances that seem to have been inserted just because the lead actor is a mass hero. The music, by GV Prakash Kumar, is a letdown, with hardly catchy songs and a weak, generic score that fails to elevate the emotional moments.Then there is that one uncomfortable note. After spending much of the film establishing Maddy as someone capable of making her own choices, towards the end, the director turns her into Sanju’s “responsibility”. The film chooses to refer to this aspect as “Santa Claus”, but the idea leaves behind a whiff of a platonic sugar-daddy dynamic, something the film had worked hard to avoid until then. But to Venky Atluri’s credit, the ending is sensible; it avoids being either a problematic message or an easy cop-out. It’s smart and satisfying.