This is definitely an intriguing setup, but then the suspense is broken in the next scene, when the story goes back a few days to show us what exactly happened. Arun has twice been with his ‘traditional’ wife Sujatha (Vani Bhojan) and has had an illicit relationship with the ‘modern girl’ Bhavna (Riya Suman). He lies that he is going on a business trip to Malaysia, but lands in Bangalore to be with Bhavna. Luckily, however, the Malaysian flight disappears and now, Arun has to find a way to get back to his family without Sujatha suspecting his infidelity. With Prabhu’s help, he decides to feign amnesia, but a man stands in his way: Sujatha’s maternal uncle, Mannargudi Narayanan (MS Baaskar), who is camping at Arun’s house!
For a comedy about infidelity, Malaysia To Amnesia is pretty old-fashioned, both in spirit and workmanship. The situations that occur to Radha Mohan once Arun and Prabhu go ahead with their plan are quite predictable and the mood is quite disappointing; We also don’t have exaggerated funny moments, like in the Sundar C movies, or the sophisticated pun we see in the Kamal Haasan and Crazy Mohan movies, like Panchathanthiram. And the characters are written broadly. You never know if Arun is just having an affair with Bhavna or looking for a long-term relationship with her, given that he seems to think of her more as his type of girl compared to Sujatha, who according to him is a village. bumpkin (he even calls her Arukkaani!). Or why an independent girl like Bhavna would be fine in a relationship with Arun despite knowing that he is married. She is quite a functional character, like Sujatha.
The only interesting character is Mannargudi Narayanan, who is a doubtful Thomas and considers himself a spy. His efforts to expose Arun and Prabhu are what drive the narrative, but even these scenes are not as funny as they should be. And Premgi Amaren’s score tries too hard to make us think otherwise and only ends as an irritation.
To their credit, MS Baaskar, Karunakaran, and Vaibhav try to keep us engaged, but listless writing doesn’t keep us engaged. We see traces of Radha Mohan from Azhagiya Theeye and Mozhi only in a couple of scenes, like the one where Prabhu and Bhavna decide to leave him. There is no melodrama, only two people break up in a mature way.