Cast: Jai, Nandagi, Theodre Bhaskaran, Veerasanthanam, Rama, S S Kumaran
Music: Vijay Anthony
Direction: Meera Kadhiravan
But Meera Kadhiravan strides far away from such factors and presents the film ‘Aval Peyar Thamizharasi’ in a pleasantly novel manner. The new filmmaker has neatly interwoven a tale of poignant romance set along with the existing problems of ancient arts – puppetry.
Let’s put it this way… This film may take its time to capture the interests of city audiences, especially the multiplex lovers. With ‘Vinnaithandi Varuvaaya’ defining the essence of love in realistic terms, ‘Aval Peyar Thamizharasi’ takes on a new-fangled dimension.
The film opens with saddened Jyothi (Jai) embarking a journey on the pursuit of his childhood love Thamizharasi (Nandagi). On the 10th minute, the film shifts back to the so-called golden days of Jyothi and Thamizharasi spending their childhood and teen days together. Jyothi hails from a rich family while Thamizharasi is an unprivileged girl, whose family earns its livelihood with puppetry shows. Jyothi requests his grandfather (Theodre Bhaskaran) to provide shelter for the poor family and accomplishes with good favor. Soon as Thamizharasi completes her 12th STD with higher rank and sets out to Pune for her engineering graduation, unfledged Jyothi becomes rattlebrained in molesting Thamizharasi with a belief that she would stay back with him.
Sooner as he realizes his perfidiousness, he cannot afford for a peaceful life and yearns to convince Thamizharasi. But then, fate has its own plans that take Jyothi for a quest of finding his girl.
Firstly, let’s look into three touchstones that favours audiences with immensity – a different story with unique conflicts, well-crafted screenplay of 125mins duration and convincing climax.
On pars, few clichés makes us benumbed. Say for instances, the unbearable lamentations, and prototyped depiction of kids (often seen in many films). But they get trivialized as the story tends to travel on different lines post-intermission.
We must appreciate Jai’s ability of choosing different scripts and performing his roles with perfection. He has showcased his excellence with trenchant acts in ‘Subramaniapuram’ and few other films as well. Now, he establishes his new avatar in ‘Aval Peyar Thamizharasi’ that faintly resembles Jeeva of ‘Kattradhu Tamizh’. But newcomer Nandagi eclipses everyone across the screens as she carries the complete film on her shoulders. Be the moments where she ponders to meet Jai after wining laurels or the silence she undergoes in times of tribulations: she crisscrosses the lines of excellence. Writer Theodre Bhaskaran does justice to his role with a prominent characterization.
Meera Kadhiravan has well depicted the present scenario of dying of ancient arts and the struggles of such artists. Heed to the justifying lines uttered by Nandagi’s grandfather when his son quits this biz due to lack of financial support, it’s remarkable. Maybe, the audiences of present generation unaware about such exiting arts may not perceive these traits to a greater extent. The filmmaker represents the emotionally bonded persona of Nandagi with brilliance. Meera top-notches conveying certain things through visual significance that actually cuts-down the pages of dialogues – Nandagi’s mother glimpsing on rope in Jai’s room and Nandagi sketching beard to the prince’s figure on Jai’s arrival.
Couple of songs is really impressive while the background score could have been yet more convincing. Cinematography is perfect, but Muthaiah’s works are belittled with limited locations. Editing has been carried out with relevance to film’s pace.
On the whole, ‘Aval Peyar Thamizharasi’ may cater to the tastes of audiences in down south districts while ‘A’ centres may not be favored. But then, an extended phase of publicity across satellite channels and other mediums will work some magic.
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