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Vaazhai Movie Review: Mari Selvaraj's most tender and deeply affecting tale yet

Vaazhai ( 3.5 / 5).

Sometimes you look forward to watching a film and then when it finally arrives, you are left with little to no emotions to speak about it. And then when the climax unfolds, you just want to quickly pick up every visual and thought, and hold it together in memory for as long as possible. Director Mari Selvaraj, who has a knack for arresting his audience with deeply personal and affecting stories, has pulled out a page from his life with  Vaazhai , a film so tender that it tugs at your heartstrings and then uproots it all at once. Director: Mari Selvaraj

Cast: Ponvel M, Raghul R, Kalaiyarasan, Nikhila Vimal, J Sathish Kumar, Dhivya Duraisamy, and Janaki

Within the first fifteen minutes of  Vaazhai , Mari Selvaraj sets the stage for how his story will pan out. An old man in Puliyankulam village dies and the whole area gathers for his funeral. Sivanaindhan (Ponvel) is woken up by his sister Vembu (Dhivya Duraisamy) that morning. When he protests, she tells him that they don’t have to carry banana stalks since they have a funeral to attend. Later, Sivanaindhan innocently tells his friend, “ Naalikum yaarachu setha nalla irukum  (It would be nice if someone dies tomorrow as well).”

Of course, Sivanaindhan doesn’t understand the gravity of his words, nor does he feel the weight of it. And the film too traverses along with his innocence as he and his closest pal Sekar (Raghul) move through each day in school figuring out if actor Rajinikanth is the bigger star or Kamal Haasan is. When they are not engaged in fan wars, they are gushing over their teacher Poongodi (Nikhila Vimal). If it was Jo (Anandhi) in  Pariyerum Perumal  who was Pari’s angel, Poongodi is Sivanaindhan’s angel, his respite when things go awry. She can teach him dance moves, sew his shirt and even offer him her handkerchief as a memory. Sadly, that’s all she could do as an elite who remains distant as ever to the oppressed and their dreams. The theatre erupted in laughter every time Sivanaindhan and Sekar’s mischievous acts played out on screen. Their chalk-and-cheese love story is a delight to watch. But all those moments die down when the director paints a no-holds-barred reality of the workers. It is gruelling and every little joy is sucked out of their lives before they could earn a penny, but perhaps the best line that summarises their agony is when a villager points out to the buyer that he has been working in the same field since the latter’s father was a buyer. The filmmaker doesn’t stop there. Kani (an aptly-cast Kalaiyarasan) stands as a leader and a rebel with a cause who believes in the dignity of labour. Sivanaindhan’s mother (Janaki) fights for her family’s respect to be protected at all costs. And when the film gets too heavy, Sivanaindhan brings in  marudaani  plants (henna) as a truce and to forge love. I grinned from ear to ear when Kani and Vembu wore  marudaani  on their hands and lovingly showed it to each other.

While several of these ideas piece the puzzle quite well, the characters could have stayed with us for a bit longer. For example, we know little about Vembu other than as a doting sister and a coy lover. Similarly, we would have loved to see more about Sivanaindhan’s mother's communist values and Kani’s story behind his rebellious self. Mari and cinematographer Theni Eswar present these ideas in a visual grammar that is both visceral and evocative. Among these images are that of Sivanaindhan just running several miles on foot, chased by the trauma that he has endured, the agony that the ghosts of his past have left for him and the scars that he has to carry forward for the rest of his life. The banana plant is renowned for its all-round utility, from stem to leaf. Yet, when one plant dies after fruiting, its offshoots continue to grow—a symbol of prosperity. Vaazhai beautifully captures the inherent irony of how the underprivileged are doomed to be exploited and traumatised even at the hands of a symbol of prosperity.

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'Raayan' Movie Review: Dhanush's 50th film is riveting. Well, almost

'raayan' movie review: dhanush donned the hat of director, actor and writer for his 50th film. the revenge thriller is riveting, but not without flaws..

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• 'Raayan' hit theatres on July 26
• The revenge thriller is visually spectacular, but the writing falters in the second half
• 'Raayan' marks Dhanush's 50th film as an actor

Cast & Crew

Prakash Raj

Release Date: 26 Jul, 2024

'Raayan' is a special milestone in Dhanush's career. It marks his 50th film as an actor and his second film as a director (after 'Pa Paandi'). For his 50th film, he donned the hat of a director, actor and writer. Has he exceeded the second time as a filmmaker with 'Raayan'? Let's find out!

Kathavarayan aka Raayan is forced to take care of his two brothers and toddler sister after their parents vanish for two days. This marks the beginning of Raayan’s struggle. His motto is to survive in this cruel world. He fears no one, not even death. Raayan, along with his siblings, escape grave danger from their village and land in North Madras, where they find a home.

Years later, Muthu (Sundeep Kishan) is an alcoholic, hot-headed wastrel in the locality, while Manickam (Kalidas Jayaram) is a college-going younger brother. Durga (a feisty Dushara Vijayan) is the darling of the house, with unconditional love for her elder brother, Raayan. He is a father figure and is wary of his limitations and the repercussions of his anger. He cautions Muthu not to fall into the suzhal (vortex in English). But, Muthu's alcoholic nature lands the Raayan family in trouble and claims life after life.

Dhanush is an above-par performer is a known fact to everyone. With his directorial debut, 'Pa Paandi', he proved himself with a family drama. In 'Raayan', this family drama turns into a gripping revenge thriller that exposes the gangster culture. Much like Vetri Maaran's 'Asuran', we know that Raayan is a menacing man, but he doesn't let his anger consume him or unleash the beast in him. For him, leading a peaceful life is paramount, and and he is willing to go to great lengths to achieve it.

'Raayan' is yet another case of two different halves. While the first half is all about establishing Raayan and his siblings, the second half is about revenge and only revenge. The first half also introduces gangsters Sethu (SJ Suryah), Durai (Saravanan) and a police officer (Prakash Raj) and how their interpersonal relationships influence the story.

Dhanush's 50th film is a simple revenge story. The interval block shows streaks of brilliance of his directorial skills. However, as a writer, 'Raayan' lacks emotional depth. For the revenge angle to work, emotions matter. Despite having multiple twists and turns, the pay-off moments do not affect them as were intended. The second half has many unsolved questions, which are dealt with on the surface. For example, you never get a convincing explanation of why Manickam takes the drastic decision in the second half. It is where the film falls short of being a perfect revenge thriller.

That said, Dhanush makes up for his acting. Similarly, Kalidas and Sundeep Kishan have meaty roles and have lived up to them. Dushara Vijayan gets an exciting role and she excels. Prakash Raj, Selvaraghavan and SJ Suryah's performances make things interesting.

'Raayan' is the latest addition to the list of movies that normalises police encounter killings and them taking illegal routes defying the system to end gangster culture.

Dhanush's 50th film is visually spectacular. The silhouette shots, interval block and the climax fight look brilliant, thanks to the cinematography by Om Prakash. If Dhanush is one of the pillars of 'Raayan', AR Rahman is another pillar, who shoulders the film. His background score and songs are perfect for it.

'Raayan' is a riveting thriller. Well, almost. 2.5 out of 5 stars of 'Raayan'. Published By: K Janani Published On: Jul 26, 2024 ALSO READ | Dhanush called out for story behind his Poes Garden residence. Here's why

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‘Maharaja’ movie review: Vijay Sethupathi stands out in Nithilan Saminathan’s almost-there thriller

In his sophomore film, nithilan saminathan pronounces the style of filmmaking he wishes to follow, but convenience in the writing and a contrived third act mars this gripping thriller.

Updated - June 16, 2024 05:09 pm IST

Published - June 14, 2024 05:31 pm IST

A still from ‘Maharaja’ | Photo Credit: Junglee Music Tamil/YouTube

A morbid sense of dread tirelessly pulses through the two films that director Nithilan Saminathan has made till now. In these films, even the morally-right get easily corrupted as they face ordinary humans in their most perverse form. In Maharaja , when a group of robbers loot houses and do unspeakable deeds, they don’t miss out on the opportunity to cook themselves a hot meal.

It’s not the ideas or the situations that are meant to grip you, but more by how they are executed; Nithilan meticulously works on the writing to show evil as banally as possible. When the camera introduces us to Selvam (Anurag Kashyap), he’s talking about onions to his friend in the kitchen, with a zoom-out revealing the women who are tied up next to him — a shot reminiscent of the opening of 2017’s Kurangu Bommai , Nithilan’s first film.

This is no mere coincidence; Nithilan consciously rehashes some of his tropes and educates us on the filmmaking style he wishes to follow. He often turns to the uncertainty of life to connect plot points: a ceiling fan might fall on your head, snakes might appear out of nowhere, or a lorry might crash into your house. There is an effort to play on the audiences’ minds by juxtaposing timelines, and a specific object becomes a motif to pivot the story around — like the bag with a monkey face in his first film, there’s a trash can in Maharaja that is meant to pose a question: just because you deem something useless, does it lose its value?

His characters also have unusual idiosyncrasies. A notorious murderer plays street cricket with kids, or like in this film, a gangster, a hard-core fan of Kunal Singh, beats up a man for not watching Punnagai Desam, and for losing the sunglasses that the late actor gifted him (!). Kalki Raja, who played a thief in the first film, returns as a thief named ‘Police’ who steals TVS 50s because… he can’t drive geared vehicles.

Maharaja (Tamil)

All of this is to imbue the film with a lot of dark humour, as is evident in the scene that kickstarts the story; Vijay Sethupathi’s titular lead, a man with a bandaged ear, enters a police station with an unusual complaint: his home was looted the previous night and he’s lost his valuable ‘Lakshmi,’ an iron-made trash can that saved the life of his daughter in an accident. Maharaja is even willing to pay Rs. 7 lakhs to the Inspector of Police, Varadharajan (Natty), confirming the suspicion that the complaint is a mere ruse for something more. Natty and co. take the bait with the hope of double-crossing Maharaja eventually.

The proceedings in the police station are intercut with all that happens in the life of Maharaja’s teenage daughter, Kashyap’s character of Selvam, and the flashbacks meant to piece things together. The writer in Nithilan builds this world and jumps across timelines, while also meticulously plotting some set-ups and pay-offs; like a shot featuring Varadharajan’s family or when Maharaja takes leave to go shopping, only for the shop to be just opposite his house.

A still from ‘Maharaja’ | Photo Credit: Special Arrangement

However, sometimes, with such careful plotting, the convenience in writing gets to you, especially in the later portions of the film. The bigger issue is how the final act — the ‘prestige’ in Nithilan’s grand magic act — is written. All the effort to withhold information and create tension comes with a sudden turn of events — written for a specific reaction from the audience — but the idea that propels this moment is such a cliché in Tamil cinema that it comes close to turning the tables for Maharaja . You wonder if all the world-building, intricate writing and character-building was only a ruse to tell the story of an ordinary revenge-thriller.

And yet, what positions the film, especially with Anurag’s pathetic lip-sync driving one mad, is Vijay Sethupathi’s performance. In his 50th outing, the actor gets under the skin of this fascinating character with awe-inspiring ease and delivers quite a few stand-out scenes for us to cherish.

Maharaja is yet another sign of the serious filmmaker Nithilan is, and shows us how a good writer can convert even a dated idea into a gripping big-screen experience.

Maharaja is currently running in theatres

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Maharaja Review: A Flawed Yet Gripping Human Drama In Which Storytelling Is The Hero

Writer and Director: Nithilan Swaminathan

Cast: Vijay Sethupathi, Anurag Kashyap, Abhirami, Mamta Mohandas

Duration: 150 mins

Available in: Theatres

Vijay Sethupathi ’s Maharaja is a film that follows Chekhov’s gun plot device to such a microscopic extent that forget about the rifle — one must never place a loaded rifle on the stage if it isn't going to go off, according to Russian playwright Anton Chekhov — even the nuts, bolts, bullets, barrel and every inch of the “gun” itself are rich with meaning. Most of all, they consciously tiptoe back to the screen to move Nithilan Swaminathan’s tightly written story forward. 

Maharaja is an unusual film in that its sum of all parts is greater than the “whole”. In a film that has powerhouse performers such as Vijay Sethupathi who plays the titular character (he is sublime as a gentle father whose marriage is cut short by tragedy), Natty (an actor who sits quite comfortably on his role as a swindling cop reminiscent of his part in the clever Sathuranga Vettai ), and Anurag Kashyap (a doting dad with a rogue side, who shares a few things in common with Maharaja), Nithilan’s thriller manages to almost achieve the unthinkable. It pivots away from star service to make its screenplay the hero. A hero that always thinks ten steps ahead into the future.

We have a screenplay — a bible that interconnects complicated characters in its universe — that moves like a cheetah. Nothing is really just a coincidence in Maharaja . Which means an adorable but forgettable Shih Tzu from the first act that we might not have thought twice about, exists on paper to move the film forward. A pair of red running shoes we see a full scene about ends up changing the entire trajectory of the film. Why else do we get a shot of a scruffy-looking iron dustbin, seconds before it ends up saving someone’s life? An act that in turn destroys another's a few years later. Maharaja is filled with delightful little pieces of a puzzle that the filmmaker expects us to pick up on and solve to see the finished picture.

But again, the “whole” finished picture hardly matters in a movie such as this. Nithilan makes the journey exciting by engaging and sometimes distracting us by throwing some of the most wonderfully bizarre characters into the mix. We have a bike thief named “police” who roams around with his master key on his neck for fear of losing it to thieves like himself. A politician/goonda parades his gold necklaces everywhere. But his most prized possession is still a pair of sunglasses that a dead yesteryear actor gifted him (Rest in peace, Kadhalar Dhinam Kunal). What motivates a police officer to engage in brutality is his frustration over the fact that a thief steals the lowly TVS-50 mopeds and not expensive bikes. And then of course there is VJS’s Maharaja who moves slowly, always remembers to hydrate before talking and takes care of his dustbin like it’s his child. Nithilan takes his time to establish these oddballs and it pays off in the climax — even if we’re left scratching our heads at this winding screenplay that spans timelines.

At the end of it all, Maharaja is a simple tale about how the paths of two girl-dads collide. While it is refreshing to see mothers not be relegated to playing sympathetic figures, and see fathers take responsibility for their actions, the film’s lack of strong female characters is glaring. One could argue that this absence contributes to the film’s drawbacks, especially for a film that talks about sexual assault, rape and other issues that women are subjected to. Filming sexual assault is always a tightrope, something that Maharaja clearly struggles with. For a film that places so much emphasis on character development, it’s also unfortunate that we never really get around to understanding the psyche of these paternal figures. What explains a father’s complicity in assault against young girls, when the film paints him out to be the father of the year? What explains a father putting his wounded daughter’s mental health on the line for cinematic effect and story closure?  Maharaja might be full of such contradictions. But it’s also brimming with writing flourishes that make us want to be a more forgiving person. Even if we don’t always want to.

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Top 15 Sci-Fi Movies in Tamil

Science fiction dramas will always be popular with audiences. Audiences will always be more curious and enthusiastic about it. But watching sci-fi dramas is all about exploring ideas in a different manner. From aliens to outer space to time travel, there are countless sci-fi movies available to watch in different languages. Many filmmakers from Kollywood have made blockbuster sci-fi films in the last two decades. From Superstar Rajinikanth's Enthiran to STR's Maanaddu, here we have listed the top 15 sci-fi movies released in Tamil.

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Indru netru naalai, dasavatharam, tamiluku en ondrai aluthavum, appuchi gramam, tik tik tik.

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Top Sci-fi Movies in Tamil

2. Enthiran

3. Maayavan

5. Indru Netru Naalai

6. Tamiluku En Ondrai Aluthavum

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10. Game Over

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