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Aayirathil oruvan, ஆயிரத்தில் ஒருவன்.
Directed by Selvaraghavan
Anitha, a government official, embarks on a journey to find Chandramouli, an archaeologist, who went to Vietnam to search for any existence of the prince of the Chola dynasty.
Karthi R. Parthiban Reema Sen Andrea Jeremiah Prathap Pothan N. Azhagamperumal Abhinaya Crane Manohar Aishwarya Rajinikanth
Director Director
Selvaraghavan
Producer Producer
R. Ravindran
Writer Writer
Story story, editor editor.
Kola Bhaskar
Cinematography Cinematography
Assistant directors asst. directors.
Nikhil Sriram Aishwarya Rajinikanth
Art Direction Art Direction
T Santanam Anuradha Genrich
Composer Composer
G. V. Prakash Kumar
Sound Sound
Sreejesh Nair V Shrihari
Costume Design Costume Design
Dream Valley Corporation
Alternative Titles
Aairathil Oruvan, Yuganiki Okkadu, Kaashmora 2, 失落的王朝
Action Adventure
Epic history and literature Epic adventure and breathtaking battles Historical battles and epic heroism Fantasy adventure, heroism, and swordplay Show All…
Releases by Date
14 jan 2010, releases by country.
- Theatrical A
182 mins More at IMDb TMDb Report this page
Popular reviews
Review by Michael James ★★★★★ 5
An epic historical action adventure masterpiece from Selvaragavan. The movie stands out in every department -script, narrative, execution, performances, cinematography, editing, music, costume design and art direction. The vfx is a bit tacky, but that does not take you away from the movie one bit, thanks to the highly engaging writing. It is extraordinarily imaginative, unabashedly bold and highly ambitious in every regard.
The first half is tightly packed with a fast paced thrilling narrative that is set through the seven traps set by the Cholas: sea creatures, cannibals, warriors, snakes, hunger, quick sand and a village with a black magic trap. The terrific adventurous situations, traps, witty dialogues, stunning set pieces providing you an astonishing cinematic experience. The second half…
Review by Lencho of the Apes ★★★★ 4
I'm sorry, this is... what? I can't process.
Lurid, strange, intensely violent meditation on Indian history. Twelfth century mapped onto the twenty-first, and they overlap in such a way that you can't always tell, from one shot to the next, which one you're looking at; both have melted into a chthonic nightmare that no-one can wake up from. Also, there are zombies.
Consensus of opinion seems to be that this is an ambitious and fascinating failure, but my frame of reference isn't even adequate to deciding if it fails or succeeds at what it's trying to do.
Or what that is.
S S Rajamouli and Raul Ruiz collaborating on a sequel to J'Accuse. No, that's not it either. Damn.
EDIT: Half an hour later, Heart Of Darkness/Apocalypse Now pocced into my head, and everything fell into place. The geographical journey is metaphorically the same as a spiritual journey into more primitive forms of civilization or consciousness.
Review by jack ★★★★★
this reminds me often why cinema is one of the very few beautiful things on earth.
Review by dee ★★★ 21
enna cinema da ithu ⁉️ the only reason i watched this was bc of all the meme templates and everyone telling me it’s good + all these reviews but now im like did we watch the same movie bc huh i didn’t think it was that good 😭 not really sure what i was expecting but i thought it was an ok watch and quite frankly i also skipped thru parts of it pls forgive me. maybe im dumb and not intellectual enough to understand the appeal of this movie or maybe i just need to see it again (i will not). tell me why they kinda freakyyy bro 😨 i mean i liked karthi ig but that’s bc he’s karthi lol 😝 the end
edit: ig i gotta consider the fact that this movie came out 10 years ago, i probably would’ve liked it more if i saw this years ago and this was a rewatch
Review by joblessfahadh ★★★★½
Just so astounding all around; Selvaraghavan doing things with the camera and the frame I have never seen before, the ambition is so awe-inspiring that it is so easy to ignore any shoddy CGI -- something that I have grown to love about Selvaraghavan is his insistence on pushing audience engagement almost to the point of alienation, the total lack of pandering and compromise in his vision, how he can turn scenes of celebration and comedy into scenes of abject terror (and sometimes vice versa) almost instantly
some pointed commentary here about the horrors of classism, the horrors of imperalism, the horrors of war...which all fuse into the film's final gestures, which are probably as terrifying, tragic, and yet also somehow as hopeful as cinema can get
Review by may ★★★★
This review may contain spoilers. I can handle the truth.
I was not as mature as I am today when I first watched this movie a few years ago, and I remember being very annoyed by what I perceived then as an 'exotic' portrayal of the Chola kingdom. I thought that Selvaraghavan was indulging in an orientalist gaze that was borrowing from the same trove of western influences that were visible throughout the film.
In my second viewing, I felt apologetic, because Selva is attempting something much deeper here, much more deliberate, thoughtful, melancholic. How does a once great people disappear from history, only to persist in a dark corner of the earth for centuries? What does it feel like, to know of a home beyond one's reach, to vaguely…
Review by chinmay 1
(opting for brevity right now bc college but this deserves a MUCH longer entry so i’ll def return to it at some point)
won’t argue that selva’s distinct brand of gritty neo-exploitation violence and pitch-black tonal digression can be a difficult thing to chew on (esp considering how much of a brick wall he evidently is when it comes to compromising on his aesthetic or narrative concerns), but it’s completely fine by me bc i love how fucking AUDACIOUS this is. not a single ounce of shame or formal restraint; just pure full-force vision and ambition. need more films that unabashedly wear their imaginations on their sleeve instead of imposing limits on themselves conceptually, imagine the kinds of films we’d get if contemporary blockbuster filmmakers had this much faith and resolve in their ideas
Review by Barry Egan 2002 ★★★★½ 2
Rewatched the film after almost 14 years (I barely remembered the second half before the rewatch). In my opinion, the greatest cinematic swing in Tamil Cinema. There's so much passion in each frame of the film. Be it the scene construction, performances, production design, cinematography, score, sound design, editing...everything was incredible, thanks to Selvaraghavan's God-level writing and directing. The film offers an Indiana Jones-like adventure ride, mixes history epic with fantasy elements, and shows genocide on screen, making it all feel emotionally impactful (so sad and tragic that I will find it hard to rewatch the film) and wildly original. The VFX and maybe a couple of songs in the first half were the only negatives. I was speechless in a lot of places, seeing Selvaraghavan's stunningly unique vision being brought to life with the aid of his cast and crew members. Wish Selvaraghavan and this film were celebrated back then. One of the greatest Tamil films ever made.
Review by Sanjeet Singh ★★★★
Will pay an extra buck just to enjoy Selvaraghavan idiosyncrasies. Just the whacky nature of the film adds another layer to the 'historical' genre format.
Review by baazimm ★★★★★
selvaraghavan came up with one of the most epic stories of 21st century cinema and made it in the most bizzare, horny and absurd way possible, words cant prepare for what this has to offer, a movie like this certainly wont work in all its odds, but this does in unimaginable ways, even the shoddy cgi works as the aesthetic after a point, insanely pulls off an apocalypse now ride on acid, a lot of the imagery evoke a deeper sense of granduer, keeping in mind the subtext of it all, only can imagine the places this would have gone with a bigger budget
gv prakash goes insanely hard with the soundtrack
Review by Kriti ★★★★★ 2
A powerful burst of compassion after being unflinchingly exposed to the cruelest, darkest, depths of humanity for what feels like an eternity. Brilliant but I don't know if I can ever bring myself to watching this in its entirety again.
Review by ashish ★★★★★
so devastating, yet so beautiful. wish selvaraghavan gets to make AO2 with as much budget as he wants, it's heartbreaking to wonder what he could've done with a fraction of the money that mainstream t/kollywood directors spend on making the most disgusting slop nowadays.
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Aayirathil Oruvan And The Decline Of The Cholas
A man and a woman ambush a camel in a sandy, deserted city. There is a third member of the group who is documenting the act with a shaky, handheld camera. “Don’t let it get away…that’s our meal, man!” she whispers urgently. A weapon lands with a dull thud on the camel, and the next shot shows the trio roasting meat over a fire and devouring what was once a camel to their heart’s content. This is followed by a song that mixes Tamil and English lines — “Un mela aasadhaan/ Aanadhu aagatum/ Say to me baby/ Ponadhu pogatum/ Do to me baby” (I desire you/ Let things be / Say to me, baby/ let bygones be bygones/ Do to me baby) — and the group spirals into insanity, laughing ghoulishly as they try to kill each other. But they don’t die.
This sequence from Selvaraghavan’s 2010 fantasy film Aayirathil Oruvan (One in a Thousand) has been the subject of many discussions among fans of the film. What exactly happens here? Is the group intoxicated by camel flesh? Have their exertions thus far driven them over the bend? Or is it the final trap set by the Cholas to stop strangers from entering their secret kingdom in exile?
The Cholas were a dynasty of powerful Tamil kings who ruled for over 500 years. They gained prominence in the 9th century, and expanded their kingdom from southern India to Sri Lanka and even parts of the Maldives. Aayirathil Oruvan , which opens in 1279 AD, is about the decline of this dynasty, and offers a fictional account that places them in the contemporary world as an isolated people.
In Aayirathil Oruvan, the Cholas are under attack from their arch enemies, the Pandyas. A desperate Chola king sends his young son along with his royal advisor and the people of his kingdom to a secret place for safety. The Cholas take with them the fish-headed goddess of the Pandyas, and the latter dynasty vows to bring the goddess back after killing all the Cholas. But they’re unable to succeed in their mission because the Cholas set seven deadly traps along their path that nobody can survive.
Cut to 2008, Indian archaeologists are still trying to find out where the young Chola prince disappeared. But though they make some headway with the clues given by the Pandyas from the past, those who go in search of the secret Chola territory disappear without a trace. When senior archaeologist Chandramouli (Pratap Pothen) also goes missing, Union Minister Veerapandiyan sanctions an expedition, with the help of the Indian army, to find him.
For those familiar with Chola history, this is the first clue that the expedition isn’t as straightforward as it seems. Veerapandiyan was the name of the Pandya king who was killed by Aditha Karikalan, the crown prince of the Chola dynasty. Leading this expedition is Dr Anitha Pandiyan (played by Reema Sen, and yes, the character’s surname is significant), an intelligence officer. She convinces Lavanya Chandramouli (Andrea Jeremiah), daughter of the senior archaeologist who has gone missing, to join them in the journey. A porter named Muthu (Karthi) and his team are hired to carry the load and assist the experts in the mission.
Muthu is the picaresque hero of Aayirathil Oruvan and typical of protagonists in such fantasy films. He’s considered lowly and unworthy by those above him in the social hierarchy; he’s adventurous and thinks more with his heart than his head; he is righteous in intent and actions; and lastly, he’s the chosen one – whose arrival is foretold in a prophecy — though he doesn’t know this.
The title Aayirathil Oruvan comes from M.G. Ramachandran’s 1965 action adventure film which shares themes with Selvaraghavan’s fantasy movie – a strange land with its own rules, an oppressed people awaiting a messiah who will change their destiny, and an outsider hero who forges a new path for them. The famous MGR song ‘Adho andha paravai pola’ also features in the 2010 film, and is staged on a ship as a hat tip to its predecessor.
The expedition takes the group to Min-gua island, near Vietnam – a place that the labourers are reluctant to visit – and trouble begins as they attempt to disembark. The bright blue sea of the daytime transforms into a death trap by night. The island, covered in mist, looks sinister as the boats approach it. Bioluminescent sea creatures attack those who try to disembark. (For its time and budget, the CGI in the film was passable, though the orange, jellyfish-like creatures look distinctly tacky now.) A few men lose their lives in the chaos, and it dawns on Muthu that he has been pulled into an expedition that’s far more dangerous than what he was led to believe. The team needs to get past the seven obstacles established by the Cholas, Indiana Jones style, to succeed.
Among these ‘obstacles’ are the hostile tribal people of the island. It is not clear if Selvaraghavan based these groups on actual tribal people – Tamil cinema, after all, is known for its offensive and caricaturish depictions of tribal groups – but he appears to have been inspired by descriptions of the Sentinelese tribal group. As exoticised as they are in the film, this is one of the few films that notes the arrogance of a mainstream society as it invades tribal lands and their cultures. The Indian army chief in the group and Anitha waste no time in gunning down tribal warriors. In an unsettling moment, the tribal men concede defeat by slitting their own necks for failing to protect the Chola kingdom.
Eventually, in the middle of the high drama, Muthu, Anitha and Lavanya are separated from the others. In sharp contrast to the dense jungle teeming with life, the group now finds itself surrounded by nothing but sand. The empty landscape also signifies how far away from civilization they are, and Selvaraghavan uses several long shots of the desert to establish the isolation. As they roam around hopelessly in the desert, Muthu hilariously hallucinates giant mugs of beer, chicken biryani and roast chicken. There is also an amoral sexual tension within this motley group that was new to Tamil cinema at the time.
Of all the traps that the group encounters, the most exciting is the Nataraja shadow. They can only cross the region safely along the length of the shadow that shows up twice a day over a Stonehenge-like structure they see in the desert. Otherwise, they risk sinking into the sand. The inspiration is clearly from Hollywood Westerns like Mackenna’s Gold , but Selvaraghavan links it to Chola history with the Nataraja shadow. (The Cholas were devout Shaivites.)
But, when the group finally discovers the Cholas, they’re a far cry from their illustrious past. Selvaraghavan imagines them as a barbaric people ruled by a despot (Parthiban) in a land where it does not rain. They have blackened faces; they perform human sacrifices and conduct cruel, gladiatorial contests. The people seem frenzied and unstable. They live in a dark, cavernous underground realm with a single water source. An ancient prophecy, told through cave paintings, predicts the arrival of a messiah who will take them back to their homeland, but the people have lost hope that such a day will ever come.
While the Cholas have usually been glorified in Tamil popular culture, Selvaraghavan breaks the mould to present them in a different light. They are rendered almost sub-human due to the extent of their suffering. It is in this bizarre world with elements of magic realism that Muthu realises his destiny – he has a tattoo of a leaping tiger on his back, the symbol of the Cholas. He is the messiah.
But Anitha – who is actually a Pandya descendent – stakes claim as the true messiah and succeeds in fooling the Chola king. By the time he realises his mistake though, the Pandyas under Anitha’s leadership organise themselves for battle, and the crude weapons of the Cholas are no match for the former’s modern equipment.
Some fans of the film have read the final sequence in Aayirathil Oruvan to be an allegory of the struggles of the Tamil people in Sri Lanka, considering the importance given to the tiger symbol (also the symbol of the LTTE), the attack by the army on the Tamil people, the enslavement of the Chola king, the human rights violations in the camp where they’re taken, and the lyrics of the songs ‘Pemmane’ and ‘Thaai Thindra Manne’. Notably, the civil war in Sri Lanka had ended just a year before the film was released.
In the end, though the Pandyas prevail over the Cholas, Muthu fulfils the prophecy by escaping with the Chola king’s son to his homeland.
Previously known for his coming-of-age romance dramas and gritty gangster films, Aaiyirathil Oruvan was a leap of faith for Selvaraghavan, and it took him 263 days to complete its shoot. Since it is set in the jungle and the desert, the crew travelled to the Chalakudy forest in Kerala and later to Rajasthan. Parts of it were also shot in Hyderabad’s Ramoji Film City.
Though the movie was criticised for its overlong first half, the not-so-great CGI, lip sync issues (particularly Reema Sen), and the plot that many found confusing at the time, it has since acquired a cult following. The film was shot on a budget of Rs 18 crore – making it one of the most expensive Tamil films of its time – and it did reasonably well at the box-office, making around Rs 25 crore. The dubbed Telugu version became even more popular, earning Karthi a new market for his films.
In 2021, Selvaraghavan announced that he was making a sequel with his brother Dhanush in the lead. The Chola prince, Selvaraghavan promised, is set to return in 2024. And hopefully, with a bigger budget and better CGI, Aayirathil Oruvan 2 should be an improvement on its flawed yet audacious original.
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Aayirathil Oruvan (A) 14/Jan/2010 Adventure, Fantasy 3HR 3MIN
Critics Review
Wildly crass: attempt only if you are a zombie fan.
With Aayirathil Oruvan, Selvaraghavan has inadvertently opened the Pandora box of a new genre as yet unknown to Tamil movies – Zombies. Selva's frenziedly unleashed creativity makes you hallucinate towards the end of the movie and delirium sets in soon. It's not enough that a solid disclaimer is in place, a little bit of research about the subject would've helped things in the process. The underdeveloped script lacks everything - starting from strong plot twists to captive locations to graphics to credibility. (more)
Source: Editorial Board, Behindwoods.com
Fire and brimstone, mostly -- Aayirathil Oruvan
Selva fuses history with fantasy, past with present and insular life of yore with the bohemian style of now — the result? A hotchpotch of ideas showcased in all its magnificence without clarity and cohesion! AO falls flat because its director is so caught up in the peripheral that he fails to make the story intelligible. After all, how can the viewer enjoy a show when he hardly understands what's going on? Frankly, the film had me flummoxed! (more)
Source: Malathi Rangarajan, The Hindu
When adventure meets history with a simmering feud spilling over centuries complete with generations of hatred, is the canvas of a feature film enough? The question falls by the wayside, since the film is so polarized between the first and second halves, that it is almost as if the thread is broken, and you are left with different ends. At the end of three hours and ten minutes, the director does not answer the basic question triggered by the title (more)
Source: Editorial Board, Times Of India
Selvaraghavan's two years in the making, action adventure Aayirathil Oruvan is a brave attempt at trying to come out with something new in the placid world of Tamil cinema. Breaking away from the shackles of the stereotypes, the director transports us to a whole new world and at the end of it all, we are dumb stuck by the visuals, the packaging and the new way of storytelling. (more)
Source: MovieBuzz, Sify.com
Sweet and sour
Two and half years of hard work - out for the audiences to watch and relish. But is the wait really worth? To this question, the answer is both 'yes' and 'no', for the film is a mixture of surprises and disappointments. Length is another problem as the movie beats around the bush and needs an urgent trimming. (more)
Source: Editorial Board, IndiaGlitz.com
An effort to be appreciated
Selvaraghavan's Aayirathil Oruvan excels in the technical department, filled with groundbreaking visuals and art direction. Aayirathil Oruvan is for mature audiences only, strictly not for kids. It is one of the most violent and explicit movies. The fictional story seems complicated especially in the second half. The post-interval screenplay is long; certain scenes need drastic trimming to improve the pace of the film. (more)
Source: Shailesh, galatta.com
Aayirathil Oruvan is not for the faint hearted
Technically, the movie is a visual treat: the production teams' gone overboard creating sets, jewelery, costumes; while the dialogues are great. Credit goes to Selvaraghavan for having the guts to actually take a theme like this and to deliver it with some panache. AO is definitely a movie to watch. (more)
Source: Pavithra Srinivasan, Rediff.com
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Aayirathil Oruvan
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Aayirathil oruvan cast & crew.
Aayirathil Oruvan Crew Info
| Director | |
| Cinematography | NA |
| Editor | NA |
| Music | |
| Producer | |
| Budget | TBA |
| Box Office | TBA |
| OTT Platform | TBA |
| OTT Release Date | TBA |
Aayirathil Oruvan Critics Review
Aayirathil oruvan news.
Frequently Asked Questions (FAQs) About Aayirathil Oruvan
In this Aayirathil Oruvan film, Karthi , Reema Sen played the primary leads.
The Aayirathil Oruvan was released in theaters on 14 Jan 2010.
The Aayirathil Oruvan was directed by Selvaraghavan
Movies like The Greatest Of All Time (GOAT) , Veera Dheera Sooran (Part 2) , Love Insurance Kompany (LIK) and others in a similar vein had the same genre but quite different stories.
The soundtracks and background music were composed by G V Prakash Kumar for the movie Aayirathil Oruvan.
The movie Aayirathil Oruvan belonged to the Fantasy, genre.
Aayirathil Oruvan User Review
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5357 Days Ago
For those who acclaimed Selvaraghavan as the most ace screenplay writer and filmmaker, you’ll have to confess your sins…. ‘Aayirathil Oruvan’ is a very big disappointment. Sorry to say! Producer Ravendran maybe in a troublesome situation now…. We k..
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Hi r/tamil, Malayali here. Planning to watch Aayirathil Oruvan (2010) this weekend. Found two versions - Theatre cut (runtime - 2:27:00 on jiocinemas) and Uncut (runtime - 3:01:48 out in the wild). What do we know about both versions?
Aayirathil Oruvan Movie Review: Critics Rating: 3 stars, click to give your rating/review,When adventure meets history with a simmering feud spilling over centuries complete with generations
Aayirathil Oruvan (transl. One in a Thousand) is a 2010 Indian Tamil-language action-adventure film [1] [3] written and directed by Selvaraghavan and produced by R. Ravindran. The film stars Karthi, Reemma Sen and Andrea Jeremiah with Parthiban playing a pivotal role. It revolves around three characters, Muthu (), Lavanya (Andrea Jeremiah), and Anitha who embark on an adventure to search for a ...
With Aayirathil Oruvan, Selvaraghavan has inadvertently opened the Pandora box of a new genre as yet unknown to Tamil movies - Zombies. It is the case of Pirates of the Carribean meets Dawn of ...
Ayirathil Oruvan Movie Review: Critics Rating: 4 stars, click to give your rating/review,It is remarkable that for an almost three-hour film, the film whizzes past from scene to scene and a
The movie stands out in every department -script, narrative, execution, performances, cinematography, editing, music, costume design and art direction. ... One of the greatest Tamil films ever made. Review by may ★★★★ ... AAYIRATHIL ORUVAN is a seemingly simple film in its first half, it all feels a bit routine and the shoddy CGI ...
ஆயிரக்கணக்கானவர்களின் 3 ஆண்டு உழைப்பில் 32 கோடி ரூபாய் செலவில் ...
The title Aayirathil Oruvan comes from M.G. Ramachandran's 1965 action adventure film which shares themes with Selvaraghavan's fantasy movie - a strange land with its own rules, an oppressed people awaiting a messiah who will change their destiny, and an outsider hero who forges a new path for them. The famous MGR song 'Adho andha ...
For sure, Aayirathil Oruvan is a noteworthy film in the history of contemporary Tamil Cinema. But, it"s strictly not for kids and family audiences. Movie: Aayirathil Oruvan. Cast: Karthi, Reemma ...
An effort to be appreciated. Selvaraghavan's Aayirathil Oruvan excels in the technical department, filled with groundbreaking visuals and art direction. Aayirathil Oruvan is for mature audiences only, strictly not for kids. It is one of the most violent and explicit movies. The fictional story seems complicated especially in the second half.
Though the wait is not that fruitful, it is once a blue moon do we get such movies. Aayirathil Oruvan - Sweet and sour . Rating: 0 / 5.0. More About 'Aayirathil Oruvan' ... Tamil Movie Reviews
ஆயிரத்தில் ஒருவன் கதை - Read Aayirathil Oruvan Movie Story in Tamil, Aayirathil Oruvan Synopsis, Aayirathil Oruvan movie details, Aayirathil Oruvan movie first look, review and Preview in Tamil and more in the online movie database of Filmibeat Tamil.
Aayirathil Oruvan Tamil Movie: Check out Karthi's Aayirathil Oruvan movie release date, review, cast & crew, trailer, songs, teaser, story, budget, first day collection, box office collection, ott ...
Ayirathil Oruvan: Directed by K. Selvaraghavan. With Karthi, Reema Sen, Andrea Jeremiah, Parthiban Radhakrishnan. Anitha, a government official, embarks on a journey to find Chandramouli, an archaeologist, who went to Vietnam to search for any existence of the prince of the Chola dynasty.
9/10. A New Genre in Indian Cinema!! prashuimdb 17 January 2010. Aayiratthil Oruvan is a new Genre to Indian Cinema. No one has ever tried or attempted this kind of a Plot. Selvaraghavan has excelled in his part of screenplay and direction. Its really a tough one to direct. Actors have given their best.
The time has almost come, Aayirathil Oruvan is finally here. More than 2 years in the making, a four fold increase from the originally planned budget and many obstacles later, Aayirathil Oruvan ...
Review about the recently released tamil movie aayirathil oruvan. Cast of aayirathil oruvan: karthi, reema sen,andrea and parthibhan.
Aayirathil oruvan full movie story and hidden details Explained Part 1 | Selvaragavan Film | Karthi, ParthibanAayirathil oruvan full movie in TamilAayirathil...
Watch the full video to get interesting facts, Ott Update, detailed review, Preproduction, filming and, Post production details, LifeTime Box-Office Collecti...
The long wait is over - literally for all
In 1279 A.D. the downfall of the Chola dynasty seems imminent as the Pandyas drive the Chola people out of their kingdom in southern India. To escape them and save the life of his successor the Chola emperor sends his son along with the Chola people to a secret territory. The refugees take along an idol sacred to the Pandyas, angering them.
#Ayngaran Watch Aayirathil Oruvan full movie featuring M. G. R, Jayalalithaa, Nagesh, Vijayalakshmi in the lead roles. Aayirathil Oruvan is a 1965 Tamil acti...
Aayirathil Oruvan ... movies. Aayirathil Oruvan. Topics kamal Item Size 2.7G . tamil Addeddate 2019-08-03 08:52:34 ... Scanner Internet Archive HTML5 Uploader 1.6.4 . plus-circle Add Review. comment. Reviews Reviewer: mani chari - favorite favorite favorite favorite favorite - August 5, 2023 Subject: Super 😍😍😍