Debutant director Meera Kathiravan has attempted to narrate the story of a disappointed lover through his journey. Thamizharasi (Nandagi) is a small girl who hails from the family whose main source of income is earned by performing folk arts at street corners/junctions. Murugan (Jai), who develops a liking towards Thamizharasi, helps her in pursing her education and her family as well.
The childhood buddies grow on to become inseparable lovers. Thamizharasi tops the State exams in 12th Standard and prepares to move to a big city for higher studies. Murugan is heart-broken that she didn’t inform him about her visit and his frustration is kept further alive by his friends’ ill-timed advices telling him that ‘educated girls won’t think about their past lives’ and that he would do well to forget her forever.
Overcome by a fear that she might desert him, Murugan ‘misbehaves’ with her and outrages her modesty. When Thamizharasi’s family gets to know this, her mother commits suicide while her brother’s studies get affected. The brother, in an act of rage, attacks Murugan and grievously injures him. Murugan is hospitalized and when he emerges from his treatment, finds Thamizharasi missing from the village.
Watch the film to find out whether or not Murugan was able to find his girl and whether he got married to her or not.
Within the first few minutes into the film, you could sense that the film isn’t a usual pot-boiler but something meaningful and purposeful on thelines of a Cheran or a Thangar Bachchan movie. Kathiravan involves the viewers with the proceedings by carefully weaving the screenplay in an interesting manner.
The scenes and the backdrop are ever so realistic….Thamizharasi’s family which survives by performing folk arts, the family’s determination to continue with the art despite the work not earning them much, their willpower to carry on with it are sequences that enter our heart straightaway and stay there forever. More importantly, the dying art of staging folk arts on-street has been shown in tremendous detail, which a laudable effort on the part of director!
Jai has certainly grown as an actor, thanks to his stay in the industry for the past few years. His limited emotional outbursts add weight to his character. Newcomer Nandagi steals the show from right under the nose of Jai as she has lived the character, giving the audience no clue whatsoever that it’s only her first film in Kollywood! She has an amazingly expressive face and uses it to full extent in emotive sequences.
The girl who plays the young Thamizharasi, Theodore Bhaskaran (who plays Murugan’s grandpa) and many others act ever so naturally while ‘Ganja’ Karuppu doesn’t disappoint. The director’s touch is omnipresent throughout the film as he handles the script ever so naturally and casually.
Vijay Antony delivers some hummable and melodious numbers. P.G. Muthaiah’s cinematography captures the mood of the film convincingly. The film drags a bit in the post-interval session. The turning point of the film could have been more convincingly shown. The ‘help’ sought by the heroine in the climax deviates from the shades of her character shown till then.
But for a few hiccups, ‘Aval Peyar Thamazharasi’ is worth a watch.
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