There are hyper-expressive actors who play to the gallery – so we can marvel at all that huffing and puffing, all that acting – and there are those who quietly vanish into the part, and then there’s Dhanush, who beautifully straddles the middle. In a wedding scene in Maryan (that’s the name of his character), he tries to catch the eye of Panimalar (Parvathi), whose advances he has constantly rebuffed. His approach here (perhaps consciously, perhaps by instinct) is that of a mime, filled with grimaces and hopeful glances – we’re left with little doubt about what he’s trying to do. (The man on the moon is left with little doubt about what he’s trying to do.) But elsewhere, when the director Bharatbala holds his face in tight close-ups, Dhanush relaxes – still, he syncs us without fuss to what he’s feeling. Rarely has an actor projected as much love as Dhanush does here over a telephone call – even if there had been no dialogue, even if we didn’t see Panimalar at the other end, we’d have no trouble making out what this call, this scene, this moment is all about.
The happiest surprise of Maryan is that its heroine is every bit as good, another exquisite subject for close-ups. (And there are many of them.) Just watch her when she learns from Maryan’s best buddy Sakkarai (Appukutty) that Maryan may be in love with her after all. Or when she finds out, through a phone call, that he’s been kidnapped by mercenaries in Sudan, where he’s on a two-year assignment. Or even in the seemingly unplayable scene where, after Maryan makes his escape there, she senses his impending freedom. This latter development is the stuff of melodramatic epics, and that’s what the director is after: a love story that transcends continents. Even when the villain, Theekkurisi (Vinayakan), shoves Panimalar into a room – she undergoes a shocking amount of brutality, even at the hands of Maryan – and attempts to rape her, she seems to be in a wild trance, thinking about her faraway lover, barely conscious of this proximal danger.
As he proved with his first feature, Hari Om, Bharatbala works very well in this intimate mode. There’s nothing new in this love story – she chases him; he resists; then his resolve crumbles – but Dhanush and Parvathi make us feel we’re eavesdropping on something special, where the most mundane of happenings (like playing footsie with mud-smeared legs) is imbued with a splash of the poetic. The problems with Maryan arise when this poetry is spilled on a larger canvas. As long as the film is confined to the coastal village that is Maryan’s hometown, it is on sure ground, and the director’s indulgences (a dreamy pace, for starters) serve the story well – but once the Roja-like narrative switch is turned on at interval point, these pluses turn into minuses. We need less poetry, more punch. And while the power of love is the narrative motor, there’s a sense of incompleteness when the other aspects of the plot aren’t developed as strongly. Sometimes, love is not all you need.
We need, for instance, memorable villains. Early on, Maryan says he finds himself at home in Sudan because “ellaarum nambala maadhiri manushanga dhaane,” and we need to feel his anguish when he realises how mistaken he was with this utopian assumption. But the Sudanese bad guys come off more like drugged-out schoolkids, alternating between campfire frat parties and psychotic episodes – and their leader is delineated solely by means of a skull he wears on a necklace. (They’re otherwise indistinguishable.) The film lays solid groundwork for their behavior – they’re upset that countries like India are taking all their oil, and they demand their share. But that sort of ideological abstraction is of little use in a film of this nature, where individual villainy needs to stand out so that we have the satisfaction of seeing the hero clamber out of captivity, to the stirring strains of AR Rahman’s Nenje ezhu.
And we need to feel the thrill of his escape. The central conceit of the film – and it’s a terrific one – is that Maryan is a hero when he’s by the sea, and there’s nothing heroic about him when he’s taken away to a place as far away as possible from the sea. The film’s first image is a salubrious one, sunlight rippling through blue waters, and Maryan’s “heroism” is established when he snares a monster fish that his father never could, and when he swims across from one boat to another, in the middle of the sea, just to get a box of matches for a smoke. He calls himself a Kadal rasa (and the song that follows is used most unfortunately), and when he’s dumped in a desert, he’s a shorn Samson (inasmuch as one can liken Dhanush to Samson). The second half of the film, which is about this son of the sea ending up a fish out of water, doesn’t register as strongly as the first, with its entrancing love story.
And like the villains, the characters around Maryan and Panimalar are given short shrift. Sakkarai is dispatched most unceremoniously, and the way Saamy (Maryan’s friend in Sudan, played by Jagan) is written out is worse. Even Theekkurisi vanishes abruptly. The sharpness in the writing that’s evident when Maryan walks into Panimalar’s house and claims her in front of a prospective groom is absent when he finds himself adrift in the desert. (Cue, more poetry: her tears fall on his parched lips.) But the slog through these stretches is made worthwhile when Maryan returns home, and we see how Parvathi responds to his presence, registering, first, his physicality, the fact that he’s really there, and then falling gently into his arms. It’s the quietest of reunions, and it reaffirms what we’ve almost forgotten in Tamil cinema, that love stories are a two-way street, and they need a strong actress as much as an actor. Where has she been hiding all this while?
An edited version of this piece can be found here.
Copyright ©2013 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Jupe
July 20, 2013
That was quick !! Am watching this tomorrow so will come back post that and savour the experience of enjoying your thoughts…
LikeLike
vinjk
July 20, 2013
“Where has she been hiding all this while?”
I haven’t seen her in a movie for a long while. I loved her performance in Notebook and City of God.
LikeLike
DB
July 20, 2013
Does anyone have any idea if this has been released with subtitles out of TN?
LikeLike
indianmalefeminist
July 20, 2013
@vinjk – really? I thought she was really below par in Notebook – but to be fair most of the cast were (Roma was awful in that). Liked the movie though. And she was in another hamfest called “Flash” – was horrible. But totally redeemed herself with City of Gods though, I agree.
Was impressed how far she’s come since then, just looking at the trailers 🙂
LikeLike
Rags
July 20, 2013
// “Where has she been hiding all this while?” //
A terrific actress, completely unwated in a glamour driven industry, unfortunately…
She was the heorine in the tamil film “Poo”, in 2009, and won all the awards in sight.. her next film in tamil got released after 4 years (Chennaiyil oru naal).. this, probably, is her 3rd film in tamil.. She debuted in 2006 in malayalam, had acted in a couple of films in 2006 and 2007.. her last ovie in malayalam came 2 years back.. Lijo Pellissery”s City of God.. she played a tamil speaking slum dweller in tht.. all gr8 roles ad brilliant performances.. pretty unfortunate tht an acress of this calibre finds work once every 2 years..
LikeLike
Arun
July 20, 2013
Wat abt Mark’s cinematography…. Nothin s mentioned abt it… So here goes ma addition.. Camera work s d third best thing in d movie after Dhanush’s actin and AR’s music… A lot to be learnt and admired…
LikeLike
Vimal
July 20, 2013
Thoughts on the soundtrack? I think it’s ARR’s finest album since VTV (Kadal never felt like an album to me, plus the songs were wildly anachronistic for the most part. Raanjhanaa didn’t have enough experimentation imo). Really looking forward to seeing this. Btw Parvathi Menon gave an incredible performance (that SHOULD have won her every award out there) in the outstanding 2008 movie “Poo” (take out the asinine comedy track and you have a classic).
LikeLike
Vivek
July 20, 2013
Dhanush, i think, could quite possibly be the best young actor in the country right now. Well, I’m not from Tamil Nadu. But I have seen his films Aadukalam, 3 and Raanjhana. Needless to say, he showed his exquisite class in all of them.
His portrayal in that song from ‘3’ – “Idhazin oram…”, is so brilliant and my favourite, that it has become a regular I watch most days before sleep – feels so much energy everytime after it.
Thanks for the review. Will try to catch it, as it seems to be another splendid outing for Dhanush.
LikeLike
Sid (@Tweet2Sid)
July 20, 2013
/ Where has she been hiding all this while? /
@BR
Parvathi Menon was there in Chennaiyil Oru Naal also but it was more like you mentioned in that line – she was *hiding* even in that film.
After Poo this is probably the tamil film to offer a role she’s worth!
(not seeing the film yet, so just skimmed through the review – fearing spoilers – just had to post this about the heroine)
LikeLiked by 1 person
susruthanvesh
July 20, 2013
Reblogged this on .Writeffective..
LikeLike
ArunKumar A
July 21, 2013
She was the lead in the critically acclaimed tamil movie Poo directed by Sasi.
Why nothing much written about music, audiography and cinematography?
In Auro3d theaters I felt the sea and the desert storm above my head.
pls do watch it in Auro3d sound.
LikeLike
Rishad
July 21, 2013
Dhanush the grade actor ever, he establish 4rm “kadhal konden” his first box office hit after “thiruda thirudi” big blast & contnue….to his best acting,Cant compair anyone.He is best
LikeLike
Mambazha Manidhan
July 21, 2013
“The central conceit of the film – and it’s a terrific one – is that Maryan is a hero when he’s by the sea, and there’s nothing heroic about him when he’s taken away to a place as far away as possible from the sea…..”
Yes! Fantastic premise.
But, the use of the Nenje Ezhu cue in the BGM when another human being is being drowned villain he maybe is slighta disturbing. Also, it’s hilarious to hear some feminists say, “Why doesn’t she leave him?” because of the beating she suffers at the hands of Dhanush.
LikeLike
Ravi
July 21, 2013
Super review! Pretty similar to my thoughts on this well crafted film. Indha review padicha udane padam 2nd time parkanum pola iruku. No matter what one says, Maryan is poetry on celluloid. And not everyone enjoys poetry! This is what I felt when watching the film “Maryan is what Mani Ratnam’s Kadal should have been”.
LikeLike
brangan
July 21, 2013
vinjk: Do you know if “Notebook” or “City of God” are available with subtitles? Thanks.
Rags: pretty unfortunate tht an acress of this calibre finds work once every 2 years..
Well, you can’t blame the Tamil film industry. She’s no Hansika Motwani, after all. I mean, she can speak the language. She looks beautiful but rooted in the milieu. She can act without gesticulating. Who’ll cast her? 🙂
Vimal: If you call the “Kadal” album anachronistic (though I think you mean out of place with the setting, not the time), what would you say to Ilayaraja’s western-classical based “village songs”? Music needn’t always be of/from the place. Its function is evocative, and maybe sometimes expressionistic (as was the case in “Kadal”).
The problem with “Kadal” wasn’t the songs but the *picturisation* of the songs. Had “Adiye” played in the background, you wouldn’t be calling it “anachronistic.” Otherwise, it was a gorgeous soundtrack. “Anbin vaasale” gives me chills each time I listen to it.
The other qualifier I part ways with you is “didn’t have enough experimentation.” I don’t think a good album/song is necessarily experimental.
Vivek: His portrayal in that song from ’3′ – “Idhazin oram…”, is so brilliant and my favourite, that it has become a regular I watch most days before sleep – feels so much energy everytime after it.
Thanks for sharing. This is what I love about pop culture, the strangest ways it can affect a viewer.
Sid: Missed her in “Chennaiyil Oru Naal…” What role did she play? 🙂 And I remember liking “Poo” a lot, but the film has just vanished from my mind. Can’t recall anything from it…
ArunKumar A: Why nothing much written about music, audiography and cinematography?
If you read carefully, you will also notice that I haven’t written much about the editing, the art direction, the costumes, and the quality of the on-set catering.
Ravi: Why is everyone comparing this to “Kadal”? That’s not a love story, no? I get that everyone except me hated that film, but this comparison is really so off 🙂 “Maryan” is more along the lines of “Neerparavai” — if you want to set up a battle of the coastal movies… You should really watch that film if you haven’t.
PS: One thing I’ve noticed is that people pick only the big movies to make their points. It’s as if they read reviews of only the big movies. Watch only the big movies. And they comment only for the big movies. It’s not just the “Neerparavai” point above, but also with “Singam 2”. I think it’s an awful film, but people told me things like “that’s how masala films are” and “if I don’t like masala films then I shouldn’t be reviewing them.” And then I pointed them to my review of “Naan Rajavaga Pogiren,” (here) which I liked quite a bit — and that’s a proper masala movie too. But nobody saw it. The people who complained about my “Singam 2” review hadn’t even heard of it 🙂
LikeLiked by 1 person
indianmalefeminist
July 21, 2013
@BR – not sure about Notebook but the City of God movie does come w/ subtitles.
LikeLike
Juggernaut
July 21, 2013
Finally a sensible review for the Movie! All I have been hearing is about the lackluster screenplay and inept story. But where exactly did it go lackluster was not pointed out by anyone till now. Thanks BR 🙂
And I quite understand you giving more emphasis to Parvathy’s performance over Dhanush’s. After all, we knew Dhanush could act. What we did not know is that Parvathy could hold her own even with giants like Dhanush, ARR and Salim Kumar around her
LikeLike
vinjk
July 21, 2013
Indianmalefemin- I think parvathy and the other two girls(roma and maria) acted in the movie as high school would have behaved. I didn’t have problem with their acting. I really loved the movie and its theme.
BR- not sure about notebook dvd with subtitle. I found one dvdrip on youtube with no sub.
City of god: http://www.myindiashopping.com/movie.php?lang=M&mov=13795
LikeLike
Sid (@Tweet2Sid)
July 21, 2013
@BR
It’s no wonder if you can’t recall, much like one can ask if Vivek was there in Alaipaayuthey..
Parvathi’s character in Chennaiyil Oru Naal is named Aditi, the love interest of Karthik who goes brain-dead.
About her portion in the film, you wrote: Also, the love story early on may have been better served by a couple of scenes instead of a choreographed song.
LikeLike
indianmalefeminist
July 21, 2013
@vinjk – I could’ve cut you some slack for saying Parvati was very good in it, but Roma? Really? Was bloody awful. Well I never knew teens went through a “hammy” phase, at least I didn’t. 🙂 I’ll leave that to BR if he’s watching the film.
Again, I liked the film – that’s mostly due to Bobby-Sanjay’s writing (IMO the best script writers in Malayalam right now) rather than anything.
LikeLike
ciummaa
July 21, 2013
Notebook is also available with subs (at least was when I was watching it:D)
LikeLike
Rags
July 21, 2013
Hi BR, heres a DVD rip in youtube for “Notebook”….
And an online link for City Of God…
http://v.youku.com/v_show/id_XNTcwODk4MjUy.html
Unfortunately, both the prints are without subtitles.. but I guess there are many dialogues in english in one and tamil in another one.. you may not really need a subtitled print 🙂
LikeLike
Rags
July 21, 2013
DVD of notebook is available here …
http://www.myindiashopping.com/movie.php?lang=M&mov=1089
LikeLike
Vimal
July 21, 2013
I was referring to the songs “Magudi”, “Chithirai Nilai” and “Adiye” mostly. With regard to “Raanjhana”..one of the reasons i’m such a big ARR fan is b/c of how experimental his music is. I would rather hear a bad album from him than a safe one (if that makes sense). Now, I think you may have construed my earlier comment as trying to incite one of those ARR v IR debates. ARR is, at the most conservative estimate, 1000x better than IR. I am not at all a fan of IR. I was just comparing the past 3-4 ARR albums, of which Mariyaan truly stands out as a masterpiece. That’s all.
LikeLike
Ravi K
July 21, 2013
Your review pretty much echoed my thoughts about what’s good and what’s bad about the film. Ultimately the plusses outweighed the minuses for me, though a potentially great film falling short is, in a way, more frustrating than a film that aims low from the start.
Did the film ever specify why Seeli didn’t like Panimalar?
Parvathi was a revelation here. She held her own amongst talents like Dhanush and Salim Kumar. I hadn’t seen her in anything before Maryaan. It makes me kind of sad to watch good performances in Tamil films, especially from women, since I know their next films will probably be not as good and their characters more poorly written.
LikeLike
brangan
July 22, 2013
Sid: Ah, thanks.
All: Thanks. As much as I hate bad subtitling, these are times I feel that’s better than no subtitling at all.
Vimal: No, I didn’t “construed my earlier comment as trying to incite one of those ARR v IR debates.” But it’s nice to see that you have sown the seeds for one. I was just giving an example, but nice to see that — all these years later — one musician still cannot be praised without bringing down another. All’s well with the world 🙂
Ravi K: Because Pani’s dad was the one who took Maryan’s dad fishing the day the latter died, and Seeli hates that family now. At least, that’s what I heard…
As much as I love these new films for sticking to the native/authentic accents, sometimes the mix of these accents with the sound recording makes some lines very unclear.
One thing that shocked me in a film so ambitious is how poorly the secondary characters — Sakkarai, Theekkurisi, Saamy — were written out of the screenplay. Why not given them a strong “finish”?
BTW, here’s my review of Bharatbala’s first feature, “Hari Om.”
LikeLike
vinjk
July 22, 2013
Indianmalefemin- I think we can debate this out some other day. Lets not derail/hijack Mariyan discussion
LikeLike
kk
July 22, 2013
@brangan,
Thanks for the great review. Very well written. I wanted to add on to your point about not giving some of the secondary characters a strong finish. I completely agree. I was also disappointed with how the relationship between Salim Kumar’s character (Thomayya?) with Pani and Maryan wasn’t explained well enough. There is a scene were Maryan dives into the sea and swims to another boat to get Thomayya a matchbox. Why did Maryan, the alpha male, do this for Thomayya. And why does Maryan get affected (so I thought he did) by Thomayya’s remarks on love and being a man. Well from well informed sources, I heard that in the original version, these things were explained better with extra scenes but got lost somewhere in the editing. I also heard they had shot a few other versions of how Saami’s character ended. I frankly didn’t like how that character was given a close. Same with Theekkurisi and Sakkarai. In all I think what was flawed in terms of direction and editing was reconciled through stellar acting and camera work.
LikeLike
Ravi K
July 22, 2013
Ah, got it now. Thanks. I must have missed that bit.
“As much as I love these new films for sticking to the native/authentic accents, sometimes the mix of these accents with the sound recording makes some lines very unclear.”
There were some lines that sounded like they used a rough scratch track. For such a technically polished film it sounded like a glaring mistake. And I am glad that my screening had English subtitles, as I am not familiar with this accent/dialect of Tamil.
LikeLike
Niyantha
July 22, 2013
There’s a point in the movie where Dhanush sings Kadal Raasa ‘live’. It’s the cry of a man who can’t believe his situation. I so wish Bharat Bala hadn’t cut to the audio track right then; it would have been the moment of the film for me otherwise.
LikeLike
Hari
July 22, 2013
I have got DVD rips of malayalam films(including city of god) with subtitles. Can share with you, if you are interested. thanks 🙂
LikeLike
Mrinal Narayan
July 22, 2013
Wish they had used a non-linear editing (similar to Alaipayuthey). Personally feel, that could have avoided a messed up screenplay in the later half (especially) and by that we wouldn’t feel so much for wastage of other supporting artists / wouldn’t have gone waste @ the first place. Because the movie majorly focused on the lead pair and their romance and did not concentrate much on the extras (workers getting kidnapped issue)
LikeLike
tejas
July 22, 2013
@Rangan, I have a request as someone who doesn’t understand Tamil at all. Can you also put translation of dialogs in your essays? I know this is review of a Tamil film in a newspaper published from Chennai, but you’d agree that the readership of your columns is not limited in the demographic. Thanks!
LikeLike
Kiruba
July 22, 2013
This didn’t work for me. Except for Mariyaan and Panimalar, I felt all others were stock characters (or as you put it better, they were shockingly underdeveloped) enacting scenes written with little thought.
As much as I liked Parvathy (she was a major irritant in Poo, but here she is fantastic; the closing scene is something that I’ll carry for long ), I was put off by her voice . Yes, she can speak her lines, but somehow I felt Panimalar can’t be speaking like this. Not sure if it is the accent.
But Dhanush seems to have perfected the art of elevating the material he is given. Although I’d like him to add some more diversity to the roles he chooses.
LikeLike
Sara
July 23, 2013
An appendix to tejas’s request: could you do the same for Hindi movie dialogues for those of us who rely on subtitles to navigate Hindi films? 😀
LikeLike
kainattu
July 23, 2013
BR u seem to have united tamil and hindi speaking groups
LikeLike
Siddharthan
July 23, 2013
In the pantheon of great Indian actors, Dhanush will become an inevitable addition. What he has acheived, at just 30, is stupendous. I can see him only soar from here.
LikeLike
vijay
July 23, 2013
BR, I sense some serious Dhanush love here esp. in the last couple reviews. I haven’t seen these ones yet but did you really think that he was even better in these than he was in Aadukalam?
LikeLike
brangan
July 24, 2013
kk: Why did Maryan, the alpha male, do this for Thomayya.
I think this is more like a “heroism” scene — nicely and subtly done — to establish that the sea was like his home. Going from one boat to another was like popping over to the neighbour’s to ask for some milk or sugar.
vijay: Did you read my “Raanjhanaa” review? I said: “Dhanush does his best to hold it all together. It’s not a stretch by any means (for that, you’ll have to seek out Pudhupettai or Aadukalam), but it’s still a beautifully modulated performance…”
tejas/Sara: I thought that the general sense gets through… Compare these two options:
Early on, Maryan says he finds himself at home in Sudan because “ellaarum nambala maadhiri manushanga dhaane,” and we need to feel his anguish when he realises how mistaken he was with this utopian assumption.
Early on, Maryan says he finds himself at home in Sudan, and we need to feel his anguish when he realises how mistaken he was with this utopian assumption.
Remove the Tamil and the sense gets through, I thought. But anyway, will keep this in mind for future reviews. The reason I don’t like doing translations mid-review is that it kills the flow if you put the meaning in square brackets right next to the lines, but…
LikeLike
Rahini David
July 24, 2013
Brangan: The general flow is certainly killed. But to the non-tamil speaker “ellaarum nambala maadhiri manushanga dhaane” can mean a lot of things.
a. They are also humans.
b. God will never let me down.
c. I can handle it somehow.
d. Every dog has it’s day.
All the above options fit inside that placeholder. But each depicts starkly different personalities of the protagonist. Even the Reviewer.
For somebody like me who never watches other language movies but enjoys reading reviews of them, these sentences are of real importance. We have to transliterate them and then translate them and you should know that we are a bunch of lazy people out here.
Thanks
LikeLike
Mambazha Manidhan
July 25, 2013
No ‘between reviews’ on that Jaegar vs Kaiju movie? I ve seen that movie thrice. Just for the Hong Kong Harbor sequence. Epic and Alone worth the price of admission. The first half is a bore though.
LikeLike
Santosh
July 25, 2013
Mr Rangan….. what are ur thoughts on Danush’s Pals – Sakkarai and Murari (from Ranjannah) , these selfless people in ‘Maryaan’ and ‘Ranjannah’,respectively seem to be only interested in their friend’s romance in the entire film. They don’t seem to have any selfish motives at all. Sakkarai is only interested in getting Maryaan to fall for Panimalar, as if there was nothing to him than that. I thought they were very one dimensional, typical in Indian films.
LikeLike
vijay
July 26, 2013
BR, I was referring to the entire first para of this piece which is dedicated to Dhanush as well as your take on Dhanush’s performance in Ambikapathy(not Ranjhanaa) which you said was “magnetic” and “revelatory”. That was quite some gushing, I thought. Appadi enna pudhusa reveal pannitaaru avarunnu kekkaren.
LikeLike
vijay
July 26, 2013
Also its rare to see you praise a mainstream actor’s performance like that in back to back reviews. Maybe for Irfan or Naseeruddin or somebody like that but not for somebody like Dhanush, that’s a rarity.That got me curious.
LikeLike
brangan
July 26, 2013
Mambazha Manidhan: Oh, I really liked the film. I was bored at the beginning, with all the set up, but about a half-hour in, I was riveted. This is what a good director can do, take crap material and still make you care. But three times? 🙂
Santosh: Why should everyone have a motive/arc that’s independent of the hero? These are not sprawling novels. These are films, and, like it or not, these are the stories of the hero/heroine, and their arcs are what matter. Regarding the friends, what I care about is whether they are interestingly written (in a non-cliched manner).
vijay: I have praised “mainstream actors” like Ranbir Kapoor in “Rockstar.” But I don’t think I’ve seen any actor have two back-to-back releases — within weeks — with good parts (in which he gave good performances). Had these two films been separated by six months, you may not have felt the “gushing.” But you have given me a thought for a column and I’ll write more there.
LikeLike
Kiruba
July 26, 2013
BR: Pacific Rim was a surprise. Would’ve certainly given it a miss but for my nagging nephew who turned 4 this week. Needless to say he was enthralled.
btw, watched Refn’s ‘Only God Knows’ last night. what pure indulgence! While beyond reach of mere mortals like me, the violence was absolutely riveting; complete with eye slitting, ear piercing, belly cutting etc,. And a brilliant score complementing the visual style.
LikeLike
UPN EarnesTaster
July 27, 2013
breezed through your review -didn’t want to catch too much of the plot as i want to see the movie soon. have missed much of Tamil cinema in recent years so when I saw Dhanush in Oru Naalil from Pudupettai ( hop-skipped through your “partners in grime” too) i was amazed and repeatedly floored -am convinced that Selvaraghavan was reprising Toshiro Mifune when giving the sword scowl and eye bulging glare to Dhanush esp. in black&white scenes.
LikeLike
Vivek
July 27, 2013
BR : “Thanks for sharing. This is what I love about pop culture, the strangest ways it can affect a viewer.”
What do you mean by strange ?! The song i mentioned is quite catchy with some charming sequences/perfomances/moves. I think it is quite common for people to hold to some songs they had liked for a good period of time, especially thanks to the online and easy availability. Ofcourse there are many songs that I regularly revisit. For instance,recently the ‘Kalshubarambh’ and ‘Maanjha’ from KaiPoChe are among ones that I have felt great enthusiasm.
If u mean that loving a song from another (unfamiliar) language is what is a bit strange, perhaps seems so. But i don’t think language really matters. I have heard and loved many songs from tamil, malayalam, telugu, bengali, etc.
LikeLike
brangan
July 28, 2013
Vivek: I meant strange in a good way, as in, the things we never expect to like can end up becoming addictive. I have tons of “strange” likes from pop culture.
LikeLike
S. Prasad
July 28, 2013
This film is a “Roja”, albeit with a different fragrance. I had no issues with the second half actually, which I feel extends well enough from the first half. The director could have edited out that song-and-dance sequence involving the militia — but I guess commercial considerations creeped in there. Agree with your assessment on the heroine’s performance. Very good one.
LikeLike
Arvind S Srinivasan
July 29, 2013
Just got to watch the movie. And for one it is very difficult to categorise the movie as a complete love story. It is basically two films rolled into one and in the end all we get is a convoluted plot. Its neither this or that.And am I the only person who believes that even the love track between Mariyaan and Pani (before he sets off to Sudan) looked contrived. I could never really feel the turbulence that Mariyaan goes through in his mind before accepting her love. At start, he treats her like nothing but a whizzing fly that irritatingly buzzes across the ears. And the reasons put forth for him to fall for her suddenly is what makes it contrived for me. You not only feel you’r watching two movies rolled into one, but also two Mariyaans. No. I am not talking the kadal raasa being reduced toa hapless victim in the palaivanam. Rather I am talking about Mariyaan the lover. There is some sort of tenderness in mariyaan when he speaks over the phone to Pani, a trait missing in him completely when he is at the sea. A change brought about by lthe love he has for Pani. We know the guy’s changed, but we never experience it nor visualize it on screen. We get a voice over at the start from Mariyaan about Sudan, Pani and man being the same irrespective of the geographical location.But the voice over is immediately chucked off once the movie moves to the flashback. Probably it should have been enforced more frequently
LikeLike
rpattabi
August 11, 2013
Rangan, I usually find, your reviews hesitate to write off average flicks; usually Indian ones. Mariyaan is very average. Why don’t you make it clear for your audience?
You mainly focus on the pluses and touch upon the minuses; which is very good approach. But I would also like the blatant verdict about the average flicks so that there is not even an iota of doubt about the quality of the flick we are contemplating to go.
LikeLiked by 1 person
Jaya Suria
October 1, 2013
Hi there! This is the first time that I ever came across a movie-review blog as good as yours. I am very much impressed by your artistic way of ‘ripping apart’ a movie and discussing the finer details that otherwise, would’ve missed our scrutiny. A review that only expand my liking on the movie – “Mariyaan”. FYI, I’m a girl and I always find myself disappointed to see most Tamil movies are one-man Hero oriented. Even in movie and audio launchings, the actresses are just introduced for visual satisfaction – pretty and not much time given for them to speak. But then, of course, most of them cannot speak in Tamil, hence, the poor introduction. But NOW, with the rising of a such a talented actress like Parvathy (Panimalar in Maryaan), I can never feel more relieved. Whose acting equates her co-star; scene to scene. I am deeply disappointed to see reviews harping only on Dhanush, ARR And Bharatbala to review on Maryaan. I am big fan of Rahman by the way. Just like the other commentor, I do feel anxious upon Parvathy’s next movie. Will she be opting for some shocking roles – sexy, glamorous, b**chy etc? How I dearly wish that rare actress like her will only be considered by GOOD directors, with the intention of true artistic value, and explore her talents for roles which are NOT sexy/glamorous. ONE QUESTION: The voice of Panimalar, was it Parvathy’s? =)
LikeLike
Rajeev
November 23, 2013
Tbh, I found the leads to be a tad……underwhelming. They weren’t ” bad ” , but I wasn’t exactly enthralled by either of their performances. I still feel that Dhanush’s performance in Aadukalam is his finest. As for Parvathi, I felt that she was OK.
As for the film itself, the first half was a bit dull, even though it had its moments. The second half was far more gripping, but even that felt a bit underdeveloped. The film could’ve certainly used a bunch of Captain Phillips-esque villains. Would’ve made the second half much more gripping.
LikeLike
Rajeev
November 23, 2013
Oh, and the cinemaphotography was amazing! Arguably the best I’ve ever seen in a Tamil film.
LikeLike