Viruman movie review: Karthi’s film is passable
Director Muthaiya has developed a status as being one of many few Tamil administrators, who can pull off movies about rural Tamil Nadu. But, his motion pictures provide nothing substantial concerning the villages and the folks inhabiting them. The mere aesthetics of his movies are mistaken for real representations of rural life. Whereas Karthi has repeated his look from his debut venture Paruthiveeran on this movie, Viruman isn’t any match for Ameer’s 2007 tragic drama. In fact, Muthaiya doesn’t faux to make slice-of-life affairs. He merely exploits the ‘rural’ tag to make palatable industrial motion pictures – or in Tamil cinema lingo, mass motion pictures. Like all his earlier movies, Viruman is one other simple movie with moralistic stands and conservative concepts which might be welcomed by the lots. Nevertheless, what makes Viruman and his earlier ventures work is that they’re enjoyable – many occasions unintentionally.
Take the interval scene, for instance. Viruman (Karthi) and his father Muniyaandi (Prakash Raj) are on the verge of getting right into a bodily scuffle on the village panchayat. The hero takes out his sharp weapon to complete off his dad, whereas the villagers forcefully pull the 2 aside. Nevertheless, Viruman is uncontrollable, and he’s moments away from going for the kill. Now, our heroine Thaen (Aditi), a bystander, springs into motion and kisses Viruman on the lips bringing the entire panchayat to a standstill. After which comes the interval card. It’s Muthaiya’s method of telling us, “Look, how this raging bull has been tamed by the light contact of a girl.” It’s certainly problematic. But, the theatre goes berserk.
So far as the story goes, Viruman is a few son who needs to convey down his corrupt and grasping father, who was the rationale behind his mom’s suicide. With assist from his maternal uncles, Viruman tries to win over his three brothers and show to his dad that there are issues in life that may’t be purchased with cash or energy. The innate subject with Viruman is that it has none. Viruman is conflictless from the beginning. Issues pan out precisely the best way you wish to, and with an invincible hero, nothing appears to be at stake in any respect. Mockingly, that works in favour of the movie.
As an alternative of turning into a snoozefest, the predictability of Muthaiya’s story makes for a simple watch. Not simply the outdated concepts, the movie additionally harps on the outdated method of Tamil cinema, the place every part ends on a contented be aware. The seamless performances of Prakash Raj, Karthi, and Aditi, cinematographer Selvakumar SK’s vibrant frames, and Yuvan Shankar Raja’s music are different components that assist in promoting this generic enterprise.
One can go on and on concerning the ingrained sexism and the romanticisation of familial values that teems in Viruman. Additionally, we marvel when Tamil administrators – from Muthaiya to Gautam Vasudev Menon – will forgo the thought of constructing the wives and girlfriends as stand-ins for the moms of our heroes. In Viruman, there’s a scene the place Thaen’s face displays on Viruman’s useless mom’s photograph – it was certainly one of many cases the place I laughed on the movie.
On the finish of the day, the issues however, Viruman is a protected movie for each the makers and the viewers. It doesn’t make you’re feeling a lot whereas watching it, nor leaves you with a whole lot of ideas about parenting. It’s largely a satisfactory film.
