Aayirathil Oruvan - not A review, but a Critical Appreciation!

This is a revival! A revival of blogging.. after eons.. Few major reasons,
1. Always wanted to restart my blogging,
2. Always wanted to review movies, with my own personal touches..
Cutting to the chase, Aayirathil Oruvan is a huge inspiration to revive my blogging..

Aayirathil Oruvan
Selvaragahavan's movies have always been an experience. His words, his thoughts, his appreciation of cinema have always reflected on his movies. Though flooded with brilliance, his movies also have an evident vaccuum obvious to the layman(Climax of 7G, length of the second half of Pudhupettai to name a few). But there is a share of his brilliance which is evident only to the ardent movie fan.. a movie buff!

A genuine period movie in Thamizh cinema after a humongously long wait, save for Veerapandiya Kattabomman or other Gemini/Modern Theatre productions in the 60s, Aayirathil Oruvan does complete justice in creating the magnificence of the era.

There are weak moments in the movie, quite obvious to many, such as the length of certain scenes and hence the entire movie. But, I am not going to vest my effort in those and kill my amazement of the movie!

I saw one of the first few shows of the movie in Singapore. I was asked whether I liked the movie! My answer - This is not a movie which can be categorized in 'liked/disliked or good/bad'. It is an experience. An experience in Thamizh cinema that SHOULD NOT BE MISSED!

Selvaraghavan is in love with cinema, he is in love with Thamizh. This is evident from his introduction voice-over in the movie (though Cholas could have been pronounced Chozhas :)). The thought was unique. No one who saw the movie and those who talked to about the movie has denied that.

The Art direction by Rajeevan and the camera work by Ramji exalt the moods exactly.. The portrayal is studded with sheer hardwork of these geniuses in showing richness with richness and poverty with poverty in all senses. Nisumbhasoodhani statue, Nataraja shadow, artwork in Un mela aasaidhan song, camera angles (the short humorous scene with Reema holding the pistol below the table, the wide angle shot of the ship in nightwaters, the zooming camera across the waters to reach Karthi, Andrea and Reema) and lighting all through the movie, and especially inside the caves are tremendous!

The exploration being conducted outside the Indian subcontinent is a Master-stroke! The disclaimer that it doesn't follow the Chola/Pandiya history is a good decoy too.. Travel to East Asian Vietnam aligns with the naval outreach of the Cholas through Rajendran to Kadaaram.
Incorporating practices of Navagandam (a war sacrifice practised during RajaRaja's period, especially during his war with the Cheras and Chalukyas),
the war God Nisumbasoodhani, worshipped during the Chola period,
the Thamizh with a mix of Sanskrit (Vardhamaanam) and Telugu (Raja Raja Chola's daughter was married to an Eastern Chalukya, King of Vengi, a Telugu speaking king).. Reema Sen questioning him in Telugu and singing to him in Telugu - was it satire?!
Parthiban's costumes and armors (kudos to Iram Ali) fit the historical and the Temple definitions to a Tee.

The first half was racy and jubiliant, filled with youthful energy and exuberance, a trademark of Selva. Karthi, Andrea and Reema play a classic threesome.. Their love and hate relationship will stay for quite long in the minds of the young. The extra chicken piece for Andrea and the nonchalance with which she accepts it.. makes your sides split!

The journey between emotions, humor, action, tragedy, horror etc follows a clear gradient and is quite seamless. This is eating my mind, I have to say this - Azhagam Perumal could have been taught to hold a gun in a better manner!- aahhhh.. Thats a sigh of relief..

The earning of the dying Parthiban for ships on the beach, the symbol of Cholas, the atrocities leashed on the Cholas somehow remind of some recent tragedies! Intended or maybe not, creates a stir and an impact!

The music and re-recording is top class. The King's arrival - the music, cotumes and visuals - is a stunner! Selva is so fabulous with his visuals. Just see the song, Oh Eesa! Every shot is a visual treat..

The songs and lyrics of Thaai Thindra Manney and Pemmaney boast of the intricacies and the still unexcavated beauties of the Thamizh language. Who else, but Vairamuthu, for these gems!!

The vastness of this movie is so heartwarming. Budgets, Time aside, only someone who lives and loves cinema could create this magnificence. The detailing and the expanse is a true dedication to the unique plot. The Nataraja's shadow was one beautiful and intelligent sequences executed in Thamizh cinema..

As Selva pointed himself in a Talk-show, no ordinary movies can be made in Thamizh cinema in another 10 years, AO is definitely one of the trend-setters, and Selva, one of the torchbearers..