Cast: Nayantara, Vignesh, Ramesh, Sunnu Lakshmi, Vinodhini Vaidyanathan, Vela Ramamurthy, P.V. Anandakrishnan, Ramachandran and others
Music: Ghibran M.
Cinematograhy: Om Prakash
Penned & Directed by: Gopi Nainar
Produced by: Kotapadi J. Rajesh
Nayantara’s much-awaited Aramm is finally out in theatres after almost an year’s delay. Let’s now look at the film which has been billed by many as Nayantara’s ‘best-bet’ to bid for an elusive national award for ‘best actress’!
The one-liner script is about the misfortune which befalls a poor family which lives in Kattur Village in Tiruvallur District in Tamil Nadu bordering the neighbouring Andhra Pradesh and the efforts made by the District Collector who tides through many crisis in ridding the family of all its difficulties. For starters, the house is situated near the rocket-launching base of the Govt. of India.
On the day of the launch of a rocket, a female baby falls into a deep bore-well pit/hole dug in search of water. District Collector Madhivadani (a majestic-looking Nayantara), who supervises the rescue operations, is posed many challenges and tough times by the ever-wary politicians. Watch the film to find out whether or not the Collector met with success in her efforts to save the child and how she took on the politicians, local goons and the whole system in discharging her work dutifully.
Without an iota of doubt, the backdrop of Nainar’s film is something which has never been trodden by any film-maker worth his name in Tamil cinema. This is the film’s biggest USP; coupled with this, the director’s (who is also the script-writer) courage in taking on contemporary issues, dwelling deep into people’s politics, a fast-paced screenplay and excellent and coordinated team work by technicians have armed the director with a quality film.
It’s no doubt a socio-political film which has integrated people’s lives and pain with the politics indulged in by selfish politicians. Though the sequences prior to the child falling into the pit/whole test the audiences’ patience to some extent, the events which unfold later at a terrific pace and the razor-sharp dialogues make the audiences sit glued to their seats till the ‘end’ card is displayed on the big screen.
Script is narrated in the flash-back mode commencing with judicial investigation: however, Nainar takes the credit in instilling anxiety in movie-goers’ minds whether the child would be rescued or not. It is this particular aspect which guarantees commercial success to the film’s makers, if the audiences’ response to the film in theatres is any indication to go by.
The script-writer in Nainar also speaks about contemporary and relevant issues such was the ‘politics of water’, the I-don’t-care attitude displayed by politicians, the insecurity which has gripped the common man, etc. even as it criticizes the State and Central Governments harshly for ‘arresting’ developmental projects of various kinds. Nainar’s deep research during the pre-scripting days and his concern for society is tangible in many sequences, adding teeth to the water-tight script.
The television debate, however, plays the spoilsport which repeatedly discussed about the oft-repeated issues in an irritating manner.
Nayantara’s classic looks in saree make her an easy and clear winner even before she utters a single word in the film. Costume designer deserves appreciation of the highest order and Nayan gives the viewers a ‘close-up’ look into the ‘acting’ side of herself, not seen hitherto in many films in her more than a decade long career. She does full justice to the Collector’s role; her chat with the boy during the climax is not heard by the audiences as the applause is deafening.
Nainar, however, hasn’t compromised the film to ‘accommodate’ Nayantara’s star-power; nor has he attempted to take advantage of her stature as the ‘No.1’ heroine in Tamil films. Nayan fits the perfectly in her Collector ‘avatar’. Nayan just fits into the role aptly and has delivered a mind-blowing performance indeed. Ramachandran, Sunnu Lakshmi and Vela Ramamurthy have done their roles very well indeed.
Om Prakash’s cinematography, Ruben’s editing and Peter Hayne’s stunts are very good indeed. Art director Lalgudi Ilaiyaraaja and music director Ghibran have worked in a committed manner which is very much visible throughout the film.
Nayantara may go on to win her first national award for ‘best actress’ for her role in the film. We also expect the film to bag quite a few awards during next year’s national awards function.
• Meaningful story & impactful script;
• Tempo of the screenplay;
• Nayantara’s amazing portrayal and her looks;
• Music and cinematography
• Performance of the lead cast and almost all others
• Boring sequences in the first half-an-hour
• Television debate
Verdict: Aramm is a film on the lines of Madras, Uriyadi, Joker, Maaveeran Ktittu and 8 Thottakkal as it criticizes contemporary politics with some unique screenplay and hard-hitting dialogues. Don’t miss watching the film in theatres!
Aramm is a meaningful movie presented in an amazing manner!