The story of Iraivi is about the victimisation of the
aforementioned females by the malevolent arrogance of their respective not-so-better
halves. Arul (SJ Suryah), a film director, has seen better days in his career.
However, now his film, a child, according to him, is stuck in the hands of a
vicious producer. This turns him into an alcoholic and the effects are on his
wife Kamalinee. Similar is the story of Michael (Vijay Sethupathi) and Ponni
(Anjali). Bobby Simha, the brother of SJ suryah plays an interesting role too.
The surprise package
SJ Suryah. oh boy! It was as if he was waiting for another
director to coax the real actor in him. Iraivi comes 16 years after Khushi,
which is arguably the last good film he’s associated with. And it’s worth the
wait. There were scenes where he laughed, cried and laughed again in the same
shot, delivered philosophical soliloquies and screams infuriated. And yet, none
of it felt over the top.
A confession here- a lump choked my throat when SJ Suryah cried on screen especially in the climax when he sobbed, “poruthukitu porathukum saguchikitu porathukum namma enna pombalaiya?
Amabalai- kevalamana piravi”.
I
only shed tears for one actor- Amir Khan. Whenever Amir weeps on screen, my heart
melts. Now, it is SJ Suryah who was able to bring that phenomenal magic on celluloid.
SJ was truly the surprise package of Iraivi. SJ surya as the frustrated film
director, on a self-destructive mode with his drinking binge seemed like a role
that he was born to do. There is always a film that changes an actor’s life. For
SJ, this is it.
Another pleasant surprise
Another pleasant surprise
Anjali. Yengama poi irunthey?
The last I remembered Anjali on screen, was dancing with Singam surya on a boat in Singam 2. Oh wait! You did other films with vimal and stuff. Forget that shit, Anjali! This is your true come-back. Directors, who wish to cast you, have to do only one thing on their scene paper. They only have to write.
The last I remembered Anjali on screen, was dancing with Singam surya on a boat in Singam 2. Oh wait! You did other films with vimal and stuff. Forget that shit, Anjali! This is your true come-back. Directors, who wish to cast you, have to do only one thing on their scene paper. They only have to write.
“Scene- Anjali
emotes.”
Directors, this is enough! Anjali will do the rest! She was a
perfect fit in this film. Either it be seriously joking about his future
husband as a mixture of “oru thala, thalapathy, oru kamalhassan” or be it firmly
replying to her husband when she was suspected of having an affair, “ithu thaan
en vithi nu, un kooda vaazhven!” Whenever she appeared, there was always
something that she offered to the screenplay. Such powerful and impactful
acting that was.
But apart from the duo’s strong acting, I wasn’t able to say
that this was a great film. Not that it was a horrible film too. Apart from the
fact that the film’s duration was 2hr 45 mins, I can’t quite label this as a
film about women, for women and the other build-ups that this film crew has
been sharing in their interviews and promotions. Heavily influenced by
directors KB, Balu mahendra and Mahendran did in their respective films, Iraivi
got lost in the search to taste those essence.
Kamalini Mukherjee, the wife of SJ in this film is a working
woman. Thank god, Karthik didn’t show her as a woman who carries the handbag,
goes to office and works hard for the family like what many megaserials are
offering these days. But there is so much more that this character could have
portrayed. There is a scene where she slaps SJ Surya twice and SJ Surya slaps
her once and immediately they hug each other and say “sorry”. Ok I have a
question here. When someone slaps, I don’t think the immediate reaction would
be to forgive and forget. And why do directors these days show slapping as a
form of intimacy between couples. The recent film “Sethupathi” had a similar
scene where the hero slaps the wife and the wife claims, “He gets angry but once
he comes back, he needs me.”
People!! I guess it is time for all of us to go for an anger-management course if we are still going to glorify slaps as the purest form of love. Probably we need to stop this from young when mothers and mother-in-laws pamper their grandkids and ‘lovingly’ tell them, “patti ya adi. patti ya adi.” So, that is where we learn to beat and slap one another.
People!! I guess it is time for all of us to go for an anger-management course if we are still going to glorify slaps as the purest form of love. Probably we need to stop this from young when mothers and mother-in-laws pamper their grandkids and ‘lovingly’ tell them, “patti ya adi. patti ya adi.” So, that is where we learn to beat and slap one another.
Pooja who is a widow, is clear that Vijay Sethupathi is just
a friend with benefits to her, despite him professing his love to her, and has
no qualms about using him for her biological urge. What was the importance of
bringing this role into the story that lacked depth and clarity? Not that every
character needs to have screen space till the end of the film. But I felt that
this role was force-fed into the story just because Karthik thought that a “bold
woman” would spice up the plot. A bold woman need not be a slut as what she was
portrayed to be in the film. A bold woman is anyone who swims against the tide
and moves on with her life despite the difficulties she face. So what is the
difficulty that Pooja faced in this episode? Not dwelling into that, made her
role a redundant one other than the opportunity, she had, to utter dialogues
like “neenga velliya poi naan oru item girl thaan solveenga!”
A plot that could have been crafted with sensibility and
sensitivity, irked me whenever the screenplay bounced off from the
intended plot and it entered coma stage just like how Vadivukrassi was, in this
film. Again, I wonder why such a veteran and talented actress Vadivukrassi
chose to do this coma patient role?
Behindwoods.com Review’s sweeping statement reads “As a
filmmaker, the easiest theme to handle is womanhood!” Understanding women,
dealing a subject such as womanhood or discussing about feminism aren’t easy
dudes! If it is an easy theme, Iraivi should have scored in all parts.
Goundamani in the film “Suryan”, boasts that he is in charge of everything, he needs to get things down and he needs to go Delhi to settle matters. Similarly, telling the world that woman issues are easy to deal with in a film, gives me the same vibes that Goundamani gives in that scene. Iraivi confuses me, agitates me and forces me to say “phone wire-u pinju oru varaam aachu.”
Goundamani in the film “Suryan”, boasts that he is in charge of everything, he needs to get things down and he needs to go Delhi to settle matters. Similarly, telling the world that woman issues are easy to deal with in a film, gives me the same vibes that Goundamani gives in that scene. Iraivi confuses me, agitates me and forces me to say “phone wire-u pinju oru varaam aachu.”
So will Iraivi change the society? Is it going to be a
trendsetting film? Is it going to make woman reflect upon themselves? Is it
going to change men for the better?
Well, Iraivi audio launch incident has the answer.
watch 7.57-8.40
The female host was extremely upset that no one came to support her and object to what he said. She expressed her view on social media.
The more interesting issue was that Karthik Subbraj’s reply in the “THE HINDU” interview:
“Why does the host want man to support her and give freedom? She could have just said what she felt on the stage after Radharavi’s comment?”
And my reply, a dialogue from your film, Karthik- “Aan. nedil. Penn. kuril.”
Well, Iraivi audio launch incident has the answer.
watch 7.57-8.40
The female host was extremely upset that no one came to support her and object to what he said. She expressed her view on social media.
The more interesting issue was that Karthik Subbraj’s reply in the “THE HINDU” interview:
“Why does the host want man to support her and give freedom? She could have just said what she felt on the stage after Radharavi’s comment?”
And my reply, a dialogue from your film, Karthik- “Aan. nedil. Penn. kuril.”
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