Taramani Movie Review
There happens to be a strong unwritten theory yet proved one – Be prepared to watch the films of certain filmmakers. Because, Tamil cinema has got the auteurs and actors themselves as genres rather than a subject emphasizing it. Such was the curious outlook upon Ram’s directorial hitting screens today. For many, having witnessed the previous films of this critically acclaimed filmmaker, one could keep their expectations affirmed that Taramani is nothing but an aggressive take on the negatives of IT culture in a land like Chennai.
But after very moments into the film, we are proved wrong for the dramatic narration deals completely with a different premise. Yes, the main backdrop intensely deals with the stereotypical clashes between a guy and gal in relationship, where the suspicions and possessiveness ruins the peaceful life. Apparently, such is the case of protagonists Vasanth Ravi and Andrea Jeremiah. Confined to a vexed past life with the guy cheated by his girlfriend (Anjali) and this beautiful woman (Andrea), who had to divorce her husband after he pleads her so for being Gay. Broken down yet trying to cope up in their lives, they come across each other under a shelter for rain. Gradually, a sense of likeliness between them blossoms followed by a relationship, but not too poetic. The egoistic issues keeps drifting them apart and what happens in these individuals’ lives aftermath is narrated with a dramatic touch.
The brilliant flash points of the film are the nuance performance of the actors. They have just made an impeccably dazing performance. What strikes us bluntly to senses is the musical score by Yuvan Shankar Raja. In fact, his silence maintained through many occasions instead of playing the chords enhances the emotions intensely. Cinematographer Theni Eeswar amazes you from the very first frame to the final moments, he just brings forth unconventional uniqueness. The fish eye lens, the unimaginable mise en scene and panoramic lake and sea views are resplendent.
If you’re looking out for anything on the flip side, there isn’t much except for the running length, which has slow place. But then, it doesn’t hamper your interests anywhere.
On the narrative part, Ram keeps you emotionally bounded throughout the film with the dialogues. Especially, his quirky witticism of interrupting the scenes with voiceover and finally justifying ‘You guys update status now and then on FB, so I tried to update status with my irrelevant voiceovers.’ Something purely off a Parthiepan style, isn’t it?
Overall, Taramani endows the audiences with an inflexible reality that doesn’t irk the audiences for some mature themes. But the way Ram has handled them is really appreciable, especially for a justifying end.
A daring attempt that keeps us engaged in many places