But where the film is really different is, it doesn’t give in to the temptation of defining characters by just their casteism. Villages films and casteist undertones have had a long and successful marriage, and so it is with Padaiveeran too. Somewhere during the beginning, it seemed to me that Amritha, playing Malar, looked a bit too polished to belong in the milieu, but soon enough, Dhana shows self-awareness by getting a character to quip, " Ivalukku ennadi mugam ipdi veluththu kadakku." You can’t pinpoint a fault that the director has already acknowledged.Ĭast: Vijay Yesudas, Bharathiraja, Amritha, Kavitha Bharathi He responds, " Chinna ABCD-a, periya ABCD-a?" Best of all, the characters move on without making a big deal of their dialogues.
A character challenges Muneeswaran to show his English knowledge by reciting ABCD. It’s not as riotous as say, in last year’s Oru Kidaiyin Karunai Manu, but it still buzzes with a fair amount of zing. He also manages to use humour efficiently to keep things fairly entertaining.
Malar (Amritha), for instance, isn’t your average demure girl - well, not entirely. What Dhana does efficiently during that period though is establish the characters that populate the universe of this story. I wasn’t sure where the story was headed, given how lethargic and vague the beginnings of this film are. And then suddenly, Muneeswaran decides to become a policeman because well, free alcohol and respect. And that’s when you first spot a glimpse of the promise of this film. He even gets a romanticised introduction scene - well, almost - till director Dhana pulls his heroism back. He’s violent, isn’t against stealing, and is thoroughly insensitive to boot. Muneeswaran (Vijay Yesudas) could well have been Paruthiveeran, given his predilection for being unproductive. For a while, I wasn’t sure if I was watching Padaiveeran or Paruthiveeran.
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