Director: Dhilip Kumar
Solid: Madhavan, Shraddha Srinath, Sshivada, Mouli, Abirami, Alexander Babu
Maara is predicated on Charlie (2015), which Martin Prakkat directed and co-wrote with Unni R. The director, Dhilip Kumar (I wrote a brief movie for him as soon as), stated in a Movie Companion interview that he’s made an adaptation, not a remake. I don’t recall Charlie all that effectively, but when reminiscence serves me proper, the broad beats in Maara are the identical and but, the specifics are totally different. The story is the sort of magical fable that makes you suppose what Anurag Basu would have fabricated from it. And the template is basically that of a treasure hunt, besides that the pot of gold on the finish is changed by an insanely charming man (Dulquer Salmaan within the unique, R Madhavan right here), from whom the movie takes its title.
This casting, I feel, is essential. Charlie/Maara is off-screen for big chunks of time, and but, you want the sense of him from begin to end. You want an actor who’s humorous and charming, somebody whose smile and eye-twinkle make Paru’s search worthwhile. Like Dulquer, Madhavan checks all these bins, after which some — as a result of what he brings to this film is not only his efficiency right here however his display screen historical past taking part in smiling, twinkle-eyed charmers in his youth. (Maara is middle-aged, and Madhavan sports activities a beard seasoned with as a lot salt as pepper.) Shraddha Srinath performs Paru. She’s the decided treasure hunter, and like in Charlie (the place Parvathy Thiruvothu performed the half), the casting made me smile. These two actors are sometimes referred to as to embody stern, no-nonsense ladies — and the way good to see them as die-hard romantics, preferring fairy-tale magic to real-life logic!
Sorry, did I simply say “romantic”? Make that Romantic, with a capital R. The movie will get going when Paru, as just a little woman, hears a narrative. Truly, make that a Fable, with a capital F. It’s a few man whose soul resided in a fish — or possibly it’s actually a few man whose soul belonged to a lady named Meenakshi, which interprets to a “fish-eyed” lady. The great thing about Charlie/Maara is how a lot of a love story it’s, and but the way it’s probably not the love story of the “hero” and the “heroine”. Ghibran’s ear-candy songs (and Thamarai’s lyrics) give us phrases like “Yaar azhaippadhu / yaar kural idhu”, and “Oru alai unadhu / oru alai enadhu / idaiyinil kadalum karaindhiduma” which might be shot on the leads — however the movie’s beating coronary heart lies in Paru’s occupation. She does restoration work on outdated buildings, however her actual goal on this earth is revealed when she restores one thing treasured to an outdated man.
Did you simply wince on the phrase “goal on this earth”? Did you discover it too… fanciful? However that is what it’s. Maara is the sort of film that claims the universe provides you indicators, and all it’s important to do is belief your coronary heart and comply with these indicators. Its agency religion in romantic whimsy and the worthiness of excellent deeds makes you think about what we’d get if Amélie and Samuthirakani had a bonny little child. Maara is extremely lengthy (possibly it’d assist if you happen to haven’t seen Charlie) and the continuous rating (it retains saying “look how whimsical all that is!!!!”) begins to grate after some time — however given the large imaginative leaps we’re requested to make, the tone is remarkably even. This can be a very nice movie. There are not any “faux” highs, not even when Maara does the issues a commercial-film hero often does. The punch comes from his motion, and never simply from his dialogue.
Aside from Madhavan and Shraddha, the supporting forged is tops. Alexander Babu is gorgeous as a thief who delivers a hilarious twist on the stalker-lover trope so beloved to Tamil cinema. Abirami hits some good notes as a intercourse employee. Moulee doles out beneficiant doses of grandfatherly heat. The movie’s standout is Sshivada, who does with mere glances what others would wish a dozen traces to convey. A pointy flip of her face throughout an emotional second made me slap my head and surprise why we don’t see extra of her (or Abirami, for that matter). The movie’s actual stars, nonetheless, are the cinematographers, Dinesh Krishnan and Karthik Muthukumar. The colors are deep and immersive, actual once they should be and gloriously overwrought when the fable calls for it. A terrific instance of the latter is the shot inside Maara’s dwelling, the place the whole lot — a scented candle, an armchair, even the sunshine that falls on a face — is awash in sea colors (turquoise, aquamarine, et cetera). Why? As a result of all of it started with a fairy story a few fish, keep in mind? Maara made me want for an enormous display screen once more. It will have been a spa for the senses.