Arisil Moorthy’s directorial debut Raman Aandalum Ravanan Aandalum borrows its title from a tune in celebrity Rajinikanth’s movie Mullum Malarum (1978). The tune reveals the hero celebrating his freedom, as he proclaims that regardless of who holds the facility, he’ll all the time be the king of his life. It is a tune of riot that flies within the face of authority and energy. In Raman Aandalum Ravanan Aandalum, nevertheless, the title nods to the opposite finish of the spectrum. It says that regardless of who’s in energy, the lives of some folks won’t ever change for the higher.
The on a regular basis political points that dominate our information channels, social media feeds and WhatsApp debates are far faraway from the problems that really matter. The alleged wrongs dedicated by a Thirteenth-century king haven’t any significance for a woman who has to stroll miles day-after-day to fetch water. And then trek below scorching warmth to succeed in her college, which can be miles away from her village.
Raman Aandalum Ravanan Aandalum opens with Kunnimuthu, performed by Mithun Manickam, leaving his slippers on the doorsteps earlier than getting into the police station. His physique language and insecurity whereas talking with folks in energy tells its personal story. But, this diffident man is able to bodily tackle highly effective folks for the sake of his bulls as he considers them his kids. So does his spouse Veerayi (Ramya Pandian), who appears content material with rearing the animals as an alternative of bearing kids of her personal.
When these bulls instantly go lacking, Veerayi sits at residence and cries whereas Kunnimuthu wanders round seeking his kids. Narmada (Vani Bhojan), a reporter from a information channel, is on the lookout for a problem that might assist the dwindling TRP scores of her community. And she sees a possibility in Kunnimuthu’s agony and seizes it. Her information report creates a sensation, forcing different information channels to additionally dedicate all their resources to discovering Kunnimuthu’s bulls.
But, the market-driven media will not be the story. The story is that the media has been busy reporting non-issues as politicians and bureaucrats siphon off crores at the price of villages just like the one Kunnimuthu lives in. In a scene, Narmada says, “While we are all talking about Kunnimuthu’s missing bulls, we failed to notice that an entire village has gone missing.” That ought to have been the story, as an alternative of only a passing reference.
Arisil’s understanding of sure political and social points lacks maturity. His tackle the problem of Hindi imposition reeks of chauvinism and reveals contempt for individuals who communicate the language. Director Karthik Subbaraj in his final movie Jagame Thandhiram had mentioned how discriminating in opposition to an individual primarily based on his or her mom tongue can be racism. Raman Aandalum Ravanan Aandalum fails to tell apart between political agenda and non-public residents. The director fails to understand the topic that he’s coping with, which reveals itself within the incongruous and handy climax.
Irony is inherent within the deteriorating political discourse in India, and it doesn’t take a lot of an effort for the filmmakers to seize it. Making a political satire on the occasions we dwell in is straightforward. But, that doesn’t imply that the filmmakers ought to take a lax strategy whereas coping with such an vital difficulty. Arisil’s social commentary lacks panache or punch.
Raman Aandalum Ravanan Aandalum is streaming on Amazon Prime Video.