<p>Vaazhl</p>.<p>Tamil (Sony Liv)</p>.<p>Director: Arun Kumar Purushothaman</p>.<p>Cast: Pradeep Anthony, TJ Bhanu, Divya Dhawan, Ahrav</p>.<p>Rating: 3/5</p>.<p>Director Arun Kumar Purushothaman made a dream debut with <span class="italic"><em>Aruvi</em></span> (2017), an angsty film in a comedy thriller coating. The satirical humour, unpredictable narrative shifts, and an emotional ending made it impossible to box <em>Aruvi</em> in one genre.</p>.<p>This abstract filmmaking is the striking feature of Arun’s sophomore flick <span class="italic"><em>Vaazhl</em></span>. The movie is about Prakash (Pradeep Anthony), an average burned-out IT professional desperate for a break. He is the typical pampered son in a middle-class family.</p>.<p>He breaks up with his possessive girlfriend but perhaps he isn’t in search of love. Maybe the idea of physical intimacy excites him more than companionship. His far from perfect life is jolted when Prakash gets drawn towards his cousin Yatramma (a terrific TJ Bhanu).</p>.<p>Yatramma accidentally kills her husband, who hates their hyper-active son Yatra. The film’s abstract beauty kicks in when Yatramma convinces Prakash to go on a journey with her son.</p>.<p>The road trip brims with a vibrancy not just due to Shelly Calist’s amazing frames but also because of the engaging drama between the three characters. Pradeep Kumar’s music is the backbone of the pleasant atmosphere. There are plenty of hilarious scenes. </p>.<p>The child Yatra becomes a big metaphor. Director Arun asks us to aim for the young boy’s full-of-life energy.</p>.<p>Thanks to a superficial twist, the film turns into a self-realisation lesson for<span class="italic"> </span>Prakash. He sets off on a journey with a Bolivian girl who lives by the policy ‘tomorrow’s problems are for tomorrow’. The lack of organic drama between them is compensated by scenic visuals and soothing music.</p>.<p>Like he was in <span class="italic">Aruvi</span>, Arun is clueless about the ending here as well. It’s as if the director doesn’t know how to finish a film without making it philosophy-heavy and melodramatic. The film is a definite treat for movie buffs who prefer great making over a great story. But is a convincing climax in an experimental film too much to ask for?</p>.<p><span class="italic"><em>Vaazhl</em></span> scores fewer points than <span class="italic"><em>Aruvi</em></span> also because of the weakly written protagonist. It never feels like it is Prakash’s journey. His life as an IT professional leading a mundane life is frivolously showcased. Because of this, we are suddenly detached from the protagonist when he suddenly decides to celebrate life following his eye-opening journey. </p>.<p><span class="italic"><em>Vaazhl</em></span> could resonate with travel lovers. It tells us to travel 30 days a year. One might argue that it’s easier said than done. Perhaps the film wants you to explore the idea instead of pondering about it.</p>
<p>Vaazhl</p>.<p>Tamil (Sony Liv)</p>.<p>Director: Arun Kumar Purushothaman</p>.<p>Cast: Pradeep Anthony, TJ Bhanu, Divya Dhawan, Ahrav</p>.<p>Rating: 3/5</p>.<p>Director Arun Kumar Purushothaman made a dream debut with <span class="italic"><em>Aruvi</em></span> (2017), an angsty film in a comedy thriller coating. The satirical humour, unpredictable narrative shifts, and an emotional ending made it impossible to box <em>Aruvi</em> in one genre.</p>.<p>This abstract filmmaking is the striking feature of Arun’s sophomore flick <span class="italic"><em>Vaazhl</em></span>. The movie is about Prakash (Pradeep Anthony), an average burned-out IT professional desperate for a break. He is the typical pampered son in a middle-class family.</p>.<p>He breaks up with his possessive girlfriend but perhaps he isn’t in search of love. Maybe the idea of physical intimacy excites him more than companionship. His far from perfect life is jolted when Prakash gets drawn towards his cousin Yatramma (a terrific TJ Bhanu).</p>.<p>Yatramma accidentally kills her husband, who hates their hyper-active son Yatra. The film’s abstract beauty kicks in when Yatramma convinces Prakash to go on a journey with her son.</p>.<p>The road trip brims with a vibrancy not just due to Shelly Calist’s amazing frames but also because of the engaging drama between the three characters. Pradeep Kumar’s music is the backbone of the pleasant atmosphere. There are plenty of hilarious scenes. </p>.<p>The child Yatra becomes a big metaphor. Director Arun asks us to aim for the young boy’s full-of-life energy.</p>.<p>Thanks to a superficial twist, the film turns into a self-realisation lesson for<span class="italic"> </span>Prakash. He sets off on a journey with a Bolivian girl who lives by the policy ‘tomorrow’s problems are for tomorrow’. The lack of organic drama between them is compensated by scenic visuals and soothing music.</p>.<p>Like he was in <span class="italic">Aruvi</span>, Arun is clueless about the ending here as well. It’s as if the director doesn’t know how to finish a film without making it philosophy-heavy and melodramatic. The film is a definite treat for movie buffs who prefer great making over a great story. But is a convincing climax in an experimental film too much to ask for?</p>.<p><span class="italic"><em>Vaazhl</em></span> scores fewer points than <span class="italic"><em>Aruvi</em></span> also because of the weakly written protagonist. It never feels like it is Prakash’s journey. His life as an IT professional leading a mundane life is frivolously showcased. Because of this, we are suddenly detached from the protagonist when he suddenly decides to celebrate life following his eye-opening journey. </p>.<p><span class="italic"><em>Vaazhl</em></span> could resonate with travel lovers. It tells us to travel 30 days a year. One might argue that it’s easier said than done. Perhaps the film wants you to explore the idea instead of pondering about it.</p>
