IRAIVI MOVIE REVIEW

As a filmmaker, the easiest theme to handle is womanhood! One need not necessarily be pushed to bring to limelight the stories of Mother Teresa, Jhansi Rani, Kiran Bedi or per say any other popular name to celebrate women. But by just making a film about your mother you will have a unique product with strong relatable content in hand. By cracking this simple mantra, filmmaker Karthik Subburaj makes Iraivi a film that showcases the lives of the few women fortunately or unfortunately influenced by the activities of their better halves. Few portions make your eyes moist, few make you clap and few hit you hard! Read on to know all this in detail.

As simple as this may sound, Iraivi has something profound that is best felt than explained. With just good intentions, a film won't grow up to be a product that a filmmaker wishes; Support from the performers and the technicians is a mandate and Karthik has enjoyed the luxury of having it.

A new and an impressive casting idea is an USP to this film. SJ Suryah, surely proves his mettle as an actor and gets his travel ticket into this world of greasepaint confirmed. Vijay Sethupathi's character might not excite you as you expect him to do in every movie he appears, but what he does fits right in the bar. One cannot deny that the Bobby Simha version powered by Karthik Subbaraj is the best.

Every female in the tale, from the important characters like Anjali, Kamalini Mukherjee, Pooja Devariya to the ones that pass by in just one frame emote well! Every character sketch written for the ‘she’s can engage you in an interesting character analysis. Radha Ravi, Karunakaran, Vadivukarasi might not evidently enjoy importance but they fill the space given to them well to give this piece the completeness it demands.

Santhosh Narayan’s rustic and raw sounds once again elevates the experience; this statement stands good for his work in BGM, but the songs lack the Karthik - Santhosh magic. Sivakumar Vijayan’s play with lens and Vivek Harshan’s smartness in handling the scissors make Iraivi a trouble free experience. Though the makers would have thought this as the best screenplay approach, the slow script might give a lag feel to the general audience.

Few minute symbolism he carries while narrating his tale, makes Karthik’s passion for filmmaking obvious. One does not become a cult filmmaker just by breaking filmmaking templates; he becomes one even if he breaks the templates present in our society. Iraivi is yet another attempt to reiterate the value of the female gender to not just the male but to females themselves. And few women in the crowd would connect to the movie better. The expectations on a Karthik Subbaraj movie, might also not be in favour of a project like Iraivi.