ARUVI

Aruvi - as the title's translation in English goes - falls hard and flows heavy. The same goes for the protagonist, played by Aditi Balan, whose name fits her character as well as the movie perfectly. The metaphors that one can use to draw comparisons do not end just there.

From the start, we jump down the waterfall, and are turbulently taken through Aruvi's childhood to adulthood, but Raymond Crasta's editing makes the water clear - there is no information or impact lost on the viewer. Every character is real and portrayed realistically, and the credit is shared both by the actors as well as the way they have been directed, and thus the director Arun Prabhu Purushothaman.

Aruvi is taken through life's motions, and it is not a happy ride. It is a roller coaster. As we ride this roller coaster, we are taken through human emotions, political satire and even an almost nihilistic view of life. But nothing seems force fitted; the story does not want to display these messages by using the film as a tool. Aruvi is much more, in that we cannot detach the situations where these occur from the movie as a whole. This includes the semi-surreal (if one can call it so) portions that should tell one not to question their logic, but rather be swayed by them.

The film is cynical, and so is dark in its comedy. But we realize that when it makes us laugh, we are actually suggested that life as we know it is just a colossal tent away from a full-blown circus. And just like life itself, things take a turn for the worse when we least expect it. The revelations are placed beautifully, never letting the audience to settle back or yawn or worse - look at their notifications. This is great success for the film, to be riveting without any stars in its cast. This is great success for Tamil cinema too.

Aditi's Aruvi makes us laugh and cry. She is good and evil, chaotic and calm, broken yet firm, and strong and weak. The tumultuous nature of her persona is what makes Aruvi unpredictable and almost fun in a cathartic way. Aditi could not have asked for a better debut, and we might not have such a hard-hitting performance from a debutant in a long time. The direction, dialogues, and script are her biggest allies in this feat. Her close friend in the film is a lovely idea as a supportive role and completely novel in all aspects, and teaches us an important lesson by just being there.

Bindhu Malini and Vedanth Bharadwaj have explored music in the songs as well as the background score, and the former have been fitted so well that we do not realize the oddity in their placement. Great music scoring for a film is making it part of the film itself - and we can learn that from Aruvi. The cinematography by Shelley Calist is perfectly imperfect, suiting the exact tone of the film. Shabby, but isn't that how life is?

[Review based on a special preview show to the press members on December 12. Catch the film in theatres, from December 15]

Baby Song (Kukkotti kunaatti) 
Singers: Vedanth Bharadwaj, Bindhumalini, Praniti
Lyricist: Kutti Revathi

Baby Song (Kukkotti kunaatti) is a relaxed composition, taking its own time to grow on the listener. It travels from light Ukelele rhythms and moves on to a child's rhyme followed by rustic melodies harmonized with fresh acapella portions. Kukkotti seems like the visual equivalent of a simple family portrait painted in vibrant colours.

Teen Track (Asaindhadum Mayil) 
Singers: Bindhumalini
Lyricist: Oothakadu Venkata Subbayyar

Teen Track (Asaindhadum Mayil) starts off with its famous carnatic song namesake, and quickly transforms into R&B with some funky scatting by Bindhumaalini. The bass guitar, trumpet and accordion bits that finish off the song are very lively, and as a whole, seem to indicate mischief and fun.

Liberty Song (Cement Kaadu)

Singers: Bindhumalini

Lyricists: Kutti Revathi, Arun Prabu Purushothaman

Liberty Song (Cement Kaadu) promises to track the journey of its subject through the urban jungle (cement kaadu, yes), and the 1950's rock-style composition adds extra zing to the vocals which fall easy on the ears. Both the idea and use of retro music sound very new indeed.

Party Song (Uchcham Thodum Anbin Kodi) 

Singers: Vasu Dixit, Bindhumalini

Lyricist: Kutti Revathi

Party Song (Uchcham Thodum Anbin Kodi) has the soul of an Ilayaraja song that has adapted beautifully to modern musicality. The tunes and lyrics seem to symbolize deep meanings associated with its context in the film. It may well be the go-to song of the album.

Hope (Merku Karaiyil)
Singers: Vedanth Bharadwaj, Bindhumalini
Lyricist: Arun Prabu Purushothaman

Hope (Merku Karaiyil)'s subtle melodies become its biggest strength, and the song resonates with us even after we're finished listening. Folkstyle string rhythms, beautiful singing, and softly musical sarangi help bring out the song's calm and mature look at hope.

Aruvi Theme (Moods of Aruvi) 
Singer: Bindhumalini

Aruvi Theme (Moods of Aruvi) seems to sum up the mood and feel of the film - happiness, hope, and pain. Strings, especially the violin, play the most significant part in the song, taking us through the highs, lows, and mellows. And we're left with a strong desire to watch the film.