NEERPARAVAI MOVIE REVIEW

A single question on what the Indian government has done for thousands of fishermen who are shot in mid-sea forms the basic fulcrum around which director Seenu Ramasamy has woven his tale of romance with fishing community as the backdrop. That said, there is no political flavor of combustible nature or fiery barrage of jingoistic claptrap in Neer Paravai. In fact whatever little has been discussed on this issue in the film, articulates immense maturity and sensitivity of the maker.

Love is catholic and life is fleeting. And what love does to a young alcoholic wastrel when he meets an orphan who is raised by the church is Neer Paravai all about. The place of happening is a small fishing hamlet where sea is the major source of livelihood for people.

Neer Paravai abounds in many pluses, one of them being Balasubramaniem’s cinematography. Be it the sparkling sea or the sandy shore or the majestic church or the abodes of the people, his visuals are all pleasingly caressing. Balu’s lens is effective with alluring interplay of light and angles.  

Casting is perfect in Neer Paravai and all the artists have been chosen with a lot of acuity from the pivot till the margins. While Vishnu is effective, Sunaina steals the thunder with her deglam looks and expressive body language. There are quite a few veterans in the supporting cast like Saranya Ponvannan, Thambi Ramaiah, Vadivukkarasi and Azhagam Perumal. Nanditha Das plays the older version of Sunaina who creates an impact in her small role. 'Poo' fame Ram as Vishnu’s father comes out trumps followed by Arul Das, Devaraj, Anupama Kumar and Black Pondy.    

On the music front, Raghunanthan’s score adds real spunk to the enterprise and his Para Para number is top class with spiraling frenzy that elevates the experience to great heights with all its versions.

Dialogues by Jayamohan and Seenu Ramasamy sparkle with pertinent emotions like 'oruthanukku ulcerum kaadhalum varaama kudiyai nirutha maattaan' (ulcer and love alone can make a man abstain from liquor), 'mooppungaradhu thaana varanum; namma poyee vaanga koodadhu' (old age should naturally come and it should not be bought in advance), 'naan karuppa irukkira vellaikkaaran' (I am a white man who is black) and many more.

Through the character of Samudirakani, Seenu Ramasamy raises pertinent questions on the important issue of fishermen’s plight and the general impression about Muslims beings terrorists. The laudable aspect is that he has eschewed regional chauvinism and receives applause when he says there is only Indian fisherman and not Tamil fishermen. Kudos Seenu Ramasamy for your prudence!

Comedy is unobtrusive and is seamlessly interspersed in the film. When Vishnu mimics Sunaina's ‘saathaane appaale po’ act, it is difficult to stifle a smile. Thambi Ramiah’s ‘spirit’ed antics accompanied by pithy dialogues spice up the proceedings. A passing shot of Kanchi Acharya in the doctor’s clinic rounds up the placating move of Seenu Ramasamy towards all religions.

The pace of Neer Paravai is marginally slow but that is the rhythm the film is fixed on and is uniform. There are no twists or unexpected turns but only a general curiosity about how the director is going to proceed with his story.

To sum it, all the departments of Neer Paravai have worked in tandem resulting in a satisfying experience for the viewer. Seenu Ramasamy proves that he is after all an efficient story teller who makes his mark in Neer Paravi too.