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Times of India
: The film narrates certain events in a village which is stricken by an odd disease that causes people to lose their ability to speak.
: If anyone says that Balaji Mohan was trying to be genuinely funny while conceiving the film
Samsaram Arogyathinu Hanikaram
, that statement would not hold ground. As a matter of fact, his intentions appear purely earnest, totally serious.
In one of his moments of imagination, he comes up with the idea of a village which is stricken by a rare disease. It's called dumb flu as people lose their ability to talk suddenly. It might be called an instance of wild, unbridled course of thought. However the truth is that he clings to his thought with conviction, unreasonable it may be.
So strong is his belief that he also pulls off real acts of courage, which only a few would dare. As part of making his story believable and to convey that he is really serious about the theme, he mutes all his characters. They communicate in sign language, even Dulquer and Nazriya shed their all-consuming ebullience and appear as mannequins, relying completely on their body parts to get through their sequences. None of them would speak, not a single word is uttered. Dreading that his characters might be mistaken for cartoonish motifs, Balaji feverishly stitches 'emotion' soaked scenes.
The ever-smiling hero, who diffuses light all around like a newly installed hi-mast lamp, discovers that a kid often admonished for being weak in his studies is in fact a master at arranging drawings on notepads to create an animated effect. A reticent girl with an eternal long-faced expression slowly begins expressing herself.
A rich man, who became a grouch, since his son acted against his wish, melts in front of his grandson. Each and every good act that happens in this film is like a pack of good entry certificates attested by the charming hero with a golden heart. As the lead, Dulquer demonstrates how he is fast draining away his boyish charm with acts where he is absolutely clueless about what he is doing in the film.
It really requires a vast, spacious heart to appreciate all the goodness Balaji meant. His narrative might come across as a slipshod piece of work generated from an overexcited mind. His craft might appear grossly deficient for the pathetic manner in which he repeats certain sequences. At the same time he tries to probe the childish heart of his viewers who could be dazzled with shots of grown-ups fighting with guns, missiles and swords. At the end what we feel for this film and its director is the same emotion we reserve for a naughty kid who just wandered into a dense forest and just lost his way.