: Did sexual relationships tagged as 'unnatural' by society exist even before civilisation, as we call it, came into existence? Does art imitate life? These are the questions director Sami throws up in his latest venture. Having raised these questions, the director not only falls short of offering art-house solutions within cinematic confines. 'Uyir', his earlier film, dealt with a woman getting attracted to her husband's brother. Of course, we had seen a role reversal in SJ Surya directed 'Vaali', where the man lusts after his brother's bride.
Given that it is not virgin territory for Tamil cinema to explore what lies beneath the veneer of civilisation or accepted social mores, there is a rise in expectations. However, while it is to Sami's credit that he refrains from treating a taboo subject vulgarity--despite the 'A' certificate-- the big let down comes in his failure to handle with sensitivity the attendant guilt between the two involved in the relationship. His shallow treatment is a big turn off.
Anbu (Harish Kalyan) is a student in Kanyakumari who falls in love with Sundari (Anakha) his classmate, who is from a weaver's family. His father Veerasamy (Ghajini), a BSF soldier in Assam, returns home for good when a bullet gets lodged in his leg. However, the happy family is distraught when Anbu's mother dies of snake bite. Veerasamy gets Anbu and Anakha married, and when the groom goes away to teacher's training college, a boat accident turns the tide in the family. Veerasamy, attracted to Sundari, acts on it, after a few booze-laden attempts at self control.
From here on, the story should have drawn you in, more. The dynamics of the fond father-son relationship has just been blown away, but Sami fails to spend enough time exploring this, and even less with Sundari's state of mind. She is shown as slipping into it all, happily forgetting her husband. Of course, there is one scene where the duo land up in Anbu's college, wanting to bare their soul, but is sent back by a bashful Anbu, scared that his classmates would discover his marriage.
But when Anbu begins to suspect, the film travels predictably, and while patricide seems an easy way to end a difficult story, Veerasamy's lines justifying his attraction by raising doubts over his first wife's conduct is downright crass. You can only be thankful that the film is not crude. Finally, excellent camera work by Utpal V Nayanar. Art work by Thotta Tharani stands out.