: An orthodox youngster and a free-spirited lady fall in love, only to understand that they are different in all aspects of life. How do they realise their complex requirements and mistakes?
: We have had numerous women-centric films that have touched upon the varied woes of average women in our society. However, a lion’s share of them, knowingly or unknowingly, had women living life and behaving within the societal norms, so that even the average judgmental audience could empathise with them effortlessly. For a change, Taramani, which is set against an IT hub of the same name, narrates the life of Diya (Andrea Jeremiah), a free-spirited lady.
An Anglo-Indian who works as an HR in a corporate firm, her characterisation is such that it defies the dos and don’ts which women characters are often associated with.
She may easily be misunderstood as a rebel because of her nature. But she isn’t one actually, and she doesn’t mind being judged. Thanks to the terrible experiences she has had, Diya has learnt to accept life in the way it is — an ex-husband who confessed about his sexual orientation after marriage, a mother who calls her a bitch and a conservative father who repeatedly puts her off with his unconvincing theories about life.
Prabhunath (Vasanth Ravi), a care-free unemployed youngster, who is depressed due to love failure, meets Diya in an unexpected situation, after which they slowly start opening up about themselves. The dialogues between them and their body language are a treat to watch as they are devoid of clichés. Though Prabhu falls for her, the practical lady she is, Diya expresses her disinterest as she needs only a companion in life, not a typical, dominating partner. And yes, she has a child, too — the apple of her eye. When Prabhu suggests her to quit smoking, as she’s the mother of a child, she hits back asking, ‘Aren’t you the child of a mother?’ But despite knowing that Prabhu is one more man, who expects his lady to be at his feet, she, too, at one point, reciprocates his feeling, only to regret later.
Back to square one, Diya’s life again revolves around her son and office. At the work place, she has to deal with her boss, who has a ‘happy family’, but does not mind getting a chance to sleep with her. She asks him about his obsession with her and he replies, ‘You smoke and drink. You seem to be a modern girl with sexy look. So, I thought you’re ‘that’ kind of girl’.
Prabhu, on the other hand, finds a brother (Azhagamperumal) in a railway employee. After developing an ‘anti-women’ attitude, he starts seducing wives of married men, an act which he truly repents later after witnessing a horrific episode. After realising his mistakes, he goes back to Diya. Will she forgive him?
Andrea, as the stubborn girl, has given her best performance till date, while debutant Vasanth is an apt find for the role of a judgmental and confused soul. Anjali, in the role of a traditional girl-turned-modern girl, makes her presence felt in the few scenes she appears in. Azhagamperumal and the other few characters make a mark. Yuvan Shankar Raja’s music helps the viewers immerse themselves in the narration and cinematography by Theni Eswar makes them relate to the places where the story unfolds.
Apart from narrating the stories of a few characters, Taramani also attempts to remind people about how life should be lived — the need to empathise even with animals, the need to protect our ecology, the importance in letting others live — all in a non-preachy way. It also delves deep into ‘complex’ issues like globalisation, demonetisation, ego, desire, greed, lust, hypocrisy, compassion, frustration and more.