Synopsis: Susi and Ram are roommates who aspire to enter the film industry. Just when they find a producer and are about to start shoot, they become involved in murder!
Review: On paper, the story of Viraivil Isai might seem intriguing, but the film actually takes quite an effort to sit through. Throughout most of its running time, we are led to believe that what we are watching is a drama about the movie industry. For the two protagonists Susi (Mahendran) and Ram (Dhilip Roger), a career in films has been a dream since their childhood. The former wants to become a director and the latter, a music director like AR Rahman. He even shortens his actual name A Rangaraman and calls himself AR Ram. We are shown Susi's efforts at trying to get a producer, his failed romance (the girl feels he is chasing an unattainable dream) and Ram's flirting with Lekha (Shruthi Ramakrishna), a tele-marketing person. The dialogues revolve around films with characters comparing everything to something related to films.
We also get characters we usually find in movies on the film industry — a 40-something guy (played by the late Jaishankar's son Sanjay Shankar) who is still trying to become a hero (and acts as the film's comedian), an elderly father-figure (Delhi Ganesh) who cares for them, an aspirant who is fed up with his struggles and whose suicide contributes the drama needed for the intermission.
Even after this, we are only shown the duo's efforts at getting a break. They make a music video which impresses a producer who signs them on for a film. And that is when the film takes a turn that is both preposterous and insensitive. All of a sudden, the film becomes a thriller after a rich paedophile (Shantharaj) makes an entry into these characters' lives. We would have bought this off-tangent development if there had been at least some effort to make it credible, but all that we get are laughably executed scenes that are not only amateurish but also sickeningly exploitative. That it has released on the same week when there is a discussion on whether castration could be an effective punishment for child sex abusers is the only interesting aspect about the film (the director, in fact, says that it is the responsibility of the public to kill such people!). But even that relevance is entirely coincidental.