"Why do some people get everything when others don’t?’ It is a question that Yamuna (Nayanthara) asks herself in the film. “God created men. But where did he go after? Was he sleeping?” she adds. Airaa, KM Sarjun’s latest, argues that life is a gigantic malfunctioning Rube Goldberg Machine of which we are parts. (The opening credits has an animated version in the background) Most of the times, we don’t understand why we get hit. Rather we are just left to reel in the after effects. Airaa follows one such thread that links Yamuna, who seems to have it all, with Bhavani (a darker Nayanthara) who loses everything.
As ideas, Airaa gives you a lot to ponder. I did have my initials doubts about Nayanthara donning dark make-up to play Bhavani. But here, it adds a metaphorical layer to what the film tries to convey. Bhavani could have essentially become a Yamuna -- educated, successful and independent (almost to a fault). But the society she grew up in chooses to ridicule her for dark skin, blame her existence for things she has no control over. Airaa wants us to question this rising apathy we have for our fellow beings, but is horror the right genre to place this story?
The horror portions prove to be the weakest. Airaa doesn’t attempt to give us anything new in the genre. And it further doesn’t help the film takes its entire first half to get to the emotional core. What was the need to have Yogi Babu in a tired attempt to infuse humour? There’s an indication of conflict between Yamuna’s grandmother and her. Why? We don’t know and the character also gets a convenient end. I am glad that Yamuna doesn’t become a YouTube celebrity with her very first video going viral. (Talk about small mercies) But what was the need to bring in Blue Sattai Maaran to ‘review’ non-film content? Is making a joke out of reviewers the new trend in Kollywood?
In a recent interview, Sarjun mentioned that having a co-writer meant that he could focus more on direction. The result is quite evident. Airaa’s cinematography is aesthetically fetching and so is the edit. Unlike usual horror films which use more of blues, the film adapts a consistent yellow-based palette with a spattering of red. While it may not be realistic, it does give a stylish, sophisticated tone to the visuals. A special shout-out to KS Sundaramurthy who gives some exemplary music; the haunting Meghadhootham refuses to leave your mind. The young composer’s background violin-bass heavy score blends with the frames, and more importantly hits unpredictable notes. The film’s relaxed cinematography and in-sync edits would have more punch had the screenplay provided them with the vigour. However, I did quite like Priyanka Ravindran’s dialogues, especially in the black and white portions, where the writing felt the strongest. For example, where Amudhan (an effectively subtle Kalaiyarasan) says, “Vayasaiduchu Bhavani. Nera vishayathuku varen. Kalyanam panikalama?” Clean, to the point, effective. I wish Yamuna had similar depth.
I would have loved to see more of Bhavani. Similar to our male superstars, even Nayanthara seemed to be getting a different kind of template. If the male superstar had to be smoothened out to get a squeaky clean hero, Nayanthara had to look perfect in every frame. No matter the role she plays, she wears a mild variation of the same look. But as Bhavani, the actor is refreshingly beautiful. Nayanthara brings out Bhavani’s vulnerability, innocence and later rage in perfect measure. I remember Sarjun mentioning that the team asked Nayanthara to play the character because they began rooting for her. Despite the tepid climax, I rooted for her. Maybe, it is time we see more of women like her onscreen. It is time we realise that women like Bhavani can be the heroine, even if it isn’t the Lady Superstar playing her onscreen all the time.
(This story originally appeared on cinemaexpress.com)
Film: Airaa Cast: Nayanthara, Kalaiyarasan, Yogi Babu Director: KM Sarjun Rating: 2.5/ 5 stars |