'Maalai Pozhudhin Mayakathile' (Tamil)
Director: Narayan Nagendra Rao
Cast: Aari, Subha, Balaji, Tejaswini and others
Setting a story in the confines of an upmarket coffee shop, debutant director Rao brings us a slice of urban life. And through the myriad characters who step in, Rao showcases their aspirations and problems, and the issues that dog them down.
The film chronicles a series of events which occurs within a span of two hours at a cafe. The rain-soaked ambience which complements the colourful interiors of the cafe, provides an aesthetic backdrop to the narration.
Rao’s characters, the ones at the cafe, are colourful. An aspiring director (Aari of 'Rettai Suzhi') who finally gets his break, but is disturbed about the compromises he has to make; a young pretty stranger (debutante Subha) who shares the director’s table; a writer who keenly observes people and their actions for his new book; a couple on the verge of divorce who bicker incessantly as their seven-year-old son loiters around; a troubled cafe manager in a financial crisis; and two waiters, one of whom is sincere while the other is on the verge of losing his job. The actors fit in perfectly and play their roles with fair competence.
The director (apprenticed with Mysskin) creates an interesting ambiance as each try to deal with their inadequacies and problems in life.
The film has a warm feel to it as it touches the more positive aspects of human nature. The humour comes from interactions between the two waiters and their manager (a calm and controlled Subbu).
The argument between the young couple who slowly warm up to each other, the activities of the little boy and the interaction of the manager with his customers are very real.
The married couple’s (Balaji-Tejaswini) bickering and demeanour however does seem a little contrived.
The dialogue is at times tacky but also sensible, driving in a few home truths. For instance, the scene where the manager and the husband exchange their thoughts on marital relationships. But, after a point they becomes preachy and drag through the scene.
The songs (Achu) are too many in number but have been aesthetically picturised. A key strength is Gopi Amarnath’s cinematography. Creating interesting angles and frames within the confines of the cafe, he stalls monotony to an extent.
Experimental in its narrative style, the film is targeted at an elite urban audience. But at times, it turns a tad monotonous and bland.