Film Review: Aayirathil Oruvan (2010) by Selvaraghavan

Impressed loosely by the historic decline of the Tamil Chola dynasty and the rise of the Tamil Pandya dynasty, “Aayinathi Oruvan” is one other epic traditional popping out of the Tamil film business, which confronted, although, lots of points earlier than reaching the sunshine of day. Among the many many issues, together with the leaving of a variety of key members of the preliminary forged and crew, with the drama continued even after the ending of the capturing, with Rambo Rajkumar, the movie’s stunt director, dying. Nonetheless, the consequence was distinctive, with Selvaraghavan’s insistence to complete the film it doesn’t matter what, ultimately paying off. The evaluation is on the uncut 180 minute model. 


In 1279 A.D., the downfall of the Chola dynasty appears imminent because the Pandyas drive the Chola individuals out of their kingdom in southern India. To flee them and save the lifetime of his successor, the Chola emperor sends his son, his Royal Advisor and the remaining Chola individuals to a secret territory. The refugees take alongside an idol sacred to the Pandyas, angering them. To seize the escaped Cholas and the stolen idol, the Pandyas lengthen their invasion to unexplored territories however can’t discover them. Centuries later, in 2008, Indian archaeologists proceed trying to find the existence of the misplaced Chola group based mostly on clues left by the traditional Pandyan warriors. All archaeologists who tried to seek for the key land have disappeared. Archaeologist Chandramouli is the latest individual to have gone lacking abruptly.The Indian authorities organizes a search expedition led by the merciless and boastful officer Anitha to seek out Chandramouli and the Chola empire; she is assisted by the Indian military led by Ravisekharan. They recruit the aloof and quiet archaeologist Lavanya, the estranged daughter of Chandramouli, as a result of her perception is important for the success of the expedition. She fingers over essential paperwork on the Chola dynasty, ready by her father, with directions on the route to achieve the vacation spot. Together with the military, Anitha employs a gaggle of porters headed by Muthu, who she and the military frequently ill-treat and see as inferior, to move the luggage in the course of the journey. The crew embark on their voyage main them to an island, Min-gua, close to Vietnam. 

These occasions conclude the primary half. The second half offers with the crew attempting to beat the 7 main obstacles the Chola have left with a purpose to forestall individuals from reaching their territory, whereas the third half begins after some members of the group handle to achieve their purpose.

The primary half offers principally with introducing the characters and establishing the dynamics between them. Muthu, the chief coolie, emerges as a quite cheeky man, who’s keen to lie his approach into the hearts of each Anitha and Lavanya, but additionally a frontrunner who cares deeply for his males. The way in which all of the individuals who rent them, however principally Lavanya and Ravisekharan exploit them any approach doable, with a definite disregard for his or her lives, units up a recurring theme within the film, that is also perceived as remark concerning the exploitation of the Dalit by the upper castes. The killing of scores of indigenous individuals upon their arrival in Vietnam, is yet one more motif set within the film, with the actual one being clearly impressed by the remedy the Indians acquired from the colonists in America. 

The second half, though equally action-heavy, additionally offers with the dynamics between the three protagonists, and significantly its altering after they’re separated from the remainder of the group. The romance that blooms right here and the truth that the “third wheel” emerges as quite antagonistic, is likely one of the most amusing elements of the film. On the similar time, the traps the crew must face and the way in which they overcome them are significantly spectacular, and infrequently fairly brutal, with the one with the shadow rising as essentially the most memorable..On the similar time, the humor that’s discovered aplenty within the first two elements finds a variety of its apogees right here, even when in slapstick vogue, with the consuming of the camel rising as quite hilarious, as a lot because the “trio” that’s formed. 

The third half strikes right into a territory that might be described as exploitative, as it’s the most action-oriented one, whereas additionally together with some moments of sleaziness significantly involving Anitha, with Reema Sen being spectacular in her transformation to a real femme fatale, and even a tyrant.. The world scene and the ultimate warfare are most likely essentially the most spectacular and most violent scenes within the film, but additionally spotlight a collection of modifications within the conduct of the principle characters, which works fairly nicely for the narrative. Karthi as Muthu really shines on this half, though his efficiency is spectacular all through. Andrea Jeremiah can also be fairly good, showcasing her spectacular appears, and in a job that has her regularly being a sufferer and the item of scorn for her eccentric conduct. Lastly, a remark concerning the “who’re the barbarians”, which can be perceived as a metaphor for any form of colonialists however significantly the British, provides much more depth to the narrative. 

The true spotlight of the film nonetheless, are its motion scenes, with the mixture of Ramji’s cinematography, Kola Bhaskar’s modifying, G.V. Prakash Kumar’s music, the stunts and motion choreography, and the general job completed within the SFX leading to a collection of really memorable scenes that do have something to be jealous of comparable Hollywood blockbusters. The quick ahead moments might be much less, however they’re basically unimportant in entrance of the general extravaganza discovered right here. Moreover, the variety of motion scenes is equally spectacular, showcasing the extent of labor Selvaraghan and his crew put into them, which is basically, what makes the movie retain curiosity from starting to finish, regardless of its quite lengthy period. The music video scenes should not lacking as soon as extra, and reality be informed, a variety of them are utterly pointless, however as a automobile for Reema Sen to impress in yet one more approach, work fairly nicely. Lastly, the quite quick tempo works fairly nicely for the general aesthetics. 

Evidently, every half will most likely attraction to totally different audiences based mostly on its primary components, however as an entire, “Aayirathil Oruvan” is a really nice motion journey film, and a kind of that undoubtedly deserves to be watched on the massive display screen. 



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