Manithan Deivamagalam TamilYogi Review: One of such titles that do not fade away is Manithan Deivamagalam, not only because it sounds like a proverb, but the sound of an old song that people have not forgotten. The very phrase summarizes the heartbeat of the film, a movie of a common man who is driven to extreme levels of determination. What starts in a small and tired village progressively narrows down and becomes strangler in itself, deriving its own power in its restraint and not its outcry. The reserved nobility of Selvaraghavan, the gentle nervousness of Kushee Ravi and the rough threat of the power of Mime Gopi make a world that is all too real. The outcome is a movie that begins meekly, almost timorously, and then grows into what is emotionally torturant and at best, profoundly touching.
The story takes place in a countryside that is deprived of romanticism. It is a village that is in neglect, lacks proper roads, access to basic needs, and any real sense of hope. The movie is mindful of everyday struggles, education to survival. Pleas are made, petitions are filed but nothing changes. The realism of that indifference, which is so silent, so systemic.
This is centred on the character of Selvaraghavan, who lived a simple and humble life. He starts selling palm fruit and then operates a small roadside dhaba. A silent stateliness in this movement. Though past the conventional age of marriage, he finds companionship in Kushee Ravi’s character. Their romance unfolds in a subtle way, through silences, looks, and understanding each other instead of over the top romance.
Alongside this tenderness is a more sinister truth. Mime Gopi is a strong local character, who acts with uncontrolled power. His traps through his factory are to enslave women in debt cycles by taking loans that have high interest rates and later exploit them. This is not dramatised to achieve a particular effect in the film, it is merely shown in the film and the horror reveals itself.
This is a turning point in the life of Selvaraghavan as a sudden incident breaks the very thin thread of his life. What at first seems like a personal struggle is quickly extended well beyond that to a much more devouring front, drawing the story to darker, more discomforting realms.
The second half is where the film is really strong. It is also abrupt and dramatic, and it reminded me of the style of storytelling that Bala frequently adopted, where the mundane start yields to emotionally dramatic resolutions. Again, the story becomes more dense, immersive and even overwhelming.
There is one scene with Kushee Ravi. She is so real that her emotional breakdown, is so authentic that the audience response is instant and tangible. It is not melodramatised agony, but suffering in its barest essence, which lingers long after the fact.
Selvaraghavan presents an outstanding performance especially in the third act. His metamorphosis is natural and deserved.. The movie illustrates how any person, no matter how peaceful, when pushed to the extreme may turn into an unstoppable force. His brutality in the climax takes the story to a new level.
Kushee Ravi is as powerful as him, a root of the emotional substance of the story. Kausalya impresses well, with its familiarity and strength, and the supporting cast can add value to the story even with few screen appearances.
On a technical level, the movie is sound.. Cinematography is also exceptional, most notably during the night scenes, where the images have a rough texture, contributing to the emotional depth. The editing is on the whole tight, but the first half could have been shaved off to give more brisk action.
Music is an important component of the experience. The background score by A.K. Prriyan becomes one of the key strengths as it does not only support the emotional intensity, but also emphasizes it. It plays to its advantage especially in the climax. The songs are still enjoyable and merge well with the story.
Emotional payoff is a top concern of Dennis Manjunath as a director. The composition of the second half, with the introduction of main turning points, indicates a conscious attempt to make a strong impression. Although the movie does not pose itself as an overtly message-based film, it warns about the risks of high-interest loans and the exploitation that is associated with it.
Another minor yet significant concept is developed in the story, the significance of communication in families. The movie indicates that the secrecy of financial hardships, particularly of debt, can be catastrophic. It is an easy, but touching conclusion.
The film, however, has its flaws. Sections of the first half are strained, which impact general interest. The opening segments in tighter narrative would have enhanced the experience.
But when the film gets into its groove, it is seldom not on song. The closing piece, especially the last 25 minutes is played with strictness and clarity of emotion and serves the purpose of bringing together its thematic and narrative lines.
At its conclusion, the title Manithan Deivamagalam has fully manifested its meaning, a voyage in which a man is elevated to bring justice, in a way that nearly borders on godlike, and which rewards the good and penalizes the bad. It is not presented as fantasy, however, as a moral resolution of all that has occurred.
It is a movie that is worth waiting. It can be a long process, before it fully engages, but once it does it is impactful. Its performances are strong and its second half emotional and thus can be said to be a worth watching movie especially in the big screen.
Rating: 3.5/5
