Cheran is one of the few film-makers who churn out movies with a purpose. His movies dwell on social issues and try conveying a solution for it. Be it Vetri kodi Kattu, Pandavar Bhoomi or Thavamai Thavamirundhu, Cheran's moves had a strong message and moral values without being preachy. A shrewd director he gives the (bitter) pill coated with sugar. His movies dwell on serious themes backed up by smart commercial elements.
No different is Mayakkannadi. Cheran has used the canvas this time to render a strong message or call it a warning to youngsters today.
Dreaming for greater fortunes in life is no harm. But it is must that one develops a passion for what one wants to do and tries to be the master of the task at hand. Mayakkannadi, quite rightly, is not about winners in life. It is about losers like every one of us. Cheran has understood that though it is winners only who get spoken about, all life is about losers. This message has been conveyed loud and clear in Mayakkannadi, running for over three hours.
Unlike his earlier films which revolved around the rural themes, Mayakkannadi (Magical Mirror) features Cheran as an urbanite, chasing a chimera. He appears in flashy costumes, straightened hair and runs around trees and romances.
Cheran has consciously chosen to move away from his pet themes - canning life around villages.
With his subtle emotions, he pictures the average youth on streets trying to make it rich by hook or crook. Giving him right company is Navya Nair. The actress with excellent acting skills has given a measured performance totally different from the roles played by her in movies like Chidambarathil Oru Appasamy and Amirtham.
Equally impressive is Radha Ravi. He seems to have rightly delivered what Cheran had wanted from him.
The movie revolves around Kumar (Cheran), a hair stylist, who works in a beauty parlor. Maheswari (Navya Nair) his co-worker shared an affinity for Kumar. Tirupathi (Radha Ravi) run the parlor.
The lover couple shares one common thing between them. Influenced by the rich and affluent who visit their parlor, they want to make money at any cost and lead a rosy life. For them money means everything.
Desperate Kumar and Maheswari try all means to become rich. Kumar finally decides to try his luck in cinema. Star status and huge remuneration being the prime objectives of Kumar. Losing his job, Kumar lands up in the streets fighting for his survival. Meanwhile, he joins a rich industrialist and works for him. Unfortunately the entrepreneur is part of a mafia and Kumar ends up in jail dealing with drugs.
The years that he spends in jail brings a change in him. Eventually Thirupathi steps in to his rescue.
All credit to Cheran to have pictured the aspirations of every middle-class youth.
Dwarakanath's camera catching the exotic locales of Switzerland and Ilayaraja at his vintage best adds to the movie's splendor.
Due credit should be given to Subbu (Panchu Arunachalam's son) for having the guts to produce such a serious movie, when commercial clinches are the order of the day.
Go for Mayakkannadi, if you want real reflections.
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