Raame Aandalum Raavane Aandalum Movie Review
Cast-;
MITHUN MANICKAM ,RAMYA PANDIAN A ,VANI BHOJAN ,VADIVEL MURUGAN ,MANOJ DASS ,SELVENDR AN ,LAKSHMI ,PARUTHI ,SELVA BALAJI,SATHISH KUMAR ,SELVAN .
Crew-;
MOVIE NAME: RAAME AANDALUM ,RAAVANE AANDALUM ,DIRECTOR: ARISIL MOORTHY ,PRODUCED BY: JYOTIKA & SURIYA ,PRODUCTION COMPANY: 2D ENTERTAINMENT ,RELEASE: AMAZON PRIME, CINEMAT OGRAPHY: SUKUMAR.M ,MUSIC: KRISHH ,LYRICS: VIVEK, YUGABHARATHI, MADHAN KUMAR ,EDITOR: SH IV A SARAVANAN ,COSTUME DESIGNER: DR. VINOTHINI PANDIAN ,PUBLICITY DESIGN: YUVARAJ ,ART DI REC TOR: MUJIBUR RAHMAN ,CHOREOGRAPHER: SIVAJI ,STUNT: ROCK PRABHU ,PRO: YUVRAAJ ,EXECU TIVE PRODUCER: SENTHIL ,KUMAR STILLS: C.H. BALU ,VFX: WHITE LOTTUS ,SOUND DESIGN: TAPPAS NAY AK ,SOUND MIXING: TAPPAS NAYAK ,AUDIO LABEL: SONY MUSIC INDIA etc.
Story-;
Director Arisil Moorthy’s Raame Aandalum Ravanan Aandalum (Ra Ra), which is the first title from Amazon Pr ime Video’s recently-announced collaboration with Suriya’s 2D Entertainment, is a socio-political satire set in a village. The film has the heart of Anusha Rizvi’s Peepli Live, but still works as a quirky rural drama about the eve nts that follow when two beloved bulls go missing. Maintaining a satirical tone for the most part, Ra Ra manages to raise some pertinent questions without getting too serious. It strikes a fine balance between satire and drama. The film follows Kunnimuthu, a farmer, and his wife Veerayi, who lose their bulls, Karuppan and Vellaiyan, whom they looked after like their own children. Kunnimuthu loses all hope of getting them back. When it is learned th at a local politician could be involved in their disappearance, the story takes a political detour with multiple twi sts and turns. RARA revolves around the couple Kunnimuthu (Mithun Manickam) and Veerayi (Ramya Pandian) who live in the remote village, Poocheri.
Their beloved bulls, Vellaiyyan and Karuppan go missing. Vellaiyyan and Karuppan were gifts from Veerayi’s fa ther for their wedding. The couple treated them as their children — Kunnimuthu throws a fit every time someo ne refers to them as bulls. When Kunnimuthu goes to the police station to file a complaint, they send him away without taking a complaint. Hence, begins their long search for their bulls and their journey discovering social ap athy.In addition, the narrative meanders all over the place with its political and social commentary, torn between being a social satire and a social drama. For example, there’s a board in a small parotta stall reading, “Engineering paditha parotta master venum” (Required: Parotta masters with an engineering degree). There’s a Hindi signbo ard in the middle of nowhere, and a Hindi-speaking food delivery person appears in a village with no roads. A Hin di-speaking trader turns up at a local festival selling bull bells and straps only to have a dialogue, “Un thilalangadi velai ellam un oorla vechuko. Idhu Tamil nadu inga selladhu.” (Keep your antics in your land. This is Tamil Nadu, it won’t work here.)” We get the sentiment but these quips get increasingly incongruous; they don’t add much val ue to the main storyline.
Watch The Trailor-;
Movie Review-;
Raame Aandalum Raavane Aandalum, the Tamil movie directed by Arisil Moorthy, is a mixed bag in terms of tre atment. We call our films masala because they don’t really stick to one particular genre, and here, Raame Aanda lum Raavane Aandalum is also trying the same with some indie sensibilities. It is a story about animal love, and it is also a take on contemporary politics. The movie oscillates between its desire to be a mini Shankar movie and being a Peepli live. And that contrast somewhere reduces the grounded feel it promised in the beginning. The st ory is told from a villager’s point of view and begins with visuals of Chennai city. A narrator says that because m ost of us have come from villages, we should now go back and take a look at one of them. Soon, we get a song with the line ‘suit coat-u pottaadhaan namma pakkam paappaanga’ which is sadly true. Most of the media focuses o n urban happenings, rather than remote villages. Kunnimuthu and Veerayi, a couple living in the village, are our primary focus. Even though they don’t have kids, they consider their bulls Karuppan and Vellaiyan their own ki ds.
One day both of them go missing, and Kunnimuthu goes to the police station for help. But he gets ridiculed and decides to do the searching on his own. But at one point, this search gets the help of the Media and how it esca lates dramatically is what we see in Raame Aandalum Raavane Aandalum.But is this a story about how the me dia should report what’s lacking in villages? Or is it a story about a man who has lost his two bulls that are like his two children? The director can’t decide, and so does both. Unexpectedly, the story about missing bulls becomes a big, state-wide story when a visiting journalist decides to make a documentary on the village. She sets about ex posing what’s happened. if two of your kids went missing and I just replaced them with random kids from the nei ghbouring street, would you accept them? That’s the real story of the film, but even this moment doesn’t ring tr ue because the director wants to focus on issue after issue.
Perhaps, focus is the wrong word, because he doesn’t go deep into every issue but just wants to at least name dr op a bunch of issues villages are facing. In the initial bits of the movie, the satiric angle is kind of strong. So for a movie like Raame Aandalum Raavane Aandalum, that gaze helps the film in building certain curiosity. But post-interval, the Shankar movie aspect of the script starts to develop, and the film slips into a familiar zone, and fra nkly speaking, the solution looked too easy. All those metaphorical build-ups you get to experience in the initial part of the film start to get explained verbally, and the movie starts to feel a bit empty in the craft part. Yes, if be ing socially relevant is considered a goal, you can claim that Raame Aandalum Raavane Aandalum is appr eci ab le. But the film demanded a bit more fine-tuning.For example, we are told about facts like corporates are loo ting villages, there are no rains, no schools, Hindi is slowly replacing Tamil because Hindi-speaking people have made these villages their homes and are looting the local people. So, this whole thing acquires an air of childish ness.
There’s no seriousness in the filmmaking, though the issues are serious. No effort has gone into the screenplay and there’s a lot of repetition in the dialogues, and even the lyrics. I am calling Raame Aandalum Raavane Aand alum a mixed bag because it has aspirations to be subtle in certain areas. The old man who was working hard wh ile the media and politicians went past him was a terrific representation of how leaders and media never pay att ention to real problems. But somewhere, the intention to cater to a wider audience forces Arisil Moorthy to give closure to every track he opened. And that sort of makes it a pseudo optimistic movie rather than an impactful political commentary. M Sukumar’s visuals have many aerial shots depicting the desertedness, and even the wa rmer color palette pitches the story’s emotional tone. one side is the excellent Oru Kidayin Karunai Manu and the other is the beyond excellent Koozhangal. We have great filmmakers making great films about issues in villages which we never get to experience otherwise. It’s like watching Bharathiraja films when I was a kid.
But in Raame Aandalum Raavane Aandalum, there’s no pro gression in the story. The ending — you know they’re going to find the bulls — happens in the manner of a Devar Films movie: We have cattle, goats, snakes, and other animals fighting human beings.Mithun Manickam shines as Kunnimuthu. Both Mithun and Ramya Pandian are to tally living those characters, and a lot of the credits go to th em to make the movie’s main track somewhat mo vi ng. The scene where Mithun runs away from the sight of bulls getting slaughtered was really emotional. Vani Bh ojan plays the role of the journalist who takes up the real issue s.We end up with a story where neither the story of the missing bulls is explored with emotion nor are other issu es explored with any sense of depth. A comment about the title: We have a bunch of really good new directors in Tamil, including Suresh Sangaiah who made Oru Kidayin Karunai Manu. But with the rest of the directors it’s ‘raa me aandalum raavane aandalum’, that is, it’s either this guy or that guy — they just think the easy way to reach the hearts of the Tamil people is by giving big, fat me ssages in the guise of a movie. And to see that in a film with so much emotional potential is really tragic.
This IS MY Personal Review So Please Go And Watch The Movie In O T T Platform on Amazon Prime Video
Written By- T.H.PRASAD -B4U-Ratting-4 /5
