Thalaimuraigal Review from Rediff!!

After more than four decades in the film industry, ace filmmaker Balu Mahendra, who has given us some memorable films in Veedu, Sandhya Ragam and Moondram Pirai, makes his acting debut in Thalaimuraigal. He has also written, directed, edited and wielded the camera for the film.

This is the first time that the 74-year-old director, who started his career as a cinematographer, has shot a film in the digital format with a still camera, the Canon 5D DSLR. Thalaimuraigal is produced by M Sasikumar`s company, Film Productions, and he also makes a cameo appearance in the film.

The film stars Ramya Shankar, Vinodhini, S Sashi and Master Karthick. Ilaiyaraaja has composed the music for the film. The story opens with a phone call to Dr Siva (Sashi) from his childhood friend Govind, who informs him that his estranged father is recovering from a massive stroke.

It is 12 years since Siva has last seen his father Subbu (Balu Mahendra). Siva was thrown out of the house by his orthodox father for marrying a Christian girl, Stella (Ramya Shankar).

Though deeply upset at the news, Siva is in a dilemma as he is not sure that his father will accept him back. Stella, however, convinces him to go and Siva makes the journey to his village to see his ailing father. Subbu is rude and overbearing initially, but he cannot hide the joy and pride at seeing his son, a successful doctor.

Stella, who is very keen to give their son Aditya (Master Karthick) an opportunity to know his grandfather, also joins him after a couple of days.
At the very first glimpse of his grandson, Subbu is overjoyed, and all the anger and hatred just seem to melt away. Even the contempt for his Christian daughter-in-law vanishes.

Subbu is now just an old man trying to understand his grandson, who does not speak a word of Tamil. Unfortunately, Subbu not only does not understand English, but even hates the language.

Is there a common meeting ground? Can they break the strong barriers of caste, religion and language and find love and respect for each other? All this is revealed with a lot of sensitivity and simplicity in the second half of the film.
Balu Mahendra’s effortless performance in Thalaimuraigai proves that acting is yet another skill to be added to his already long list of accomplishments.
He plays an angry father, who eventually comes to regret his orthodox beliefs; his perception of caste and language differences are changed by his grandson and daughter-in-law.

Despite all the differences, the underlying love and pride between the father, son and grandson is brought out beautifully. Master Karthick plays the bright and intelligent grandson, whose curiosity and earnestness will definitely make you smile. All the others too, have excelled in their respective roles.

There are no songs to mar the narration and the background score by Ilaiyaraaja remains inconspicuous, subtly bringing out the depth and intensity of the film, while enhancing the natural sounds of the singing birds and the flowing water. Balu Mahendra is a master of cinematography and his love for shooting in natural light is evident throughout the film.

Director Balu Mahendra's Thalaimuraigal is a heartwarming tale of a grandfather coming to terms with his own conservative values and beliefs, while at the same time instilling in his grandson, a sense of pride and appreciation in his language and culture.

Rating:***1/2

http://www.rediff.com/movies/report/review-thalaimuraigal-is-brilliant-south/20131223.htm

Thalaimuraigal Reviews from Times of India!

Synopsis: A haughty old man, who is estranged from his son for over 12 years, starts looking at life in a different perspective when his grandson comes to stay with him. 

Movie Review: For retired Tamil teacher Subbu (Balu Mahendra), it is his religion, caste and language that are close to his heart. For 12 years, he has not been on speaking terms with his son Sivaraman (Sashi Kumar), a doctor, who married Stella ( Ramya Shankar), a Christian girl and an orphan, against his wishes. But when Sivaraman hears that his father had suffered a stroke, he goes to his village at the insistence of Stella, who wants their son Aditya ( Master Karthick) to get to know his grandfather.

This is the set up of Balu Mahendra's Thalaimuraigal, a drama on human relationships that puts across the one question that matters in the end — 'who am I?' Midway into the film, Aditya gives a photograph of himself to his asks his grandfather if he could say who the person in the photograph is. The old man replies that it is just a piece of paper and questions the kid who he really is. Subbu delivers this line in a haughty manner, probably expecting his grandson to acknowledge his lineage (in the form of religion and caste) but even he doesn't realize the profoundness in his question. In a later scene, the village's pastor asks the boy if he is a Hindu or Christian, and the kid says that he is Aditya, and only then we realize how the boy has come to terms with his self.

It is this kind of understatement that sets Thalaimuraigal apart from current films. The scenes mostly come across as moments captured from the life of the film's characters rather than as part of a narrative. The director shoots the film with minimal fuss — the shots are held longer than in present-day films, and the camera often stays at rest, capturing everything in its frame. Ilaiyaraaja's background score too features large stretches of silences that feel alien to the insistent sounds in commercial films. Even the emotional scenes are not underscored with stirring music and it is left to us to imbibe the emotions from the performances. And this simplicity is reflected even in the scenes showing the bonding of grandfather and grandson. The kid doesn't know Tamil (Stella is from Bangalore and she converses with her husband mainly in English) and the old man isn't used to English. He begins teaching the boy Tamil and we see shots of them learning from each other at various locations and at various times, and they build up a rapport over time.

It is only in the pre-interval scene that there is a sense of urgency — a lady comes to Subbu and pleads with him to save her son who has been bitten by a snake — and the scene feels quite cinematic but this is probably because it is in our habit to expect a twist during at the interval point.

The only problem with the film is that it resolves many of the characters' issues quite conveniently. It redeems Subbu when he starts bonding with his grandson but never quite acknowledges his patriarchal mindset that dashed the hopes of his daughter. We get a scene where the daughter tells her brother that their father took out the anger he had for his son on her by putting an end to her studies and turning her into a child-bearing machine. But we never see Subbu recognizing his failings with respect to his daughter. In fact, while he instantly develops an attachment with his son's offspring, we are left wondering about his relationship with his other grandsons, who were born to his daughter. Maybe, Balu Mahendra wants to tell us that it is not possible to right all the wrongs we have done in our lifetime.

We also wish that the argument between Sivaraman and Stella over Aditya staying in the village had a bit more bite. It is a bit hard to believe that he gives in so easily when Stella counters his very valid reservations with the simple point that Aditya will learn much because Siva himself had studied in the village. Less practical and more romantic.

But there is plenty of genuineness and warmth, which, elevated by the minimalist storytelling and genteel performances (director-actor Sasikumar's cameo is the only false note) turn this simple film into the feel-good film of the year.

Note: Strictly for those who like leisurely-paced slice of life films that are more enlightening than they are entertaining.

Rating:****

http://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/moviereviewarticlelist/thalaimuraigal/movie-review/28019810.cms