Iravin Nizhal written and directed by R.Parthiban (who also stars as himself here) is a ‘technically brilliant’ movie in many aspects; which would have been more fantastic as a live theater production. Not only because of the kind of branding ‘Radhakrishnan Parthiban’ exudes but also because this movie is like an exhibit of various Parthiban movie collectibles. Also, It would have been easier to make peace with the zero emotional connect it provides as a movie. Not that a theater play should have a low emotional connect but that the production value does 3/4th of the magic here (especially when the scale is high sweeping the audience off with the ‘hows’ than the ‘whats’.). Or may be even the emotions would have worked much better on stage. But if the whole intention was to create a record of “The First Non-Linear Single Shot” movie, then one can only wish how different the format/approach would have been otherwise. Was thinking of the 1999 release, Suyamvaram which was directed by 14 directors and was shot within 24 hours — again all for the record with the story that hardly had much value except for some good comical moments.
With different phases of the central character (Nandhu) on display, the shadows of the various characters essayed by the actor himself were on display too — like the ones from Puthiya Paadhai, Ulle Veliye, Ivan, Swarnamukhi, etc.
A.R.Rahman was a very interesting collaboration with this movie. The songs and the score were adding a divine touch, making classiness out of the crassness — Bejara song for instance — look how the lines Paalarum Theanarum, Odummunu Paarthena… play out. Reminded me of how a song like Edhuku Pondati, Enna Suthi Oppati from Kizhakku Cheemayile was treated by its music. The whole Bejara song sequence had the vibes of Aariya Koothadinalum from Parasakthi. Mayava Chayava is another lovely number that has the classic Parthiban dialogues like Ennadhu Tharuthalaya? flowing along with the song, akin to Apdi Paakarthunna from Ivan.
Having seen the first thirty minutes of the making video, it was nice to follow through with the experiment when the actual movie played out post-interval. Was really amazed by the way the indoor and the outdoor sets of the markets were created. Even the sea sound and the glimpse of the sea in the backdrop were very impressive. Having the entire set that held the various stages of the life of a character along with its various atmospheres in a single place is way more poetic than what the movie could offer. It’s All the world’s a stage, and all the characters are merely players — just that it’s the various phases of the same character that are players here. The thing that I really enjoyed apart from the designs and the making is obviously the wordplay that Parthiban does. The entire sequence with Varalakshmi Sarathkumar is a riot. Mangalam Undagattum. Ungalaladhan Undaayiruken Saami… had me in splits.
The single-take approach didn’t feel exactly gimmicky like how it was with the case of a movie like 1917 (directed by Sam Mendes). There is so much depth when Iravin Nizhal is viewed as a pure craft. However, I wish there was some depth in the writing too. After a point, I stopped caring about the whole Non-linear Single Take approach or whatever approach it would have had as the writing was dragging and I waited for it to get over so that I can give a standing ovation and clap and leave the theater.
Cinema Paradesio 