In six years, Mari Selvaraj has established himself as one of the foremost voices in the Tamil film industry. Since his debut with 2018’s ‘Pariyerum Perumal,’ he has released a string of films which have been both politically and emotionally charged. His fantastic symbolic use of animals in his films are what come to mind first when looking back on his filmography, paired with beautiful cinematography. His latest feature is ‘Vaazhai,’ presented by the director as a semi-autobiographical slice of his life.
In six years, Mari Selvaraj has established himself as one of the foremost voices in the Tamil film industry. Since his debut with 2018’s ‘Pariyerum Perumal,’ he has released a string of films which have been both politically and emotionally charged. His fantastic symbolic use of animals in his films are what come to mind first when looking back on his filmography, paired with beautiful cinematography. His latest feature is ‘Vaazhai,’ presented by the director as a semi-autobiographical slice of his life.
The film follows Sivanaindhan, played by M. Ponvel, a young teenage boy who is the best student in his class. On his days off, he is expected to accompany his mother and sister Vembu (Dhivya Dhuraisamy) to ‘lug’ combs of plantain from the local plantation to awaiting lorries. In true Bildungsroman fashion, we watch Sivanaindhan experience his first love for a teacher at his school, Poonkodi Miss (Nikhila Vimal). Selvaraj paints a vivid and touching picture of innocent childhood in ‘Vaazhai,’ and its inevitable clash with harsh reality.
The cast played their roles perfectly. M. Ponvel and R. Raghul’s Sivanaindhan and Sekar shoulder their duties as the leads brilliantly, and their boyish friendship is wholly believable. The ‘angels’ of ‘Pariyerum Perumal’ return in the form of Vimal’s Poonkodi Miss. Kalaiyarasan appears in a supporting role as Kani and contributes passionately as always. Altogether, the cast do an excellent job of immersing the audience into this story and serve the film suitably.
The film is technically great. Theni Eswar returns as cinematographer, having collaborated with Selvaraj on ‘Karnan’ and ‘Maamannan,’ and his work is stellar here too. There are an abundance of aerial shots, looking down at our characters as they move through their lives by either an indifferent, cruel, dark-humoured or non-existent presence. People are seen as ants and animals are seen with majesty through Eswar’s lens. The gorgeous vistas of rural countryside present in every Selvaraj film feel even fresher in ‘Vaazhai.’
Santhosh Narayanan is in incredible form with his soundtrack and score. The highlight track is ‘Oru Oorula Raaja’ which samples the parping horn of a lorry and turns it into a royal fanfare, with wonderful lyrics penned by Selvaraj himself. ‘Thenkizhakku’ is another highlight, a song sung by Dhee, dwelling in the sweetness of first love.
In one scene, under candlelight, Sivanaindhan reads ‘I Wandered Lonely As a Cloud’ by Romantic poet William Wordsworth as a homework assignment. At its finest, there is undeniable poetry in Mari Selvaraj’s cinema. His extended metaphors recur like rhymes, his visuals are deliberate in intent, effect and pace, and the film moves with its own internal rhythm. One hopes for a truly great film a year - and we are elated when there are more. I am glad to say ‘Vaazhai’ is the first of this year, and also the best of Selvaraj’s career so far.
Krishna's rating: 4.5 stars
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Official trailer for the film below.
