Vaazhai Movie Review: Mari Selvaraj’s profound, deeply aching bio-drama is a masterpiece

Vaazhai Movie Review: Mari Selvaraj’s latest film, arguably his best work, reveals a masterful command of cinematic language to convey a profoundly moving story of lost innocence.

Vaazhai Movie Review Introduction

At the heart of this narrative is a sensitive boy, burdened with responsibilities far beyond his years. He sits quietly in his classroom, overwhelmed by emotions he can’t fully comprehend. In a tender moment, he pulls out a pink, embroidered handkerchief, inhaling its scent, which transports him to a place of comfort—a fleeting escape from the harsh realities that surround him. This small gesture, filled with meaning, is captured in a poignant shot of his feet, slowly releasing the cold stone floor to rest on the wooden footrest beneath his desk.

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This is just one of many powerful scenes in the film that evoke deep sensory experiences, making you feel the earth beneath your feet or the hunger gnawing at your stomach on a scorching day. In one particular scene, the taste of wind on a parched tongue comes to mind. Through this film, Mari Selvaraj demonstrates an unparalleled ability to connect with the audience on an emotional level.

Having previously explored his personal pain in films like ‘Marakkave Ninaikkiren,’ Mari’s latest work, Vaazhai, is rooted in a trauma that has shaped his life. Originally intended to be his debut, this film delves into themes that have resurfaced in his previous works, such as the donkey in Karnan or the ‘angel’ in Pariyerum Perumal. A shot featuring a local dog brings to mind Karuppi from his debut, while a wide shot of a boy climbing a hill echoes scenes from Karnan and Maamannan.

In Vaazhai, everything is meticulously crafted, drawing directly from life, with Mari himself at the center, portrayed through the character of Sivanaindhan, also known as Sivanenjam (played by Ponvel, in a performance deserving of national recognition). Sivanaindhan lives in the village of Karunkulam with his sister, Vembu (Dhivya Duraisamy), and his mother (Janaki). The first time we see this child, he is terrified, wetting his pants after a nightmare. Unlike most children, who dread school on Monday mornings, Sivanaindhan fears the weekends, when he must help carry heavy loads of plantains at a plantation—a task he despises so much that he once injured his foot to avoid it.

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For Sivanaindhan, school is a sanctuary where he can truly be a child. He excels in his studies and engages in playful antics with his friend Sekar (Raghul) both at school and in their neighborhood. School is also where he meets Poongodi (Nikhila Vimal), a teacher he admires. In Poongodi, he finds someone who accepts him as he is, someone who feels like a mother who rewards honesty instead of punishing him. However, like Jyothi in Pariyerum Perumal, Poongodi is unaware of the protagonist’s struggle for basic rights.

The scenes with Sivanaindhan, Sekar, and Poongodi are tender and heartwarming, providing moments of levity, such as a humorous subplot about the Rajinikanth-Kamal Haasan rivalry. Mari’s writing shines here, skillfully pairing humor with deeper, poignant moments that leave a lasting impact. For instance, the film begins with Sivanaindhan dancing joyfully at a funeral—a sign that he won’t have to work at the plantation that day. The themes of dancing and death reappear later in the film in shocking ways. Another example is a lighthearted conversation about false promises, which later reveals the harsh reality that their lives are controlled by forces much larger than themselves.

Vaazhai is not merely a story of a childhood overshadowed by the burden of carrying plantains. It expands into a larger narrative through the character of Kani (Kalaiyarasan), a communist fighting for the rights of the plantation workers against a corrupt boss. As this subplot unfolds, Sivanaindhan becomes more than just a boy caught between two worlds; he becomes a witness to the terrifying realities of his life.

Mari Selvaraj’s storytelling in Vaazhai is a masterclass in modern cinema. From the composition of each frame to the careful placement of each shot, the film is visual poetry. Cinematographer Theni Eswar captures Mari’s mesmerizing world, where humans, animals, and nature coexist, only to be disrupted by human greed. In one scene, the ominous cries of Red-naped ibis overhead are intercut with a grim event, signaling impending doom. Sound and music play crucial roles, with composer Santhosh Narayanan enhancing the film’s emotional depth.

With Vaazhai Movie Review, Mari Selvaraj invites you into his world, making you smile, laugh, and reflect, leaving you with a heavy heart. As the credits roll, you’ll find yourself wishing you could comfort Sivanaindhan, a reminder that there are countless others like him in the real world. One can only hope that creating this film brought Mari Selvaraj some measure of peace.