In the recent past, there were very few films that cast a spell on the audience. New themes and innovative story lines almost dry in Tamil Cinema. It is in the pipeline for a period of three years, Bala was with a film that is very different from the rest. Certainly several notches above the rest. The dark reality of our lives, never bothered to know so far, given realistic from Bala. Life in AGORI “Sadhus, the turbulent life of the blind beggars are controlled by the Mafia and the lives of people with mental-challenged say in a way that is new to Tamil Cinema.
Bala, who has shown courage in films like Sethu, Nandha and Pithamagan, has progressed to a greater height in Naan Kadavul. The life of saffron clad Sadhus are sharply during the first half, while the red screen with the last part. Bala, who carved the body Vikram and Suriya, has all the pain and effort to the real and true actress in Arya. We succeeded in the mission of the word go.
In short, the film is a father (Azhagam Thamizhmani), looking for his son kasi. A few years ago to leave his son for the spiritual and astrological kasi change. The child grew up in the middle of saadhus. As Rudhran ( ‘Aria) growing in a rough and tough man, whose life is unique and different from the others. At the persuasion of his father, returned to his native village, where an evil Muthalali (Rajendran), which controls a beggar mafia. Muthalali exploit the elderly and physically challenged children for the purpose.
A little girl with visual impairments Amsavalli (Pooja) is forced to join the gang. It is together with others, forced to go begging in many centers by Thursday Ultimately it is the pilgrim Rudhran to take cudgels against them and save them.
Ball effect immediately Poignant and sensitive history of slowly increasing, and to terminate the momentum slaughter. Arya the frightening appearance and body language immaculate brings an animal to us.
Pooja as a blind beggar with a stunning performance. Hitherto regarded as a glam-pop, with many expressions, and of course for the industry looks to return as an actor can do with the emotional outbursts line. Equally impressive is Azhagam Thamizhmani and Rajendran.
Arthur Wilson camera is pure poetry. The camera traps for busy kasi and ruthless struggle Rudhran deserves appreciation. What can be said for maestro Illayaraja. Not only songs, but also the extraordinary re-recording, the right feeling for the entire film.
Jayamohan has added strength to the sensitive conversations. Although very little in the film is hard hitting and logic. Thank Sreenivasan organizations sponsoring such a valiant effort. All this is a special Bala loaded with his trademark style and mannerism. Although many scenes lack logic, Bala’s magic makes us forget.