Taramani movie reviews
We have had numerous women-centric films which touched upon the varied woes of average women in our society. However, a lion’s share of them, knowingly or unknowingly, had women living life and behaving within the societal norms, so that even the average judgemental audience could empathise with them effortlessly. But for a change, Taramani, which is set against an IT hub of the same name, narrates the life of Diya (Andrea Jeremiah), a free-spirited lady.
An Anglo Indian, who works as an HR in a corporate firm, her characterisation is such that it defies the dos and don’ts which women characters are often associated with.
She may easily be misunderstood as a rebel by nature. But she isn’t one actually, and she doesn’t mind being judged. Thanks to the terrible experiences she had, Diya has learnt to accept life in the way it is – an ex husband who confessed about his sexual orientation after marriage, a mother who calls her a bitch and a conservative father who repeatedly puts her off with his unconvincing theories about life.
Prabhunath (Vasanth Ravi), a care-free unemployed youngster, who is depressed due to love failure, meets Diya at an unexpected situation, after which they slowly start opening up about themselves. The dialogues between them and their body language are a treat to watch as those are devoid of clichés.
Though Prabhu falls for her, the practical lady she is, Diya expresses her disinterest as she needs only a companion in life, and not a typical dominating partner.
And yes, she has a child, too – the apple of her eye. When Prabhu suggests her to quit smoking, as she’s the mother of a child, she hits back asking, ‘Aren’t you the child of a mother?’ But despite knowing that Prabhu is another man, who expects his lady to be at his feet, she, too, at one point, reciprocates the feeling, only to regret later.
Back to square one, Diya’s life again revolves around her son and office. At the work place, she has to deal with her boss, who has a ‘happy family’, but do not mind getting a chance to sleep with her. She asks him about his obsession with her and he replies, ‘You smoke and drink.
You seem to be a modern girl with sexy look. So, I thought you’re ‘that’ kind of girl’.
Prabhu, on the other hand, finds a brother (Azhagam Perumal) in a railway employee. After developing an ‘anti-women’ attitude, he starts seducing wives of married men, an act which he truly repents later after witnessing a horrific episode. After realising his mistakes, he goes back to Diya. Will she forgive him?
Andrea, as the stubborn girl, has given her best performance, while debutant Vasanth is an apt find for the role of a judgemental and confused soul. Anjali, in the role of a traditional-turned-modern girl, made her presence felt in the few scenes she had to play.
Azhagam Perumal and the other few characters make a mark for themselves. Yuvan Shankar Raja’s music helps viewers immersed in the narration and cinematography by Theni Eswar makes them relate to the places where the story unfolds.
Apart from narrating the stories of a few characters, Taramani also attempts to remind people about how life should be lived – the need to empathise even with animals, the need to protect our ecology, the importance in letting others live – all in a non-preachy way. It also delves deep into the 'complex' things like globalisation, demonetisation, ego, desire, greed, lust, hypocrisy, compassion, frustration and more.
CRITIC'S RATING: 3.5/5
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