“Love is God” says the movie title. The credits include Kamal Hassan which brings to mind over-acting and some heroic stunts, particularly the latest releases. I try remembering whether the movie generated any controversy. Is it one of those pukka Tamil commercial movies with lots of do-good talk? Then I see the poster. And impulsively decide to watch the movie.
Turns out to be the best decision of the day. An arresting plot, well etched out characters, admirable and adorable lead actors, exceptionally realistic sets, and some wonderful acting. The movie starts off with Nallasivam (Kamal Hassan) appearing as a bumbling disfigured idiot who the slick city dweller and advertising executive Anbarasu (Madhavan) can’t shake off. They appear poles apart, with the cell totting ‘Aras’ (a delightful play on the embarrassment all lengthy named Southies feel, yours truly included) irritated and exasperated with the constant chatter and obsession for having the last word. And slowly begins a four day journey of friendship and discovery for both of them, at times painful and at times, moving. They duel with words, trade insults and have idealistic conversations on globalization, love and religion before the movie ends with an unexpectedly heart warming twist. Many movies have tried this path, the difference being that here, it comes across as effortless.
You fear if this is a ‘Commie’ movie in disguise, intended to make the viewer feel guilty for being so well off compared to the rest. But all doubts get laid to rest as soon as the dialogues start flowing (a commendable effort by cartoonist Madan, who brings in his sarcastic and incisive brand of humour). The exchange is thought provoking, particularly the debate on capitalism vs. communism. The indomitable spirit of Sivam is brought out without resorting to sentimentality particularly when he describes how he lost his dad.
This is not to say that the movie is flawless. There is enough commercialization to irritate any passionate movie lover. In the flashback, Kamal Hassan goes through the motions of falling in love, singing duets in the villain’s (surprise surprise, the girl’s capitalist dad!) den, fighting off 20 men at the same time (at which point the audience start fidgeting in their seats L) and generally being the superhero. The pretty and sweet heroine Bala’s (Kiran) acting ends up as unintended comic relief, with her histrionics provoking guffaws. There is also the clichés of Christian nuns helping out people, theatre people falling in love with one another in the group, the idealistic hero not sacrificing his ideology while painting the capitalist’s office etc. But what saves this movie is the way even supporting characters stand out, the inspector, the station master, the tea stall owner lady. Uma Riyaz Khan deserves a special mention for the confrontation scene where she tragically confesses how she turned activist and learnt riding a bike just to impress the man. The director Sunder C. gets a pat on his back for getting the casting right, both of Sivam and the devout villain Nasser.
This movie is one of love and loss, embracing and letting go. It is a journey of emotions, as much for the viewer as for Aras, as we feel and think with him. It is a commentary on the state of affairs of a nation standing at the cusp of development. But most importantly, for me, this movie represents a progressive and sensitive debate where there is awareness of differences and their acceptance. Signing off with the title song, (kudos to lyricist Vairamuthu and music composer Vidyasagar)
For the theists, God is love.
Turns out to be the best decision of the day. An arresting plot, well etched out characters, admirable and adorable lead actors, exceptionally realistic sets, and some wonderful acting. The movie starts off with Nallasivam (Kamal Hassan) appearing as a bumbling disfigured idiot who the slick city dweller and advertising executive Anbarasu (Madhavan) can’t shake off. They appear poles apart, with the cell totting ‘Aras’ (a delightful play on the embarrassment all lengthy named Southies feel, yours truly included) irritated and exasperated with the constant chatter and obsession for having the last word. And slowly begins a four day journey of friendship and discovery for both of them, at times painful and at times, moving. They duel with words, trade insults and have idealistic conversations on globalization, love and religion before the movie ends with an unexpectedly heart warming twist. Many movies have tried this path, the difference being that here, it comes across as effortless.
You fear if this is a ‘Commie’ movie in disguise, intended to make the viewer feel guilty for being so well off compared to the rest. But all doubts get laid to rest as soon as the dialogues start flowing (a commendable effort by cartoonist Madan, who brings in his sarcastic and incisive brand of humour). The exchange is thought provoking, particularly the debate on capitalism vs. communism. The indomitable spirit of Sivam is brought out without resorting to sentimentality particularly when he describes how he lost his dad.
This is not to say that the movie is flawless. There is enough commercialization to irritate any passionate movie lover. In the flashback, Kamal Hassan goes through the motions of falling in love, singing duets in the villain’s (surprise surprise, the girl’s capitalist dad!) den, fighting off 20 men at the same time (at which point the audience start fidgeting in their seats L) and generally being the superhero. The pretty and sweet heroine Bala’s (Kiran) acting ends up as unintended comic relief, with her histrionics provoking guffaws. There is also the clichés of Christian nuns helping out people, theatre people falling in love with one another in the group, the idealistic hero not sacrificing his ideology while painting the capitalist’s office etc. But what saves this movie is the way even supporting characters stand out, the inspector, the station master, the tea stall owner lady. Uma Riyaz Khan deserves a special mention for the confrontation scene where she tragically confesses how she turned activist and learnt riding a bike just to impress the man. The director Sunder C. gets a pat on his back for getting the casting right, both of Sivam and the devout villain Nasser.
This movie is one of love and loss, embracing and letting go. It is a journey of emotions, as much for the viewer as for Aras, as we feel and think with him. It is a commentary on the state of affairs of a nation standing at the cusp of development. But most importantly, for me, this movie represents a progressive and sensitive debate where there is awareness of differences and their acceptance. Signing off with the title song, (kudos to lyricist Vairamuthu and music composer Vidyasagar)
For the theists, God is love.
For the good among the atheists, Love is God.
Who here is God?
You and me.
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