Director Arun Prabhu Purushothaman once more places the highlight on the absurdity of life in his newest film Vaazhl, which is streaming on Sony Liv. This film could possibly be thought-about as an extension of his first function film Aruvi, the place he focussed on the meaninglessness of society’s obsession with trendy way of life, and the way social norms are seldom form and simply. In Vaazhl, he tries to know how one can reside life as per your individual free will.
Prakash (Pradeep Anthony), the protagonist of Vaazhl, is a person caught in a vacuum. He hails from household, is well-educated and has a well-paying software program job. He has a girlfriend. She is a bit clingy and at all times nagging, however he nonetheless checks all the bins with regards to the typical definition of issues that one have to reside a contented and content material life in the twenty first century. And but, he’s not completely satisfied and feels as if he’s caught in some kind of a void.
Society has tricked him into believing that he has all the wonderful issues in life and there may be nothing to complain about. He doesn’t have the phrases or capability to clarify the unusual feeling of being incomplete that’s swirling in his intestine. He is unable to inform the distinction between staying alive and dwelling. The days merely cross him as he grapples with this nagging feeling in his intestine. Will a promotion at work make him really feel achieved? Will hanging out extra with buddies make him really feel he’s dwelling his life to the fullest? Will extra booze assist? How about yoga classes? What will assist him get rid of the vacancy that follows him all over the place?
Vaazhl opens with the scene of Prakash gasping for breath. He has fallen right into a deep gap in mountains. His leg is caught between two rocks, and he’s unable to maneuver. No quantity of screaming helps as a result of nobody can hear him. This metaphorical state of affairs sums up his life.
Arun, nevertheless, opts for a cheekier and extra meditative tone whereas addressing Prakash’s existential conundrum. There are loads of moments in the movie that may go away you in splits. Especially, Prakash’s dilemma together with his sister, who’s a die-hard fan of director Gautham Menon’s Vinnaithaandi Varuvaayaa. She is head-over-heels in love with a person who appears to be like nothing like Simbu from the film. She is able to burst into tears at a second’s discover and switch any state of affairs into melodrama. It appears all she needs is a love story, which is worthy of a celluloid nod.
And the scenes between Prakash and TJ Bhanu’s character, a married girl with an unruly son, are darkish and twisted, but hilarious. You can’t assist however crack up when the music ‘Ennoda Rasi Nalla Rasi’, which roughly interprets to ‘my fortunes are good’, performs as a ringtone on Prakash’s telephone when Bhanu’s character involves his residence for the first time. It is as a result of we all know that he’s about to expire of luck.
Arun has not given a reputation to Bhanu’s character. We both know her as somebody’s daughter, or spouse or mom. She seemingly doesn’t have an identification of her personal. Of all the titles, she is most comfy with being known as Yatra Amma, mom of Yatra. This anonymous character, nevertheless, has the energy to vary Prakash’s life, and takes him on a life-altering yatra (journey).
Like Aruvi, Vaazhl is a product of private filmmaking. It is wise, humorous and even hallucinatory. The philosophical theme and the existential questions that the film tackles should not unheard of. But, the method Arun navigates this acquainted territory of non secular quest with a burst of vibrant and soothing photographs with composer Pradeep Kumar’s meditative rating retains us invested in the narration.