Overrated and overhyped

It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

This story has more twists and turns than a second-rate soap opera.

This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

You must've heard of 1-joke movies. Well, this one's a single concept flick. They decided to make something unique, and found a good concept, but other than doing a little with it, they run out of ideas. They do surround the concept with a good team of technical staff and actors, but the one they missed out on was a good helmer. Balaji Mohan, IMHO, is not up to the task, looking at the end result, that is.The good parts? The concept, the satirical take on the whole thing, and a few other extensions, like TaNaKuSa and the fan club, having some fun with the existing tropes in society. Also, ripping of the aspect from Paul Verhoeven's Robocop with having a parallel media narration track works well for this genre, and specifically this flick. Among the performances, everyone gives it their all, but are hampered by the (lack of) characterization, but more on that later. Pandiaraajan, John Vijay, the actor playing the Minister's PA and the head of TaNaKuSa acquit themselves quite admirably, along with 'Roja' Madhoo.The bad? Lazy writing, as evidenced by not writing a single word, smart or otherwise, for the lead, whose strength is supposedly talking his way out of any situation/resolving everything using his gift of gab. Even more ironic, considering he loses his "super-power" for about half of the movie. I, for one, would have liked to see said super-power in play before that event. Its like having Superman's powers wiped out by Kryptonite even before we see him fly or don the cape. Screen writing 101. That was extremely disappointing. Lack of good characterization hampers even a great actress like Nazriya Nazim, who did a fantastic job earlier this year in 'Ohm Shanthi Oshaana', and also in a lesser-work like 'Raja Rani'. I've never seen Dulquer Salmaan act before, and cannot profess similarly about his prowess, but I'm sure that he might have been able to display more range, given the opportunity. The score - given that this movie relies on silence for a major portion of its running time, one would have expected a stronger score. What exists is not bad, but does not elevate the material in any way either. Rajat Kapoor (other than for 'Aankhon Dekhi', which has perhaps some of the strongest scoring to-date) has been accused for focusing more on content rather than technical aspects, but when you think of his works overall, you don't find them wanting due to a weak score. This one needed something better for us to digest the weak content. Alas, that is not to be.To sum it up, one must watch this at the multiplex, just to encourage something 'different', but I sorely wish the makers had not taken their audiences for granted on the other aspects of film-making.

So every other reviewer is raving about this film... maybe I'm too critical or maybe I missed the point. Who knows? I struggled through this film wondering if it was supposed to be a 'comedy', 'romance' or 'kids movie' or even all of the above. The concept is interesting; a town where no-one can be speak (for reasons I won't go into - watch the film if you want to know why) and a second act (i.e. post interval) that is taking its queue from silent films and/or The Artist. It's novel, decently executed but grates after a while; I almost wanted someone to speak and relieve us from all the hand gestures. Now I'm a fan of Dulquer Salmaan and despite his pin up looks, he is a good actor and believable in almost every role I've seen him in and the same goes here. Despite this, it's not enough to rescue the film from being nothing more than a "good attempt" at something different. The newsreader (Balaji Mohan, who I believe is also the writer and director of the film) is fairly entertaining as the obligatory South Indian comedy element to the film. If this had been a DVD, I would've switched it off 30 minutes in; but as I watched it in a cinema, I sat through the whole thing. It was pleasant but that's about it.

In his second directorial "Vaayai Moodi Pesavum", Balaji Mohan tells us that if you know when to speak and when not to, then most of our problems are easily resolved. He has a brilliant premise to convince us with exactly what he wants to deliver through the film, which undeniably is a smart romantic-comedy (much better than several films in the same genre in the recent past), with spurts of humour and satire at regular intervals to keep us entertained. It's an almost brilliant film that contradicts itself at several junctures for reasons that are never explained and left to be figured out by the viewer. When an imaginary disease called 'Dumb Flu' plagues the inhabitants of Panimalai, forcing everybody to stop speaking because it aggravates when you do, the fate of a few characters that have issues with communication is tested. The first half of the film, which I think was brilliantly executed, harps on the importance of speaking at the right place, at the right time and at every given opportunity. The course of the events during this half has the spotlight on characters that either struggle to express what they want to or on those who won't stop speaking. It focuses on a writer-turned-housewife who struggles to tell her husband that she wants to write again, a young doctor who can't tell her possessive boyfriend that she doesn't like to be controlled and a school boy who fears telling his parents that he's more passionate about drawing than studies. Interestingly, all the aforementioned characters belong to the same family. Throughout the first half, efforts are made by the director to push these characters to open up and express what they want to. You appreciate this effort because you connect with these characters that are so real that you might find them in your own life. It is in the second half that you feel the film contradicts itself. Contrary to the first half, the characters are made to stop talking because of 'Dumb Flu'. There are absolutely no dialogues (but for some voiceovers) and the narrative style is akin to Charlie Chaplin's "Modern Times". The director, who urges us to speak throughout the first half, suddenly asks us to shut up. The director, who said most of our problems are resolved when we sit and discuss, wants us to shut up. Doesn't that contradict the very essence of the film that was built intelligently in the first half? Nevertheless, you don't complain about the film because it dares to address several sensitive issues with a pinch of salt. From how Tamil cinema is being constantly attacked by fringe groups to dirty politicians and politics, Balaji slaps everybody in the face and makes them shut up. Of course, all this is done by striking a perfect balance between humour and satire. Heavily inspired by Woody Allen's style of storytelling, Balaji presents a kind of narrative that Tamil audiences are not used to. Still, they cheer for it because it's creative. He keeps making brief appearances throughout the film in a very funny role of a news reporter, eventually proving how crooked and TRP-oriented the media is in this country. On the acting front, debutant Dulquer Salmaan is a treat to watch. He earns extra brownie points for dubbing in his own voice and speaking flawless Tamil. Nazriya comfortably slips into the shoes of a character so contrary to the ones she has played in the past. The supporting cast featuring Arjun, Abhinav, Vinu, John and others played their respective roles to perfection. Sean Roldan keeps the film alive with his music and knows how to use it as a narrative, especially in the second half that hardly has any dialogues. Tighter editing was required in the second half which becomes a little tedious to sit through due to the slow narrative. To enjoy "Vaayai Moodi Pesavum", just shut up and watch it!

I remember how, after watching the Malayalam classic - Punjabi House, my friends and I spoke to each other in 'Jabba...Jabbas' for a whole day (the movie had been about a deaf and mute couple falling in love). And perhaps the only reason you hear so little about this movie (Vaaya Moodi Pesavum / Samsaram Arogyathinu Hanikaram) is because the second half, which is reminiscent of the Charlie Chaplin silent movies of old, quite simply leaves the audience speechless. The plot is silly and a bit predictable, but that's exactly what makes this satire worthwhile. Was there a message in there somewhere? Maybe, but director Balaji Mohan delivers it subtly and at no time does the movie or its characters feel preachy. The movie might not be a critics' favorite, but its good, harmless fun.