32/40, #lockdownenrichmentforthesould, Tamil Movie

Iraivi: 2016, Karthik Subbaraj

When Iraivi was released in 2016, the audience was divided over the film. A deeply disturbing film, this is certainly not easy viewiing.

Iraivi is a priceless gem as 'discomfort' is discussed in style and ease. A rare occurrence in Tamil Cinema. 

These are topics that will be timeless and provide a great opportunity for a society to have a conversation.

Karthik Subbaraj's versatility is unquestionable and will end up surprising us in times to comes as well.

Here is my review when the movie was released.

Iraivi : As poignant as it can get

Ever since I saw Iraivi last Saturday, it has been intersecting with my consciousness continuously. Thoughts have been triggering on so many fronts that I seriously do not know where to begin.

At the outset, Karthik Subbaraj, has to be commended for coming out with a film that is different from his earlier two successful films.

Iraivi is as hard hitting as it can be. The message is there and so are the messengers, but well there is no sermon!!! That is a leap in story telling!!!

Rip, Rip and Rip. The social fabric is being ripped every second right in our front of our eyes. We may even contribute to it unknowingly!!! We meet many ‘Iraivis’ in our day to day to lives.

It is just not enough that a man marries, but he has a responsibility to his wife and his child as well!! Alcoholism and emotional foolhardiness adds upto shackling families for generations together.

I see an ‘Iraivi’ in my house for the last twenty one years. Rani, our household maid. Earliest images of her were coming to the house in 1995 with her two years old to perform the household chores. She had three sons. Her husband was a drunkard. She had the responsibility of raising the three sons. Two of them were lost around 2000 to be found after a gap of 11 months. She lost her husband to alcoholism and one of her son’s committed suicide at a later point of time. The eldest son got married recently to leave her to fend for herself with her last son. Her last son in the early twenties pursues amorous activities, continuing to agonize her. She lives with endless debts. Always at the edge, battling as hard as she can. Will this Iraivi, ever come out of her ‘circle of misery’?

I initially thought that women of Iraivi, were probably shown very dependent on men. Probably the women seemed a bit belonging to the 70s and 80s. In fact I was reminded of Mirch Masala, where Smita Patil would confront Naseerudin Shah boldly, but when her husband leaves the village, Smita Patil would not be able to draw upon similar courage to confront Naseerudin Shah in a similar encounter. Would the women of 2016 be so dependent on men?

Well I do not think the director meant it as an affront to the ladies, as the script is a conscious effort to drive home a much bigger point.

As to the matters of heart and mind, the education or social strata may not have a direct bearing on their behaviour

Despair stares almost evenly at different women, but different choices are made. Anjali’s at lower strata of the society, is shocked, but smoothly transitions to resolve, but Kamalini Mukherjee, the educated working women is unable to come to terms with reality. Subtlety at its best.

As in Jigarthanda, Karthik sizzles in the climax. In fact the climax lingers and steadily grows on you.

You could feel a bit of Fellini, Innaritu and the good old bard, but Karthik Subbaraj with his inimitable style stands tall and ‘hefty’.

I felt I got into a boat and allowed myself to enjoy the ride with Karthik, the boatman, taking me through a pleasurable ride. The river could have had its quota of turbulence, but the boatman was in complete control.

Frankly I did not get disturbed after seeing the film, I was refreshed and relaxed and satisfied that responsible cinema could be in most palatable commercial format.

I was also happy to see people accepting it.

Thanks, Karthik, for respecting the audience and raising the bar!!!.

We want some more, We want some more.!!!