2024, Tamil, Theatrical Release, 7.5/10 IMDB, Directed by Prabhu Ram Vyas
A honest and mature capture of the most painful ‘moving on’ phase of an intense couple’s relationship. The subtlety in identifying the root of toxicity in a relationship, plays to the strength of the movie. The committed performances of the lead and supporting characters make it a ‘life lesson’ for the ‘lost-lot’ who refuses to ‘move on’.
Actor Manikandan, is convincingly the face of alternative cinema in Tamil in the coming years, if he continues to pick similar work. From Varanam Aayirum, to Vinnai Thaandi Varuvaya, Nee thane en pon vasantham, Mayakkam enna, Premam, the industry has witnessed the world of the so-called ‘soup boys’ in all possible combinations. While these movies addressed the ‘moving on’ phase as a part of an entire arc of ‘falling in love’ leading up to ‘failure in love’, director Prabhuram Vyas, interestingly opens the movie with an intention of a tutorial on the coping mechanism in love failure.
The phenomena of ‘Love’ and its expression has evolved with time, and so has the pain on it’s failure. The director rightly taps the need for better strategies to reduce unpleasant emotions in the process of ‘moving on’. He does all of it beautifully, in a non-preachy tone. Solution driven ventures are the ones that will be talked about, longer. The solutions that ‘Lover’ addresses are almost subliminal. It is sure to strike the right chord with the gen Z, who aren’t ears for anything that slightly echoes ‘advice’.
‘Possessiveness in Love’ – the mundane premise, turns precious, when the realization comes from the male lead in the last leg of the movie. And the director also chooses to signify how the female lead’s ‘care’ turns a ‘nag’, ultimately killing the spirit of male’s individuality and his life choices.
Manikandan’s disturbed facial expressions throughout, vanishes when he disembarks the chaotic volatile relationship vehicle. He then boards a journey of his own doing what he confidently dreamed all along. The director easily establishes that, the path Manikanda’s character threaded before gaining this clarity, was not merely a selfish one. Contrary to the female lead’s accusation that Arun was selfish, the director proves his was rather a ‘cry for help’ from within, that spurted out venomously in Arun’s deeds and words.
Director Prabhu Ram’s elaborate sequences emphasizing on the volatility of the relationship, as the couple drift apart, does become repetitive after a point. But, that is the true essence of the story. The repetitive pain symbolizes the painful process of tearing apart two individuals, who had entangled themselves in the process of making a combined future for themselves. And the toil comes to an end, almost out-of-the blue. The timing is a surprise, as the viewers are to an extend convinced that the couple, might be better off if they stay together, come what may. Ironically that is the thought process of an outsider in real life, when we witness a couple’s separation, either before marriage or be it after marriage in divorce.
Prabhu Ram, consistently narrates Manikandan’s mom’s story in parallel and the female lead, Gouri Priya aptly compares her plight to his mom’s. And that miraculously acts an awakening slap over Manikandan’s insecurity-driven obsession.
The brief realization path of Manikanda’s, houses a random mention of ‘alcohol’ being the cause for his changing behavioral pattern. And this suffices in emphasizing, the sole purpose, of the film. The fear in Gouri’s eyes and the battle she fights within, paints an outlook on the aftermath of ‘modern love’. The director excels as he keeps ‘lust’ away from the equation and the supporting characters are true to their roles as well. They truly end up being ‘supportive’ to the lead pair in helping them realize that their paths have drifted beyond repair.
Gouri’s colleague Madan’s character, played by ‘Livin’ fame Kanna Ravi, is etched beautifully. The dialogue where he admits his shortcoming in his previous relationship and how he is cautious in attempting a new one, is enriching. When the couple finally learn the art of ‘mutually moving on’, the screenplay poetically blends with their life choices without ‘letting go’ of the care for each other.
Gouri’s character Divya manages to balance the surf board fearlessly and there is not much fear in her eyes when she meets Arun again. Manikandan’s character Arun also manages to greet Divya, with utmost calm when he meets her after a two year breakup hiatus. Their 6 year long relationship finally earns the ‘mutual respect’ it had lacked all along. It opens a hatred-less new beginning, for the both individual. Love is all about ‘growing up’ as the end credits quote James baldwin.