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• Paruthiveeran climax rape full#

The brown colour scheme used throughout, the flashback scenes in different hue are splendid. The locations and people look so real that you are transported to that world while watching the film. At times he should understand that silence, subtlety and sense are more effective than showing realism for the sake of it.ĭespite these reservations, technically Paruthiveeran is superior. How we wish Ameer had given a subtle effect instead of going into an extensive and exaggerated detailing of rape and killing to create drama. It is one the most brutal gang rape scene in Tamil cinema! Were the censors sleeping? Four guys rape a wounded helpless girl, people undressing and dressing casually, their comments after the act, blood gushing out and above all the dialogues in the background as the victim pleads - all this is too hard to digest. But his enemies including Muthazhagu?s father gang up against the lovers who are on the run and what follows is the final twist and a gory climax.Īmeer?s script is too thin on logic and the climax is too heavy, dark and morbid. But finally he succumbs to her good heart and true love and tries to reform himself. Veeran?s biggest dream is to do something big and go to Madras Central jail instead of indulging in petty crimes! Muthazhagu is determined to be Veeran?s girl though he does not reciprocate and often spurns her love. She is aggressive, stubborn and follows her mind giving a damn to her parents or people around her. Muthazhagu (Priya Mani) is Veeran?s cousin and childhood sweetheart who is still madly in love with him. His best friend, guide and companion in crimes is his Chittappa Chevazhai (Saravanan) who had brought him up. Veeran (Karthi) is a vagabond and ruffian in a village simmering with caste tensions.

However after the end of it all, we wonder why he had to make it so morbid and disturbing!

Paruthiveeran climax rape full#

Undoubtedly, it is a brave film and full credit goes to the director for making every scene realistic and characters life-like. In the process, the film neither ends up as a political testament nor about the restorative power of love. Paruthiveeran tries to examine the changing equations of love set against caste tensions in a village. If you do find, it will be a siRai, where the raped brahmin housewife moves in with the despised christian rowdy, and melodrama rules roost.Dark, deadly and daring- Ameer?s Paruthiveeran kicks off by treading on ground where angels fear to tread.Īmeer films have always dealt with human relationships and struggles to achieve true love. I bet you wont find such nuanced, deep relationship exploring in Tamil films. There is no right, wrong, morality tales and all the characters(incl Mammotty the prime perpetrator) sensitively as only Malayalam films do Padheyam – it’s not even rape as it explores the complicated knots of relationships as Sasikala is forced(but succumbs willingly) to accept Poet Mammootty’s advances on a (cliched) Rainy night, even as she is engaged with her cousin who is everything to her, and through whose persistence, she comes to know Mammotty in the first place. The film unfolds as a investigative mystery and as it evolves, paints a fascinating canvas of the mindscapes of the characters involved, and a stunning climax. The wiki for utharam does extra-ordinary disservice to (yet another) MT Vasudevan Nair masterpiece. If you’d like to step beyond the societal response to rape, and crime-punishment angle, step out of the moralistic Tamil film world and into the fascinating world of Malayalam movies, where they explore the psyche and mind of the people involved in the incident. It’s quite unsettling and thought-provoking. But Bala also touches upon the shattered father’s denial in coming to terms with his daughter’s own act of violence and Periyavar chides him for that. Periyavar and Nandha of course believe in violent outside-law retributive justice. What’s more interesting than the act of retribution itself is the way the film portrays all this. The girl is humiliated and sexually assaulted in a horrific way.

Two, nandhA, though of course it’s not a rape. Some films finish them off without much fuss (oh, there comes a lorry or a bullet.), some films make an extraordinary amount of fuss about the tragedy and still finish them off (like yudhdham sey). unusual in the film) but most story tellers often imagine an external force or a suicide or some such thing to finish off the character. I’d imagine this is how a lot of people would deal with such a situation (never mind the situation itself being quite extraordinary i.e. Without making any fuss about it, not only is she taken back into the family, she also gets married.

Mahanadhi is pretty much singular to my mind in the way it deals with the daughter’s rape (and subsequently forced into prostitution).