Movie review 'Amarakaaviyam': The hyped climax fails to make an impact

Direction: Jeeva Shankar

Cast: Sathya, Mia George

Rating: **1/2 stars

Jeeva Shankar made his debut with a taut thriller Naan a couple years ago, but chose to weave a classic romance set in the ‘80s with his latest outing Amarakaaviyam. Produced by actor Arya which stars his brother Sathya and Mia George in the lead, does this live up to its tag line ‘A poem of Love’?

Narrated in flashback mode from the hero’s point of view who is in jail (having committed a crime), the film opens in a picturesque Ooty convent where Jeeva (Sathya) and Karthika (Mia George) are final year students who love each other.

In fact, Jeeva talks to Karthika for the first time to tell her that his friend Balaji(Anant Nag) loves her, but she surprises him saying that she loves him and not his friend.

Now, we know that Balaji will turn into a villain and become a spoilsport. The oppositions they face from their parents and Balaji’s manipulations eventually end up in misunderstandings and tears.

Meanwhile, Karthika’s father willingly takes a transfer to Coimbatore, but spreads false news that they are moving to Chennai. Unable to trace her, Jeeva gets mentally disturbed and is forced to take psychiatric treatment for turning violent. Cut to the present we see Jeeva escaping from the police and rushing to a cemetery where Karthika’s father is performing the last rites and apparently we can conclude it is for Karthika. With such obvious giveaways, there’s very little by way of surprises and one could guess the rest.

Sathya looks apt for the role and has given a mature performance though at times he looks novice. Mia George appears elder to Sathya, however, she is noticed for her great potential. Thambi Ramaiah has been wasted in a miniscule role.

The rest of the cast be it Anant Nag or the parents of the lead pair lend their support. Alright, Jeeva Shankar has sincerely adhered to his script without taking any cinematic liberties like comedy, mindless stunts etc, but in the process, the film moves at snail’s pace and takes its own sweet time to unfold in the first half and gains momentum only post interval.

Also, Shankar’s characterisation of the lead pair is a bit inconsistent. The much hyped climax fails to make an impact. Amarakaaviyam is a visual extravaganza and the man behind the camera is the director himself who has weaved a visual poem on celluloid. Yet another biggest plus is Ghibran’s soulful music. His evocative BGM adds life to the proceedings. The film can be enjoyed only in parts.