Meiyazhagan
When we become adults, most of us tend to believe that family is best appreciated from afar. We want to keep them at a distance. But sometimes, we are forced to go back to our homes where it all started, to meet the family members, and that can stir old memories, tensions, and even uncover surprising truths about ourselves.
Meiyazhagan is a film that defies conventional storytelling. Its beauty lies in its simplicity and the depth of its emotional resonance. And its beauty mostly is also in its plotlessness. Prem Kumar’s direction ensures that every moment, every interaction, is imbued with authenticity and grace — like a poet crafting his poems word by word, and line by line. The film’s exploration of love, loss, and the enduring bonds of family is timeless, making it a vital addition to Tamil cinema — especially in this era of cinematic violence.
The film’s visual language is rich and evocative, with Prem Kumar using the settings of temples, churches, doors, wide indoor spaces, animals, and public spaces to anchor the narrative. These locations and beings are not mere backdrops; they are integral to the characters’ journeys, symbolizing the intersection of personal and communal histories.
Arvind Swami’s portrayal of Arulmozhi is a study in restrained intensity. He embodies a man who has built walls around his heart, yet remains open to transformation. Karthi’s performance, on the other hand, is a symphony of emotions — joyous, gab-laden, full of love, vulnerable, and profoundly human. Together, they create a dynamic that is both compelling and deeply moving with many eye-moistening moments.
For film enthusiasts, Tamil cinema lovers, and fans of family dramas, Meiyazhagan offers an experience that is both immersive and enlightening. It is a leisurely paced movie that is not in any hurry to get to the climax. Even though it would be easy to box this movie into a story about love, loss, pain, longing, broken family ties, and so on, to me, Meiyazhagan is really about listening.It is a film that encourages us to listen deeply, to cherish our connections, and to remember our history that connects us to the present so we can anchor our future to more meanings.
As Arulmozhi listens to Karthi’s character, a character whom he bumps into at a wedding that brought Arulmozhi to Needamangalam near his home town after twenty-two years, he cannot quite recollect who this affectionate chap is. He cannot even recollect the chap’s name but is constantly made to feel uncomfortable by this bundle of love who seems to remember a lot from Arulmozhi’s childhood more than Arulmozhi can. His internal landscape undergoes a seismic shift as he keeps listening to the new-found cousin, who slowly becomes his self-appointed chaperone for the rest of the evening. The chaperone’s boundless compassion and acceptance challenge Arulmozhi’s rigid constructs of love and belonging. A pivotal scene at the wedding reception, where Arulmozhi interacts with his sister (cousin), is laden with emotional intensity. It is here that Arulmozhi’s understanding of love is both shattered and rebuilt, influenced by the chaperone’s expansive view of life and relationships.
The film’s narrative structure is deceptively simple, yet it is in this simplicity that Meiyazhagan finds its profound impact. The story begins with a family’s reluctant move from their ancestral home in Thanjavur to the bustling city of Chennai in 1996. This transition is not just a physical relocation but a symbolic severance from the past, a theme that reverberates throughout the film. Arulmozhi, played with understated brilliance by Saran Sakthi (as Arvind Swami’s younger self), is at the heart of this upheaval. His emotional turmoil is palpable as he leaves behind not just a house but a part of his soul.
The film’s opening scenes are marked by a delicate interplay of light and shadow, capturing the bittersweet nature of Arulmozhi’s departure. Govind Vasantha’s haunting score, especially the poignant ballad Poren Naa Poren (in Vijaynarain’s soulful voice) adds an ethereal quality to this moment, making it a resonant prelude to the story that unfolds.
Fast forward to 2018, and Arulmozhi is now living a seemingly settled life in Chennai with his wife Hema and daughter Janhvi. However, beneath this facade lies a man still grappling with the unresolved fragments of his past. The invitation to his sister’s wedding in Needamangalam after twenty-two years serves as a catalyst, forcing him to confront the ghosts he has long buried. His plan for a brief, almost perfunctory visit is disrupted by the unexpected arrival of his cousin, the self-appointed escort aka chaperone, played with infectious energy by Karthi. The rest of the movie is all about how Arul discovers himself by simply listening to his cousin. It is Govind Vasantha once again, who elevates the mood, the scene, and the rest of the story arc later, through another ballad Yaaro Ivan Yaaro (in Kamal Haasan’s incredible voice), which is a reprise of the song used during the opening sequence, Poren Naa Poren.
Meiyazhagan is, indeed, the gorgeous house that Prem Kumar built, and it is a place where we can all find solace, reflection, and, ultimately, a deeper understanding of ourselves and each other.
Prem Kumar’s Meiyazhagan is a masterpiece that transcends the boundaries of conventional cinema. It is a film that invites us to listen, to reflect, and to connect with the deepest layers of our being. Through its rich storytelling, nuanced performances, and evocative dialogues, Meiyazhagan offers a profound exploration of love, loss, and the enduring power of human connection. It is a film that will resonate with audiences for years to come, a timeless testament to the beauty and complexity of the human experience.
Karthi’s character is a vibrant contrast to Arulmozhi’s reserved demeanor. His character’s exuberant storytelling, whether recounting childhood escapades or historical events from the Chola period or recent political events, breathes life into the narrative. His presence is an attestation to the power of memory and oral tradition, anchoring the film in a rich poetic mosaic of personal and collective history.
Arulmozhi’s role as a passive listener is a masterstroke in narrative technique. Through his silence, the audience is drawn deeper into the chaperone’s world, experiencing his joys, sorrows, and profound sense of identity, thereby making us a keen listener too. Karthi’s performance is a tour de force, capturing the multifaceted nature of his character with remarkable finesse. His stories are not mere digressions; they are the heartbeat of the film, illuminating the complex interplay of past and present. His stories get never preachy and they make you empathize with his character.
There are films that entertain, films that inform, and then there are films that resonate deeply, touching the very core of our being. And every now and then there comes a film that belongs to the last category above, but it does more — It yanks us one way, then hurls us somewhere else, and yet we are drawn to its poetic but plausible narration. A kind of movie that makes us feel stronger about leaning onto our softer side to set us on a journey filled with a thousand introspective questions.
Prem Kumar’s Meiyazhagan is that rare film.
