Cast: vidharth,Amala paul
Description:Here is Prabhu Solomon, a devout Christian, wishing you a better, bitter and sad Diwali than those who promise to entertain and betray their audience pocketing opening weekend collections. He is a director who has made lesser compromises in his previous films although they were not box office hits – Kokki, Lee, Laadam and now Mynaa. Prabhu Solomon is a near ‘Auteur’ who has had a personal sense and vision in making films. The director feels the emotions, and lets it run through in his films, making you feel heavy, as he signs off with his signature, meticulously with the apt shot. He has known what emotes, making his script original, though is inadvertently derivative. Understanding of films as one made of characters is paramount which is owned by Prabhu Solomon. ‘Mynaa’ takes character cues from ‘Paruthiveeran’ to make two of its lead characters, Vidhaarth as Suruli and Amala Paul as ‘Mynaa’. Since childhood, they have been together and, consequently, fall in love with each other. The theater applauds the moment when Suruli (Vidharth) pedals his bicycle, to illuminate the bicycle dynamo, to enable ‘Mynaa’ study for her exams. Soon, ‘Mynaa’s hysterical and melodramatic mother happens to see ‘Mynaa’, literally, in Suruli’s arms. She plans to get her married and announces the same to Suruli who poleaxes here down, bashes and thrashes, eventually to be arrested by police and remanded to judicial custody. He gets used to Thambi Ramaiah, as Ramaiah and Sethu as Baskar manning the prison. Suruli flees, and the two cops engage in a hot and hilarious pursuit, interspersed with jocose levity. From here on, ‘Mynaa’ has something brewing which puts the audience in a fluster, of angst, wanting the two ‘birds’ fly off the hook – prognosticating when and how. In the third act, they get to flee the scene, helped by those two policemen, but what kind of disaster strikes draws the film to an end. Heroine Amala feels fresh as a debutant, sitting pretty on the character, than as Anaka or Amala Paul herself. Vidhaarth plays the native Theni persona, clad in lungi, unbuttoned shirts showing a dark strangled mat of chest hair, brutal in dealing with people who had anything to say about ‘Mynaa’. The actor is spontaneous. Surprisingly, D Imman is euphonious irreverently known for his raucous mixtures. He comes up trumps with his background score utilizing Scottish bagpiper, or a harmonica. Two of the songs post interval stay in your heart. Sukumar is exquisite, exploiting every cliff, mountainous expanse, narrow terrains, picturesque mountaintops and plush leaves flanking the roads. Four characters and a story, mynaa finds amusing things, even riskier ones, within this minuscule star cast instead of touting as ensemble with ten useless faces. Theni is starkly realistic, hills instilling fear, darkness inherent and elephants frightening captives of the forest. You can live in Theni, feel the ambience of a cloudy hilltop, the characters tribal in nature even when exposed to modern day life. ‘Mynaa’s mother stands as a typical example of village rivalry, feud and hard-hearted determination. You are not bored, nor does the film oscillate between good and bad moments. Almost 90 percent of the sequences are interesting. The story is predictable but the route, unfamiliar. Reminding one of ‘Paruthiveeran’, ‘Subramaniapuram’ and having similar to same characters as in ‘Paruthiveeran’ is a major hole in the plot. Even Suruli’s young accomplice is way too similar to ‘Paruthiveeran’s. Despite such similarities, ‘Mynaa’ is original in its own right. The bus slipping off the cliff is one more scene to relish. With innumerable positives as a film, ‘Mynaa’ is a better film of the Diwali crackers that really hadn’t accomplished their purposes
