Neither man is exactly a moral person, but they’re both treated sympathetically. Arun Vijay plays Kavin (shot mostly in daylight) and Ezhil (bathed in the orange glow of night-time street lights) - but there’s no good/evil demarcation. Magizh Thirumeni puts a new spin on one of the oldest masala -cinema tropes: the double role. Chezhiyan puts his premise through on his own terms, making you want to coin a filmic term: “staged neorealism”, perhaps? The scene where Ilango hands Amudha some much-needed money, as the grinder grinds away in a corner, is a beauty. These ups and downs keep colouring their relationship throughout the narrative. Ilango (Santhosh Sreeram) and Amudha (Sheela Rajkumar) are a lived-in couple, convincingly frayed around the edges. There’s no artifice, no background score. R Chezhiyan’s earnest portrait of a family’s struggle to find a rented house is as real a film as you can get. In Peranbu, we sense much love for the medium, too. Ram’s films have always displayed love for his protagonists. Paradise is truly lost - and the filmmaking conveys this beautifully. In the second half, the film moves away from this Eden, to the city. The first half of Peranbu is set in the middle of nowhere, and in the midst of Nature. Ram appears to have expended all his angst on his globalisation trilogy ( Kattradhu Thamizh, Thanga Meengal, Taramani ), and Peranbu is his quietest, gentlest, least angry film: a moving drama about a father (Mammootty) whose life revolves around a daughter (Sadhana) with cerebral palsy.
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