Film Review: ''Maayan''

CERTAIN CHARACTERS never get stale - Robin Hood for instance. But different incidents have to be weaved in every time if the story has to sell, especially when presented on celluloid. And this is what Nasser has tried in Kana Film Makers's ``Maayan.''

Sundara Thirumal's story takes off well, but flounders after the first half. And because it goes limp midway, the impact of the climax is considerably reduced. (The screenplay and dialogue are also by him).

Set in the pre-Independence era, ``Maayan'' has Nasser both as its hero and director.

Maayan (Nasser) is an angry not-so-young man of the village. He brooks no injustice, at least not to his friends. The village landlord is a feudal chief and the poor are the suffering serfs. When things become unbearable, Maayan turns vindictive. The result is bloodshed and gore. He is now the friend of the underdog and an embittered, murderous foe of the avaricious. One who loots the latter to help the needy.

Ranjitha's role is more like Kuyili's in the nearly two-decade old film ``Poo Vilangu.'' However here the character dies early. But only after causing enough damage to the hero. Women in both the films try to curb the fury of their lovers and in the bargain make them meek and submissive. These scenes lack realism. Again Roja, her coterie of dancers, and the atmosphere in general, are a much watered down version of the ``Thillana Mohanambal'' times.

A different kind of freedom struggle, headed by ``Thalaivasal'' Vijay, suddenly springs up, and only indicates that after a point steering the course of the story has proved difficult for the writer.

There is hardly any flaw in Nasser's dignified portrayal. Maayan's controlled anger that erupts now and then, his outburst in the only possible climax and the absence of melodrama and unnatural reactions are positive aspects that deserve mention.

Also not found are unhealthy comedy and suggestive gestures in the song sequences.

Pasupathy proves a capable new face. As the police inspector who stalks Maayan, he is hateful. With eyes (after a while he is forced to stomp around with only one eye) that spew anger, arrogance and venom, this new bad man of the Tamil screen scores a sixer straightaway.

The well captured forest scenario in particular makes one wonder who the cinematographer is - it is P. S. Dharan.

Suresh Urs's terse editing warrants appreciation.

The initial percussion beats in the sound track show that Deva has made an attempt to keep away from the run-of-the-mill in ``Maayan.''

The industriousness of the director and his social consciousness are evident throughout. Yet what is also indisputable is that the fast- paced action meanders into irrelevance with the entry of ``Thalaivasal'' Vijay. And it is this digression that mars ``Maayan''.

MALATHI RANGARAJAN

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