Mistimed & Confused. Review on Uyir Movie

Welcome to the era of copy of copies. Any movie released this year (no matter how worse it is) is certain to be copied and released in the same year with a different cast. The cruelest part in such attempts is the interval between them being too narrow to tolerate (eg Pattiyal vs Naalai)

“Uyir” resembles “Kalaba Kadhalan” in many aspects like immoral lusts and indecent proposals but, it strikes at right places where “Kalaba Kadhalan” gravely misses. Thanks to Sangeetha’s in-depth characterization and no-nonsense acting.

Srikanth joins his brother, Sharma’s family after completing studies. He is readily wrapped in love of his brother Sharma, affectionate sister-in-law Sangeetha and a cute little niece. Everything goes smooth until the suicide of Sharma put the brakes to the flow. Srikanth shockingly realizes the lust behind Sangeetha’s affection and her plans to foil his love affair. Srikanth, now has to fight back the emotional enemy and win back his love.

The first half rides through motions of typical cinematic overtures and hazy songs that give the freedom to take breaks and relax. The second half is filled with emotional tussles among the protagonists that almost captivates till the movie switches tracks.

The thought that “Uyir” pointing all its fingers to “Kalaba Kadhalan” might have lead the director to the peak of confusion that he irritatingly switches to love failure dreariness (this is apparent from the trailer clippings of yesteryear legends. But, having seen the recent sensational outburst on Sangeetha’s character, the trailer now is full of her scenes and the references to legends were removed). This unnecessary detour dilutes the theme that is so far built meticulously

Sangeetha comes up with a nearly face-saving performance that is highly commendable and well fitted. If there is any amount of tension and suspense, it’s due to this character. Her calm and cool approach to seduce Srikanth is sensibly handled in spite of a mature theme that is often abused to cross limits. Srikanth manages to give his share of worthiness by an under-played role. He too suffers from an unhelpful story. Samvritha is pretty but looks lost in chaos. She doesn’t get adequate screen time in songs which are solely allotted for this purpose.

The song sequences are the less tolerable segments in the movie. It lacks in visual as well as auricular aesthetics combined with monotonous camerawork.

The director however raises few eyebrows as Srikanth tackles to save Samvritha in the end and the speech that follows. A small suspense is also kept alive for sometime even though it takes no Einstein Brain to figure out. There are few good close-up shots of Sangeetha that gives us chills and a couple of thoughtful background songs (from other movies, of course) matching to the situations but, these are highly insufficient to support a just-now repeated movie.

The ending is absolutely lackluster with no pains taken to think about a meaningful closure. Sangeetha is simply killed without second thoughts enduring no empathy to the character (that “Vaali” accomplished successfully)

“Uyir” brings out the shadiest desires to the light and still remains dutifully decent in execution. But, it falters with a grave mistiming and terrible theme confusion added with coarse commercial compromises that provide enough damage to diminish the whole effort to oblivion.