Kalavara Kangal, Karuppu Nira Idhayam; Nimirnthu Paar… Ennai Therigiratha!

Decoding the sensational interval block of Karthik Subbaraj’s “Iraivi”…

-Mani Prabhu

You keep rattling off the phrase “on an impulse” at the slightest given opportunity. Yes admit it. There couldn’t be a universal excuse so omnipotent and flexible as this. But, have you ever, at some point of time, really experienced it in flesh and blood?

So much so that, you feel a brain-fade all of a sudden, which ends in things you wouldn’t have done in your sane sensibilities… incidents that your naturally-barbed conscience won’t give your ‘id’ the breathing space to execute!

You get me?

That paraplegic moment when you lose total control over what your brain is signalling your extremities to do, on a rather inexplicable kindling of the most primal of senses…

Yes, that one!

If you had the time-machine to pause, fast-rewind and go over the same moment again, would you have done the same as a well-meaning person? Why then?

Is “intoxication” such a strong determinant in toying with the innate inhibitions of the human mind, that at the end of the day, makes devastating differences like the one between life and death?

Friendship? Is that what you can manage, for the kind of irreversible mayhem you had unleashed on your unsuspecting world?

What makes you forget a trusting partner who is carrying your offspring? What is more important than giving her the ‘life’ that she deserves?

Consider the sequence where Michael goes to Malar’s place, attempting an explanation for his blunders. Malar hurriedly dismisses him with some sarcastic words to be a good husband, but not before faking some sort of a closure.

Michael now returns to Ponni keen on making amends for his erstwhile indifference.

Why did he need that “twisted” ploy to realize his apathy for his wife?

Was it Michael’s “idea” of getting back at Malar? Thinking of it, why should he?

Or was the fuming exasperation and disappointment finding a new-found projection as affection towards his life partner?

Nevertheless, Ponni is truly elated. It’s the first time Michael was making her smile. She breaks the news to him that she is expecting. The look on her face says it all.

But not for long… as Michael is immediately called upon to keep an eye on Arul, who had supposedly gone mad over a nasty altercation with the producer.

When Michael and Jagan finally reach the producer’s place, they find Arul on the verge of getting killed.

We are led into this incredible scene, cleverly transposed into Michael’s head and made to buy his fatal impulse.

A deadly blow to the producer’s head. A minute’s pause. Another one. One more. And then, it never stops.

Watching the bloody visual is as arduous as it can get. Talk about digesting and dissecting the implications of the act!

As Michael pounds the producer to death in a fit of rage, it’s almost impossible to comprehend what he is going through. He probably just has one thing eating his brains. “Go on. This is a point of no return.”

The man readily gives the impression of an ambling corpse.

But why?

A loving wife. A beautiful family. His womb in her.

A job for sustenance wasn’t all that he needed?

He says the bloody sight of his master – someone he considered as his brother – lying battered, lifeless and helpless, got to his head.

Why didn’t he spare a thought for his pregnant wife, who is waiting at home for him to return?

Was it just the alcoholic high, or a protracted yearning for retribution that ran deeper than you knew!

What then to make of his apparent reassuring words about rebuilding life, just a few hours back?

If Ponni could stay calm over months of mental agony in the interests of her family, why couldn’t Michael stay calm over an apparent adrenalin-moment?

Or was it an exclusively-male testosterone moment?

As Michael stands before the body that is almost dead, but, still unable to cease smashing its brains out, what would have run in his head?

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