Selvaraghavan has been missing for a while on the direction front, so well here is Maalai Nerathu Mayakam a story from the director which was stuck in limbo for a while only to be revived and directed by his wife Geetanjali. Known for portraying realistic and no nonsense side of the usually stereotyped romance, the movie is about two contrasting individuals who get stuck in the web of marriage. With a shoestring budget the director-storyteller both try to get into the minds of a trouble couple who sit at opposite poles and what happens to their marriage forms the plot.
One look at the hero and it would be easy to ascertain that the hero is straight out of Selvaraghavan’s bible, for he sports neatly combed haircut, large rimmed glasses, and a trimmed beard, tucked in full hand shirt and yes most importantly the lost and weirdo look. Though stereotyped it may be, somehow the script is designed in such a way to suit the freakish looks of the hero and here is Balakrishna who comes as a guy who is spoon-fed by his father all his life and into marriage too. Wamiqa Gabbi as Manoja comes as a modern day girl, broadminded with little fun in her personal life. Failure in love, Mother’s ailing sickness leads her into a wedlock that she repents agreeing to, with two opposite poles and an interesting storyline the movie is entirely poised until dialogues, narration and screenplay spoils the fun.
Characterization has always been one of Selva’s biggest assets, however in MNM after a quick intro of Balakrishna and Wamiqa the director brings them into the chaotic marriage situation and then takes time to build their characters and their history. Instead of turning too much negativity, there are too many lighter parts in the movie that makes us smile, the innocent and naïve comments of a husband who reaches out in vain to his wife is something to look out for. The director makes us wait for the reasoning behind Balakrishna’s nerd looks, something if showed earlier would have make sense. Likewise the heroine too looks sober and irritated with a sense of anger all through the movie, as again enough reasoning to justify her character’s appearance is missing.
The movie completely revolves around these two, big time credits to these freshers for taking the script and completely fitting into the characters. Balakrishna as a desperate guy who aches for his wife’s love, torments her to win back his love and the courtroom scene is a good example of the actor’s capabilities. Wamiqa on the other hand is spot on when it comes to every single aspect, she fits the role of a generation x girl who takes it hard to digest that she is tricked into marrying a simple guy. The realistic display of these two probably is the biggest strength of the movie which has a hard time trying to bring the storyteller’s intention into screenplay.
The narration tests your patience by repetitive scenes of the hero trying to woo his wife, though realistic it maybe, the screenplay is far too stretched with such sequences to make the movie appear lengthier than it is. As with portraying realistic conversations between the couple there are some sequences involving Wamiqa and her mother that look quite dramatic, similarly through the climax which could have edited differently. Selva has never shied away from adult content if the script demands; MNM is no different with occasional jokes and sequences. With only two major characters, Sridhar’s camera work is limited within four walls and does a neat job. Music from newbie Amrit is clean from clichés; the BGM is simply sweet leaving apt silences before taking notes during sensitive sequences.
Of various relationship issues in modern day life, Geetanjali takes a few and puts together as a movie that takes time in testing your patience to drive home the fact that love is eternal and worth waiting for. If you have the patience to watch a neat romantic film, MNM will surely not disappoint you, watch it for the promising storyline and strong acting from the lead pair.
Verdict : A simple and straightforward romantic tale from Selva Family.
