Love is beyond the borders of religion, caste and race; all that matters in love is sincerity. And when it is comes to dedicating the rest of your life to someone, how far would one go? There have been a number of portrayals of inter-caste and inter-religion love stories, but it is not often that they throw light on the religious practices perse and show it in the right light. Coming from debutante Aneesh, here is story of love on a different outlook.
In a rush to find a reserved seat in a train, Jai comes to be called Abu Bakkar. This is the journey where he meets Aayisha (Nazriya) and feels the spark in him that she is the one for him. He seconds his thoughts with his genuinely caring actions for the safety of Aayisha. Noticing him taking care of her, this one journey becomes enough for Aayisha to fall for Abu in return. By back home Jai is Vijayaraghava Chaari and Nazriya is Vishnu Priya, both staunch Vaishnavite Brahmins, and not Muslims. Though it is difficult for both, at first, to come to terms with a person of another religion - with entirely different practices and habits - as a life partner, the two learn to respect the differences eventually, though not revealing the true identity of their respective religions, and hence their names. How the rest of their lives take shape because of this simple lie of cover up, and the confusion that it eventually leads to, is what the holy wedding affair is about.
Jai comes across as a thorough professional and so does Nazriya. The two have synced in well with both the religions that they have carried off. Dialogues have been penned complementing the two different religions, keeping in mind the regular practices and rituals as followed in each. Special mention to Nazriya for having spoken the typical TamBrahm slang, and dubbed for her own self. While the first half is predominantly about Brahminism, the second half elaborates on the rituals of Islam, dubbed in Nasser's voice. The film strikes a healthy balance between both the religions, throwing equal light on both. Though Mayilsamy and Pandiarajan appear for brief moments only, they entertain in their classic style.
Loganathan's camera speaks for itself, especially in 'Kannukkul Pothi' song. Ghibran's music has topped the list for weeks with this album, and the movie is but a revisit to those glorious days, reviving the addiction to these songs. Although music is not remarkably omnipresent, its subtility is felt and enjoyed throughout the more. Though the story is new and fresh, screenplay renders poor translation of the concept. For a seemingly confusing predicament, the movie on the whole makes it seem as though it is too much a do about nothing.
While choreography is worth appreciation, stunt choreography is not as satisfactory as the dance and music are. The second half of the movie is more involving than the first and details out the interesting Islam procedures in detail. However, no sentimental feelings of either of the religions has been hurt, cornered or discriminated in a topic as delicate as this. No matter in which sense the film motivates, it is sure to make heads turn for the interesting topic chosen. Credits to Aneesh for choosing to come out bold with a story like this.
Rating: 1.5/5 - Could have carried more masala