Achcham Yenbadhu Madamaiyada (AYM) Movie Review

November 11, 2016

2 minutes read

Review Overview

Performances

Screenplay and Direction

Technical Effects and BGM

Partly Delightful, Partly Engaging Thriller

Overall, AYM is a partly delightful, partly engaging thriller which is high on emotions. Gautham Menon has clearly displayed an ingeniousness in weaving a mainstream subplot into his trademark urban romance, which he has mastered.

Cast: STR, Manjima Mohan, Sathish, Baba Sehgal, Daniel Balajie & others

Cinematography: Dan Macarthur

Music: AR Rahman

Editing: Anthony

Art Direction: Rajeevan

Stunts: Dhilip Subbarayan

Written & Directed by: Gautham Menon

Release Date: 11-11-2016

Run Time: 02:15:00

Achcham Yenbathu Madamaiyada is a film finely strung together by adorable chemistries. Between Simbu and Manjima Mohan. Between Gautham Menon and Anthony. Between AR Rahman and Thamarai. Between Rajeevan and Dan Macarthur.

Gautham Menon, who is usually accused for the portrayal of recurring themes from his filmography, has brought to the fore a unique freshness in the romance between his leads this time. The introspection, voice over and the monologues that are generally associated with a Gautham film find their place here too. But, the narration gives a whole new perspective to the film, which seamlessly metamorphizes from an uber-cool romance drama to an intense, emotional thriller.

How a passionate (for Simbu), impulsive (for Manjima) road trip turns into a dangerous ride that leaves everyone fight for their survival forms the plot. Gautham puts his characters in extraordinary situations that are relatable and believable, which is what makes the film work despite a larger-than-life third-act, which is slightly hard to buy.

AR Rahman’s resplendent background score shoulders the film in the first forty-five odd minutes that are packed with deliciously refreshing romance sequences between Simbu and Manjima. Dan Macarthur’s aesthetically constructed frames add more colour to the overall atmosphere.

Gautham Menon’s unhurried, natural sense of pacing is felt when the story takes an unexpected turn in the second half. The stunts are, thankfully, not over-the-top but realistic hand combats (for most parts). There are no lose ends in the writing. The completeness in the script makes more sense towards the fag end of the film, where unanswered questions are brought to a conclusion with ease. Gautham Menon’s love for cops is once again reiterated in the film and it actually plays a pivotal part in the life-changing decision which Simbu makes. Another strength of the film is the casual, genuine dialogues penned by Gautham Menon.

Simbu’s charismatic screen presence is the main attraction in the film. It would not be a hyperbole to call this Simbu’s best performance; better than VTV. He underplays the romance portions whenever needed and emotes his way through the second half, which puts him in a totally different zone. Gautham’s uncanny visual eye has paid off once again with the casting of Manjima Mohan, who delivers a fitting debut. For all the uncouth criticism Manjima faced for repeatedly shedding tears in her role in Oru Vadakkan Selfie, she sports a pleasing smile here that leaves you wanting for more in the first half and looks like a million bucks.