Ahead of one of the many gruesome scenes in Iraivan, we see Rahul Bose’s Bramma watching an episode of Tom & Jerry, where Spike, Tom and Jerry beat each other to a pulp in a cyclic order. This effective slapstick sequence, unfortunately, turns out to be an inspiration for the psycho killer Bramma and he proceeds to hit a tied-up victim almost mimicking the same style till she passes out. As I gasped for breath at the disturbing but brilliant tonal shift, I was also surprised by the power of perspectives and gaze. It is no surprise that Iraivan is a violence-rich psychological thriller, but let me break it to you, it is easily one of the most violent and gruesome films to be ever made in Tamil cinema. We get ample visuals of amputated limbs, nude dead bodies, semi-naked victims and other gruesome deaths. In stark contrast to the usual, safe implied violence techniques we are used to in our thrillers, director Ahmed leaves little to the imagination. Though these may sound like a tailor-made recipe for torture porn, Iraivan steers away sharply with its sensitive gaze. Probably, the inclusion of a couple of untrimmed shots and probing camera angles would have turned Iraivan into an entirely different film, but Ahmed, cinematographer Hari K Vedantam and editor JV Manikanda Balaji know exactly when and where to stop.
Cast: Jayam Ravi, Nayanthara, Rahul Bose, Vijayalakshmi, Narain
Director: I Ahmed
The self-censoring is very much an extension of the self-awareness in the writing. Jayam Ravi’s Arjun is an encounter cop, but he is never hailed as the saviour or angel. Rather he is painted as a prisoner of destiny who lives with the self-imposed burden to wipe out evil. Take for instance his introduction scene, we get a haunting violin score in the place of the usual heroic electric guitar strums. The deglamorised encounter montage that follows reminds us again that he is a beast, who is fortunately blessed with a strong moral compass. I also quite liked how the director establishes a character as a seductress but stays away from making an eye candy out of her, which could have bulldozed the spirit of the film.
Iraivan isn’t a whodunit and the killers are revealed without any dilly-dallying, however, the screenplay which hardly leaves any breathing space and the solid performances, manages to keep us on the edge of our seats for a significant part. Though Jayam Ravi can brim with rage against injustice even in his sleep by now, the consistent failures and survivor’s guilt Arjun goes through and the occasional missteps he takes, distinguish this role from his previous ones. On the other hand, Rahul Bose as the cold-faced Bramma and Vinoth Kishan as the eccentric Babu act as the yang to Arjun’s yin and keep the engagement factor intact. The ever-dependable Charle channelises his inner Nagesh and wins our hearts in a scene that feels like a homage to the veteran’s performance in Nammavar.
However, Iraivan is no work of God, to be free of blemishes. Though I understand that the story unveils in an urban setting, it is hard not to notice that all the victims in the story are modern and outspoken women. Though there is a lot to laud about the film’s background score by Yuvan Shankar Raja and the other technical departments, it is hard not to notice the consistent issues in the dubbing. Though the film makes the representation of most of the characters feel realistic and grounded, it is hard not to notice the logical loopholes in the writing.
Since the memories of Por Thozhil are still afresh the copycat killer trope doesn’t excite us the way it should have. But what got me intrigued is Iraivan‘s world, which is filled with people going through several psychological conditions. Schizophrenia, necrophilia, nymphomania, saviour complex, chronic depression, post-traumatic stress syndrome… you name it, the film has it. And somehow these conditions organically fit into aid the narrative of Iraivan.
I also quite liked how the film takes time to establish how a crime or death can trigger a chain reaction and affect everyone involved in the radar. However, it feels rather odd that a film titled after God is devoid of any backstories. After all, isn’t God built on interesting origin tales?
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