The last scene of Pariyerum Perumal is shot in a single take. It shows a wide shot featuring the lead protaganist Pari (Karthir) and Marimuthu leaving a table after having a glass of tea. The shot lingers for more than 10 seconds, slowly shifting from a wide shot to a tight angle, featuring just the two glasses. The film then ends with the title card that says A film by Mari Selvaraj.
That one shot summarises everything that has to do with the film, from Mari Selvaraj's hard hitting premise about a man from a lower caste wanting to be treated equally as everyone else in the society. Yes, a quick glance over that synopsis would remind you of Pa.Ranjith (who also produced the film) and his films such as Madras, Kabali and Kaala.
But what sets Pariyerum Perumal different from these Ranjith films is the fact that the protaganist is not fighting to be better than his opposition, but is rather desperate to be treated equaly and be heard in a discussion - simply to just have a tea without being discriminated on the table.
The film's first 10 minutes is arguably the best sequence in a Tamil cinema in the last decade. Pari's dog Karuppi is shown literally in the first scene of the film - just when you're about to feel as if the dog is going to be an integral part of the proceedings, Mari immediately shows us that it dies from a freak incident - this is followed by a funeral (yes, a funeral) for a dog. It is an incredible feat for a director to stage this scene without it looking funny.
The subsequent scenes of the movie eventually goes on to establish Pari's admission into law college, his struggles with the English language, how that struggle introduces him to Jo (Anandhi) and their friendship eventually leads to the core confilict of the film.
The conflict about a lower class boy falling in love with an upper class girl is not new to Tamil cinema. After all, we have seen it from Kaadhal and Subramaniapuram. But Pariyerum Perumal is not here to talk about the love, which is refreshing. Mari Selvaraj is not interested in showing you Pari's struggle with his love life, but rather his inability to have a conversation with the people around him - he is literally beaten every single time he wants to explain himself. This desperation is shown brilliantly by Mari in the interval.
Notice the scene when Marimuthu (Jo's father) brings Pari to a room during Jo's sisters wedding. You think you know what is about to happen, but it turns out that Pari is just brought to the room to have a discussion with the father. Just when Pari wants to talk about his situation, the door breaks open and he gets beaten up (and even gets pissed on). This was a brilliant establishment - Pari simply cant' seem to have his opinion shared.
Mari Selvaraj, in his debut film makes a huge mark as a director. From his use of metaphors, (the use of blue, Pari oppresing his own father, the dog, the use of caste) to his writing, he never allows the film to be preachy. After all, for a film that centers its theme behind caste, we rarely hear the word Jaathi being uttered in the film.
As for the performance, Kathir contnues his golden run with films such as Vikram Vedha, Kirumi and Pariyerum Perumal. This is officialy Tamil cinema's golden boy and must be protected at all cost.
Santhosh Narayanan continues to prove how he is the undisputed composer when it comes to elevating a heavy story and emphasing the emotional quantinet a notch higher every time his orchestration plays in the background. The Karuppi song is the pick of the bunch.
In summary, Pariyerum Perumal is a film that stays with you long after you are done with it. It continues to talk to you, even after the film finishes. You continue to retrospect yourself and ask questions about how have you been treating others. Like Pari, even you will have a Karuppi walking with you till the very end.
Tamil cinema's best film of the year.
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