Mari stands out as one of the most brilliant Tamil directors in recent years, adept at utilising film as a powerful tool to convey his political ideologies. In a manner reminiscent of his prior work, Pariyerum PerumalPariyerum Perumal
ജാതി പറയുന്ന, ജാതീയത പറയുന്ന സിനിമയാണ് പരിയേറും പെരുമാൾ. കേന്ദ്രകഥാപാത്രത്തിന്റെ പേരു തന്നെയാണ് സിനിമക്കും. അതൊരു ‘സാമി പേരാണെങ്കിൽ’ പോലും ആ പേരിന്റെ അർത്ഥമെന്തെന്ന് ആ സമൂഹത്തിൽ ഉള്ള മറ്റുള്ളവർക്ക്... his latest film maintains a political undercurrent, albeit with fewer symbols and motifs. This time, Mari opts for a more direct and unequivocal narrative approach to convey his political stance.
Vadivelu's portrayal of Mamannan is nothing short of impressive. His actions, expressions, and his singing serve as the soul of the movie. Fahad, too, delivers a commendable performance, seamlessly blending into the film's setting. But at times the makers fails to differentiate right and wrong, and gives heroic tone to the villain performed by Fahad, especially the use of background music. The film's objective is failing if the audience anticipates a spin-off or sequel with an elitist, casteist villain.
While Udhayanidhi Stalin's acting may be par for the course and lacks a certain depth, his presence in the movie holds political relevance. Despite any shortcomings in his performance, Udhayanidhi contributes to the film's overarching political discourse. On the other hand, Keerthy's role appears to have a diminished significance.
