Gautham Menon is one of the matured directors we have in the industry and he has proved it with AYM again. One important aspect that makes his film look better is that he considers his audience to have the same maturity level that he has.
Gautham plays the same game here. He places the dots, and connects it beautifully that it forms a big picture. But we not necessarily need to follow each and every progression of the dot which might indeed affect the aesthetic look of the art itself. We know that there is a picture, but the dots are so beautiful that we start concentrating on them and are satisfied with the dots itself. Prior to the end of the movie, Gautham gives us the big picture through Simbu’s monologue, we buy it. It is beautiful. If we want to connect the dots, we can do it ourselves, on our way back home. To be honest, you might even go on connecting the dots at least for the next two nights, the dots are that hauntingly beautiful and the picture does not get missed out anywhere.
Gautham’s AYM looks like it’s based out of a novel, but the director gives credit to a scene in ‘the Godfather’.
The movie starts with Simbhu’s monologue, and his introduction, his craze for bikes, his relationship with friends. Simbhu’s name is not remembered at least for a good 1 hour into the movie, and when he mentions his name it comes with a bang. Watch for the sweet surprise in theatres.
While other filmmakers use references from Thala and Thalapathy with the sole reason to make the audience erupt and bring the roof down, here is gautham using a reference from a star in the most legitimate way. He does not rationalise the reference, he justifies it. His justification is so alluring, that we have no reason not to buy it and state it as reference, it indeed becomes a part of the story. It blends so naturally.
Let’s get back to the story again. AYM is the story of a next door guy who has finished his MBA and is planning on a road trip on his bike before starting to decide on what to do in life. His father does not pressurize him to go to a job. He has the craze for bikes, gets one. Manjima Mohan as Leela comes as the sister’s friend happens to stay under the same roof with his family and Simbhu falls for her.
Things fall in place in such a way that Manjima accompanies the hero on his road trip. The road trip does not end with the hero and heroine riding into the sunset. Suddenly things are not the way they are, and we know there is a storm coming, thanks to the trailers.
The storm has the potential to give us a complete nail biting thriller, but instead it lurks on certain moments to understand the story that lies underneath. You could think that the director is spoiling the thriller, but wait he is placing the dots again. The dots are needed for the bigger picture. Wait for the bigger picture, it is worth waiting for. Â There are enough moments that take us to the edge of the seat if you are in dire need of a thriller.
The earlier portions are sure to put a smile on to your face and also helps in building the tension in the latter parts of the story.
Rahman’s songs are a treat and the placement is fine as well. The frequency of the songs throughout the first half might seem odd, but you have enough time to skip that thought and get lost in to the picturesque visuals. Thalli Pogathey took everyone in my hall by surprise.
Manjima is dazzling when she comes in happy parts of the movie, she is also as convincing as an experienced artist when she needs to perform. Simbhu’s acting convinces again that he is an artist in good hands. Dancer Sathish and Baba Sehgal rock in their respective roles, while we feel Daniel Balaji’s potential is wasted in his character.
