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| YOGI
MOVIE REVIEW |
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| Review
by : Behindwoods review board |
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Starring:
Ameer, Madhumitha, Snehan, Swathi
Direction:
Subramaniam Siva
Music:
Yuvan Shankar Raja
Production:
Team Work Production |
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Ameer’s
Yogi, as presumed, is a multi-layered
gritty saga set in the mean
slums of Chennai where the mere
act of survival is a mammoth
task in the despicable living
conditions. The movie opens
up a Pandora’s Box of
lives of the children of the
lesser God and as scene after
scene unfurl, you get a dreadful
insight into the world of those
people hidden beneath their
cringe-worthy surroundings.
Ameer is a slum-dweller who
graduates from petty crimes
to murder for better revenues.
During one of his assignments,
he makes way with a car and
inadvertently bestowed with
the ownership of a child. The
child’s mother gets hurt
in an accident after the car
stealing and the reluctant Ameer
is left with the custody of
the toddler. It takes no time
for him to abandon the kid in
one of the street corners, but
he holds himself back and brings
the kid home for he had never
forgiven himself for the loss
of a life in a similar manner
earlier in his life.
Though Swathi and Vincent Ashokan
are married, the toddler that
is born to Swathi is not Vincent
Ashokan’s. With the affluent
Swathi now in the hospital,
Vincent decides to seize the
opportunity to put an end to
the |
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toddler’s
life to inherit his wife’s wealth.
Ameer crosses roads with Vincent in his
hunt and unintentionally kills his aide,
played by lyricist Snehan. The rest of the
movie forms the cop’s hunt for Ameer,
Swathi’s quest for her kid and Vincent
Ashokan’s search for the kid (for
different reasons). After playing out a
near-gripping tale, Yogi culminates in a
rather theatrical climax.
Ameer gets into the skin of a petty goon
who gradually becomes a criminal, accidentally
owning a baby. The razor sharp dialogues
in his coarse voice accentuate his performance
and the way he carries a repulsive past
with him can be quite depressing for the
viewer. His father character, played by
journalist Devarajan, is impeccable. He
metes out domestic violence at his wife,
unapologetic about the death of his little
daughter and uses his wife’s dead
body to make money. Quite disconcerting
and it doesn’t feel that Devarajan
is a newcomer.
Another revelation in the movie is (actually
there are two, another being Snehan who
effortlessly portrays a mean thug) Madhumitha,
playing the role of a single mother whose
husband walks out on her. Her eyes speak
volumes than actually her words and when
she is forced to breast-feed the baby of
a stranger, she becomes the epitome of motherhood.
A picture of whatever little love is left
in the world.
The scene in which Ameer inconsiderately
leaving condensed milk in the baby’s
lips to make it stop crying from hunger
and returning to find the baby’s mouth
infested with ants is really unsettling.
On the flip side, there is a liberal dosage
of melodrama; the way Devarajan gets killed
can be off-putting, Ameer’s efforts
at engaging the baby can seem slipped in
for no reason and a few unwarranted fight
sequences are out of place. Director Subramania
Siva seems to have faltered while trying
to make the movie for the masses. This often
dilutes the substance of the movie, but
largely, Siva has succeeded in the direction
process.
Yogi is definitely not a time pass movie,
it can be distressing. On the other hand,
if you are looking for a heavy duty movie
with some brilliant performances, try it.
It wouldn’t hurt to see the darker
side of human life once in a while. It tells
you the tryst of happiness with life’s
strange play of fate, when hope gets crushed.
Verdict:
Heavy weight saga!
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