An unrhythmic arrangement of musical notes that eventually becomes an ascending scale; this is how one might imagine the tempo of writer-director Shan's Bommai Nayagi. There is a feeling of disconnection between the scenes that make up the film. We see the complicated dynamic between Velu (Yogi Babu), a tea shop worker in Kadalur, and his stepbrother Senthil (Aruldoss). Senthil has a soft spot for Velu, but being one of the wealthiest in the city means Senthil rubs shoulders with influential upper-caste men who wouldn't like to see Senthil treat Velu as anything more than a lackey. To Velu, his wife Kayalvizhi, his father (G.M. Kumar), his mother and most of all his daughter Bommai Nayagi (Srimathi) are the world and he is busy collecting money to buy his own stall. of the. Shan uses a song to show the beautiful equation between father and daughter.
As individual scenes, they don't cause problems, but with the script jumping from scene to scene, there's a sense of urgency to the storytelling. Before jumping to decide, he remembers how the musical note rises to the top, since all these initial issues are balanced. Bommai Nayagi tells the story of a tough fight that a father and mother are forced to face when their nine-year-old daughter is sexually abused by influential men. A man who had minded his own business until then, Velu's world collapses. Everything goes wrong in how the child tends to publish the incident. With his daughter almost held hostage in a hospital intensive care ward owned by the defendant's relatives, and realizing that even the police are bigoted, Velu turns to Jeeva (Hari Krishnan), a communist party worker. that helps him. the voiceless question of injustice.
Director: Shan
Writer: Shan
Stars: Yogi Babu, Srimathi, G.M. Kumar
While there have been many titles that explore the different facets of injustice and systematic oppression to which some sectors of society are subjected, Bommai Nayagi speaks of "justice beyond the courts." The judiciary is a court system meant to uphold justice, but what if court-ordered justice is not valued by other key parties, such as the police? For many voiceless sectors of society, the fight never ends with a verdict; it's a never-ending one that they have to mentally and emotionally prepare for.
It's creepy to see how men would rather defend pedophiles than a powerless father whose life is uprooted. With a few twists to a usual straightforward story, writer-director Shan gets enough space to pose many necessary questions for the underdogs. He also places seeds of a larger narrative here and there as subtexts for better emotional payoff. For example, at three different times, Bommai Nayagi asks Velu, “Where did you go, Daddy? You said you'd be back soon”, and in each of these cases, they make you feel something different, something more intense.
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