Aasaippaduhiren has no message. But its existence has one. It's that if your screenplay has political teachings and value education, you're likely to find a producer. Add to that an underdog story set in a village and you have a hopeful producer- some anonymous (how unfortunate) businessman with a lot of money but out of ideas with spending it.
The story is about an over ambitious girl living in a hut trying to get Olympic thangam
. I'm sorry, I can't go any further. The migr
aine is kicking in. It has absolutely zero rationality. It's strenuous, ridiculous, hackneyed and effin stupid. It can't be debased any further than it is. There was more happening in front of the screen than on screen- sighs, sulks, facial seizures and a regular flow of silhouettes towards the exit sign. The intermission was used by most viewers as an opportunity to either escape or anesthetize the experience by amassing comfort food. When the film resumed, I sat there reclined, face tilted away from the screen as if I was about to be pierced in the face by a hundred spears. It was an excruciating ordeal. If there's something you wish to atone for, pay Aasaippaduhiren a visit. That includes you too Balu Manivannan.
Critic: Rohit Ramachandran
(0.5 / 5) : Poor