Oru Kidariyan Karunai Manu does seem like a simple film on the surface but Suresh Sangaiah dares to tell the story of human failings from the point of view of the animal which is to be offered for sacrifice. It’s the animals view of the world around it during the last few days of its life. No, we don’t have the animal communicating with us in human voice but there are fleeting glimpses of how it might react if given a human form.
The group of villagers set out with a single-minded agenda but calamity scatters their spirit as they bring out their inherent selfishness. But you can’t judge them for being selfish for it is a natural instinct for human beings to safeguard themselves when fear strikes. When our life is on the line we often let go of collective interest to save ourselves.
Maybe the animal is looking at how fragile we are despite being superior beings. Maybe it’s laughing at the masks we wear in it’s own way. Atleast the animal is tied to a physical rope. We are tied to our own insecurities without our knowledge. Oru Kidariyin Karunai Manu effectively amplifies the fears of a small group to connect with the audience.
If we have everything even the smallest hurdle catches us off guard and we tend to overreact but the less endowed are blessed with a rare trait of accepting the inevitable. After a point, they move on life even if a great disaster had messed up their lives. They empathize forgive and move on.
The creator chooses an interesting parallel to close out the story. Both the animal and individuals in the story earn their freedom at the exact same point. The physical and emotional freedom of two different life forms merges to give us a sense of closure.
Now let me come to Vidharth again he seems to have mastered the art of underplaying his emotions. The way he yearns for his lady love at the beginning of the film is an absolute treat for a movie buff. It is nothing but a small sample of what he can do if given the right opportunity. I found Raveena’s casting very interesting. We have seen her voice adorn the lips of many actresses before. But to see her emoting to her own voice is a paradox of sorts. She does just enough and is plausible but her emotions don’t connect to us in a big way.
The rest of the cast have just lived their roles. Quite often we don’t recognize our failings unless a third person tells us. Suresh Sangaiah gifts us with a third eye view of our own shortcomings. The only difference this third is a mere spectator. There’s no judgement or feedback. It’s a silent appeal to be a non-judgemental of other people’s flaws when you don’t have the opportunity to walk in their shoes.
If you missed watching in the theatre. Try to watch in a legal copy