I was watching this particular scene of Maryan(2013) that comes at the very end of the film. For those who haven't watched it yet, the film is about a common fisherman in a coastal village named Neerody in Tamil Nadu who travels to Sudan to make a living and support his family back home. There, he gets kidnapped by a bunch of Sudanese terrorists. The rest of the story is about his struggle to break free from his captors and return home to reunite with his lover, Panimalar.
The operatic ending is a scene like no other, where it is an inexplicable pleasure to see two great actors(Dhanush and Parvathy) radiating brilliance and overshadowing each other alternatively with every successive moment, like a Federer-Nadal match that never ends. The whole sense of Pani(played by Parvathy) coming to terms with Maryan's(played by Dhanush) return; the warmth of his skin and his breath evokes a limitless, bittersweet joy that is trying to convince her heart of his physical presence.
One of Tamil Cinema's most celebrated critics Baradwaj Rangan mentions in his review - 'It’s the quietest of reunions, and it reaffirms what we’ve almost forgotten in Tamil cinema: that love stories are a two-way street, and they need a strong actress as much as an actor. Where has she been hiding all this while?' In the towering presence of an actor like Dhanush, Parvathy has managed to do what no other co-actor has ever done: play the equal.
Having watched this scene a million times, I thought to break down the insane range of emotions bursting in each frame. Despite all the physical, mental and emotional struggles the characters undergo, this scene single-handedly conveys the entire theme of the movie which is lost and found love.
Written by Vignesh Srikanth, a wandering Assistant Director, a meandering soul, and a mindless devotee of good Cinema, Woody Allen, Mani Ratnam, and Imtiaz Ali. Vignesh is fan of the old school style of filmmaking, raw narratives and tries to emulate them in any script that he's allowed to add a little bit of himself into.
Edited by Raunaq Mangottil