Vaazhai (2024): A Journey Through Innocence and Struggle

This film is not your typical Indian masala flick. Forget about romantic songs and clear-cut heroes and villains. It’s set in a bygone era, focusing on a 13-year-old boy from a government school in a remote Tamil Nadu village. The story unfolds over a few months, and while the pace is a bit slow and the twists are somewhat predictable, Director Mari Selvaraj does a fantastic job of pulling us into the boy’s world. He shines a light on the exploitation faced by the voiceless, and for that, the film deserves a Ripe rating from mangoidiots. But a word of caution: if you’re not comfortable with the harsh realities of life, this might not be your cup of tea.

The movie will get released later on OTT with Disney+Hotstar.

The narrative revolves around a single mother and her deep love for her children—a daughter and a young son. She teaches them life’s tough lessons, with support from their village and community. The boy, a bright student at a nearby government school, dreads weekends when he’s forced to carry heavy banana bunches, a burden too much for his young neck.

The cast includes Kalaiyarasan, Nikhila Vimal, Dhivya Duraisamy, and Janaki, but it’s the young stars Ponvel M and Raghul R who steal the show. Ponvel, in particular, is a revelation. His performance, especially in the scene where he’s exhausted and hungry, is so real that I could almost feel the hunger pangs myself.

With Vazhai, the director returns to his forte—making us empathize with his protagonist. Just like Pariyerum Perumal made us root for Pariyan, Vazhai makes you want to jump on the screen and help young Sivanaindhan succeed.

There’s a scene where the boy is drawn to a lady teacher, played convincingly by Nikhila Vimal. It’s a delicate line the director walks, but he handles it with care. Remember, this is an innocent crush, not a romantic subplot. The boy’s world, set in a remote village and a time when even photos of Kamalahaasan were rare, would feel incomplete without this touch of innocence. Removing it would make the story feel too sanitized, and that’s not something I’d want to see.