Veerathayi (Kovai Sarala) is a tribal woman from Puliyur, Kodaikanal. She lives with her 10-year-old granddaughter Sembi (Nila). Veerathai’s granddaughter Sembi, who earns her daily living by selling wild mountain honey and tubers, is sexually assaulted by 3 youths who came to visit Kodaikanal. A broken Veerathayi fights to bring the criminals to justice. Did he get justice in that struggle? Isn’t it? Who are the criminals? This is the screenplay of the film.
Kowai Sarala appears on screen as one of the tribal people by changing her facial appearance and with subtleties including wrinkles. Experienced in a completely different character than he has played so far, he dominates the entire screen and intimidates with his performance. At one point he breaks down and breaks down and makes a mark.
Nila, who plays Sempi, brings the character to life with an elegant performance. Especially the chilling scene with the criminals and the climax performance ensure a future place for him in the screen industry. Ashwin delivers a performance that does justice to his character. Along with them, Thambi Ramaiah, Nanjil Sampath, Pasha Karuphaiyya, Gnana Sambandhan and others add strength in the supporting roles.
Director Prabhu Salomon takes us by the hand into the world of Veerathai who lives in harmony with nature with dense forests and high mountains. Cinematographer M. Jeevan brings the forests and mountains to life and transports the scenes into theaters in the same oppressive heat and conveys the cold not only to the eyes but also to the mind. The world that Prabhu Solomon and his technical team portrays is incredible. Sembi bearing Veeratha… Veeratha bearing Sembi. The relentless world-building between relationships accelerates as you enter the story. Since we are also one in that world, the impact of ‘sembi’ makes us want ‘justice’.
The film talks about various things like parties using sexual violence for election, police department which is greedy for power and money, general society’s point of view. But just like the bus that runs in the film derails after a certain point, the film also deviates from its path. In the beginning, the film travels from the point of view of Coimbatore Sarala, and at one point it is Nerudal who takes refuge in Ashwin who comes as a savior and succumbs to heroism.
The bus scenes reminiscent of the movie ‘Maina’, the long lecture lines and the excessive dialogues are tiresome. Ashwin’s good scenes, action sequences and character building are weaknesses. The unrealistic bus adventure scenes and the superficially moving court scene do not add the required tension.
The director, who has tried to make the film engaging, scores sentimental scenes. Niwas K. Prasanna’s background score for some disturbing scenes is a strength. “Language is not needed to understand the truth, pain is enough” and the verse at the end “Love one another as I have loved you” draws attention. Idioms like ‘Tiles Mandai’, ‘Maida Maa Moonji’ are frowned upon. The work of the stylist and costume designer who added to the realism of the film is remarkable.
On the whole, Prabhu Salomon’s Sembi, who intends to transmit the intense pain by committing sexual violence against girls, is stymied by some obstacles.