Amaran movie review: Sai Pallavi, Sivakarthikeyan stand tall in this tale of timeless love

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The narrative interjects the blossoming lives of Mukund and Indhu with military activities in Kashmir. There are detailed scenes trying to paint a picture of the happenings in the state. Points to Rajkumar Periasamy for attempting to present all the sides of the conversation but not without explaining his own stance. Amaran isn’t a neutral film, by any stretch of the imagination. It talks about insurgency, radicalisation of youth, and the constant threat of terrorism faced by the people in the region. It also touches upon how this radicalisation isn’t always just the fault of the terrorists. Of course, there are the good Kashmiri, bad Kashmiri scenes, but to the makers’ credit, they never use it as just a trope. At one point, when asked about why Kashmir is always under fire, Mukund says, “People who have the power to make a change should talk about it.” But never for a moment does he lower the gun when facing the enemy. 

Also, since there is a lot of information dump, and a series of military operations happening one after the other, it is almost like Rajkumar rushes through them. One operation is used to show how Mukund cares for his fellow soldiers. One operation is used to show how Mukund understands the power of the system, and yet tries to be there for the people who are caught in the crosshairs. One operation is used to show his bravado. One operation is used to show how cinema has the power to join all regions. Through these scenes, we understand the workings of the Army, but not much about Major Mukund.

It would have been even more poignant to know more about the person in the uniform. Whatever little we come to know is through his mother (a wonderful Geetha Kailasam) and of course, Indhu. We might not know much of Indhu before she met Mukund, but we know every little detail about her after she met him. We see how this beautiful inter-religion marriage takes place. We see how easily their relationship blossoms without much conversation about their differences. We see how Indhu stood up for herself and her love. We see Indhu pining for Mukund, crying for Mukund, and basically, giving it all for Mukund.

While Indhu’s love for Mukund is beautifully etched out, we only get glimpses of the same from Mukund’s end. It is the same across many such emotions in Amaran. After a point, it almost feels like a generic tale of any soldier rather than the tale of Major Mukund Varadarajan. The Army portions of Amaran might have been the same even if the film was about any of the other soldiers in the same regiment.

But the way these combats have been shot is what makes Rajkumar Periasamy a filmmaker with a firm hold on his craft. Stunt director Stefan Richter, who did some exemplary work in Shershaah, does the same with Amaran too. Debutant cinematographer CH Sai captures the urgency of the fights, and the lack of light during such missions with utmost authenticity. In fact, points to the entire team for orchestrating stunt sequences that mostly don’t deify the protagonist. Of course, Sivakarthikeyan gets those low-angle shots of elevation, but they are far and few in between. In many of these scenes, we never really know who is firing the bullet that is vanquishing the enemy. Also, how many films about army personnel talks about their financial struggles. That is why I believe the generic nature of these army portions is a deliberate choice to show that every soldier is more similar than different.

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Then what truly makes Amaran and its subject matter, Major Mukund Varadarajan, special? It is the love of Indhu. Sai Pallavi is the soul of Amaran because it is her thought that makes Mukund’s heart beat fonder. And what a performance! She gets better with every scene, and in the final act, words can’t do justice to her acting. And that is why GV Prakash lets silence do the talking as she tries to break down repeatedly, only to get reminded of Mukund’s words – “Whatever happens to me, you are Major Mukund Varadarajan’s wife, and you shouldn’t cry in front of anyone.” Sivakarthikeyan reins in his natural style of acting to give more than just a glimpse of what he is capable of in the hands of the right filmmaker. We saw it come together wonderfully in Maaveeran, and he takes it up a few notches with Amaran. There is the understated innocence throughout the film that only elevates those brief spurts of controlled rage. His smiles are the best simply because they come very rarely, and when it does, it lights up the scenes. The way he talks to his parents, understands the actual depths of their words and arguments, and the pained affection towards his daughter… Amaran shows a different Sivakarthikeyan, who understands his strengths and flaws, and has learnt to embrace it both. Rajkumar gets it right with the casting of the support cast too. Be it the experienced Rahul Bose who brings stoicism that befits such a role, or the young actors like Lallu, Bhuvan Arora, and the actors playing Kashmiri soldiers, their presence tells a deep story that helps the filmmaker do away with spending time delving into it.

As the credits roll, and the inevitable juxtaposition of real and reel happens, we are left with the warmth of a love that might not have been long, but it was enough. We are left with the respect for soldiers who are brave pawns of a system, and yet they carry the power to create a positive impact. We are left with the hope of a future where peace is more than just an idea. Basically, Amaran is more than just a story about Major Mukund Varadarajan. It is about every celebrated, forgotten, named and unnamed member of the Indian defence who had to cut short their lives despite harbouring hopes of a better tomorrow while clutching close their wallets with pictures of their loved ones, and all we can say to them is… Amaran Rahey!

Amaran movie cast: Sivakarthikeyan, Sai Pallavi, Rahul Bose, Geetha Kailasam
Amaran movie director: Rajkumar Periasamy
Amaran movie rating: 3.5 stars