Iraivi 2016 123movies

Watch: இறைவி 2016 123movies, Full Movie Online – Iraivi is about women, men and their priorities. It talks about women’s freedom, how men look at it and how women use it.The film is based on the women we see around us and how certain things stay the same, no matter what class or background they belong to..
Plot: Three men try to overcome the problems in their lives not realising the impact their efforts are having on the women in their lives.
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Ratings:

	8.0/10 Votes: 3,400
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	N/A Votes: 25 Popularity: 2.834 | TMDB

Reviews:

Iraivi signifies the transition of Karthik Subbaraj from a whiz kid who delivered visually dazzling works to a major filmmaker who merits serious discussion. If Pizza and Jigarthanda showed his directing flair, Iraivi is a showcase of his writing prowess. That doesn’t mean the film is visually a lesser experience. In fact, it is equally impressive. The film is certainly the most interesting ‘drama’ we have seen in Tamil cinema in a while.

The plot revolves around three men and their attitudes, which impact not only their lives, but also those of the women in their lives. For the filmmaker Arul (SJ Suryah, fantastic), the fact that his film is lying in the cans because of a tussle with his egoistic producer (Vijai Murugan) is reason enough to turn to booze. Michael (Vijay Sethupathi, perfect) is so taken in by Arul and his family that he never thinks twice about his ‘devotion’ impacting his own life. He doesn’t even mind ending a between-the-sheets session for them. Jagan (Bobby Simhaa, effective), a college student and Arul’s brother, is perhaps the only male character who sees the two men for what they are. His own father (Radha Ravi) had mistreated his now comatose mother (Vadivukkarasi) when she was in good health. Naturally, he is angry with the way these women are treated and wants things to be better for them. But he doesn’t realise that what his actions denote is not empowerment but condescension dressed up as concern.

As for the women in their lives, Arul’s wife Yazhini (Kamalinee Mukherjee, solid), cannot make up her mind on whether she wants to live with her drunkard husband or move on and remarry. Ponni (Anjali, excellent), Michael’s wife, knows that she has ended up with a husband who doesn’t really love her, but soldiers on because that is what women are meant to do in our society. On the other hand, Malarvizhi (Pooja Devariya, impressive), a widow, is clear that Michael is just a friend with benefits to her, despite him professing his love to her, and has no qualms about using him for her biological urge.

Karthik’s writing is novelistic, with each character having their own well-sketched arcs (it is definitely a film that merits repeated viewings). The narration, too, is never rushed and he lets the scenes breathe and gives us time to savour them before moving on to the next one. And he provides terrific bookends for some of the scenes. Sample this: Just before the film’s intermission, we get scenes that raise our hopes that these men — and women — could finally be having their break. And we see that notion getting broken down, with a sledgehammer, literally! This happens in the climax as well. The promise of a better future for the characters, struck down (again, literally) in a moment! This kind of symmetry is carried even to the credits as well. The film begins with a disclosure that it is heavily inspired by K Balachander, Balu Mahendra and Sujatha. It ends with a hat tip to Sujatha’s Jannal Malar.

There is an autobiographical angle as well, like in Jigarthanda. In that film, it involved a filmmaker forced to compromise and making the most out of it. Here, the sub-plot involving the tussle between Arul and the producer, has echoes of the wrangle between the director and the producer of Jigarthanda. Not surprisingly, we get a line that goes “Nee padaippaali pa. Aathiram kobam ellaam un ezhuthula kaatu”.

Visually, too, the film is interesting. Sivakumar Vijayan’s camera work is so subtle that we never realise how well they impact us (the presence of rain in many crucial scenes, for example). The usage of visual signifiers like a prison dress falling out of the clothesline to imply the release of a character from prison, or a monkey toy to underscore a character’s indecisive nature feel like a nod to KB. The songs (by Santhosh Narayanan) feel unnecessary, but even here, they are used within the context of the film, and Karthik even takes a dig at equating song-less films with art films (“Paadinaale art illa commercial nu sollrangale da”).

However, for a film that boasts of thoughtful writing, the twist is a disappointment. One, the reason for a character’s decision to bring about the downfall of another feels too convenient. Two, in a film that is visually inventive, the manner in which this revelation is done is cliched. But most importantly, it implies a director not completely trusting his writing and going back to a plot device that worked wonders for him in his previous films. Also, one of the sub-plots, involving the stealing of idols, seems to have been included as a way of injecting some thrills into what is essentially a relationship drama.

But what underwhelms us is that it is through dialogues that we get the empowerment angle — “Poruthukarathukkum sagichukkardhukkum naama enna pombalaya”, “Ponna irundha solla koodadhu — ketta vaartha-da ingellaam” (referring to women mentioning the word sex), “Aan nedil, penn kuril” (justifying the capitalisation of men in the film’s tagline — Sila woMENgalin kadhai) and so on. And are the film’s women really in a better place in the end? Maybe. Maybe not. The female characters, barring Malar (to an extent), come across as women who need the intervention of men in their lives, and do not seem to be capable of possessing an agency of their own. One (Vadivukkarasi) is literally passive, lying comatose in a hospital bed. Even Malar, for all her outspokenness and bold outlook, is shown breaking down when she cuts her relationship with Michael, sending us conflicting signals. Perhaps, Karthik wanted to make a women empowerment film that isn’t gung-ho about its message and delivers it rather in a subtle way, but in that case, he has succeeded only to an extent.

> The story of women’s fate from the men’s perspective.

Iraiva means God and Iraivi means Goddess, but it should have been Iraivigal which means Goddesses. This film talks about three women, who dream how their future should be. That’s the opening, but the remaining film tells a different story. In this men dominated world, what is the part of women and their sufferings revealed in its nearly 2 and half hour long run.

So like the title implies, it is about women, but from the perspective of men who influence in their life. From all this, one thing I learnt was, Indian women yet to stand on their own feet. I mean India is one of the country that allowed the equal right for women, but they are unable to take the opportunity in the hands as something is blocking their way like men or culture maybe. So this film explains some of the facts which partially inspired by a book by Sujatha, ‘Jannal Malar’.

Once again, I’m very disappointed with the film length for an Indian film. It was just too long, but this is a well patched story with the twist and turns all the way till the final scene. Filled with kind of unpredictable stuffs. The script was the first best thing from it, followed by the performances by all and then decent quality production.

As I mentioned earlier about the runtime, I’m upset with the unnecessary songs and dances as well. Those music video tracks killed the rhythm of the narration. It might be okay for an Indian viewer, but if you an international audience, that’s totally annoying. Same thing happened to the director’s previous film ‘Jigarthanda’ as well. I consider ‘Pizza’ was his best work in that perspective, yet all his three films, including this is a great achievement, that’s betters the average of the Indian cinema standard.

When it comes to the actors, it’s good to see SJ Surya after a long time in his best performance. Vijay Sethu nailed his part. His character was simply outstanding and so his other co-star Bobby Simha. But in the actress section, it was Anjali who ruled alone with the par to the performances of her well acclaimed earlier films. Overall, with the next generation actors, it is one of the best multi-starrer from the Kollywood. Movies like this once again makes me watch the Tamil films as I was once a regular follower. As stated a few things I did not like from the film, yet I enjoyed watching it, so surely recommended.

8.5/10

Simply stunning – left speechless
Firstly, I have to tell Karthik subbaraj is a genius.I could see this movie is definitely an inspiration from some Hollywood films and one film in particular which is “legends of the fall” but the director has cleverly tweaked as per tamil sensibilities and given a masterpiece of a film.The story is very unique and very relatable to the whole world.

The film has a dark feel to it and the way it has been shot is simply mesmerizing. Kudos to the DOP. His is a major contribution which makes the movie immensely likable.

SJ surya, vijay sethupathi and Anjali have given power packed performances and it elevates the film to a new level. Anjali lives the role and you cant think of anyone other than vijay sethupathi in his role which he nails it. SJ surya is the surprise packet and boy o boy he doesn’t disappoint.

The most beautiful thing about this film is I was seeing what i wanted to see and it was so refreshing that i began writing a review for this film despite being the laziest person ever born in the universe.Mr subbaraj, keep them coming man. you are one hell of a talent and please make at least 2 films in a year.Then lastly music and the bgm were awesome as well.

A must watch for matured adults.
Iraivi (The Goddess) – A Tamil Movie Review, The movie started in a disturbingly short time ago, in a land uncomfortably close by. Introducing characters (with clearly defined flaws) like dropping pearls in a necklace.

The movie slowly establishes the tone, revealing the hybrid genre with a subtle art, textbook script and SaNa’s brilliant BGM. Slowly the characters become more decisive, they go straight to our emotions, deep into the twilight room of the soul. the movie want to let us outguess the next act but then it double crosses it. By the mid, the status quo has been set and complete, letting us think no more can we expect, but the script applauds our benefit of doubt with the rest of the movie.

Everything becomes a pseudo rational question, the whole movie becomes your skin. As a man you see a shadow figure of you or any men you have memories of being related or befriend. The quote “To grasp the full significance of life is the actor’s duty, to interpret it is his problem and to express is his dedication”. Holds true and tight throughout the movie with every character it reveals.

The Plot.

“There is no agony greater than bearing an untold story inside you”, This is an untold story of many women (or would I call them Iraivi), especially from my neighborhood spanned over different states and culture.

The movie shows the difference between a Feminist and Goddess. The goddess earns respect. The Goddess is invisible; they are normal individual doing herculean task on a daily basis which might look nonsensically simple from the opposite sex’s perception. Nevertheless, it takes enormous strength, tolerance, endurance to complete it and by doing so they ransom their hope, happiness, joy and all the positive aspects of a relationship which is sucked and stamped over by their egocentric better halves.

As the lead male character say,” to be tolerant and patient is a women’s job, I am a man…. what a disgusting creature as man we are ??” The plot picks three interdependent women from ‘Indian’ society.

The first, yazhini being married to an alcoholic but still holding up together and loving him with no greater expectations than to expect him to play his meek role as a husband and a father.

The second, Malar seeks love from a Fierce, Enraged, Slumdog loyal servant to a master, which agonizes her relationship…, creating a spectrum of pain and sorrow with few degree refraction of microscopic joy and pleasure.

The third, Pooja quenches her thirst of being human which is termed as taboo by the society but praised as celestial by her solitude. The rest of the characters intertwined with them, glorifying the aspects of Iraivi. Predominantly the uncle of malar who speaks at the end “you go girl, get away for a better life… these men are male chauvinist, egoistic dogs…, don’t ever search happiness from them you will never find it…”

Conclusion Iraivi is one of the few movies which will rest in our memories for a prolonged period of time…It made me appreciate that Indian cinema is still capable to be celebrated in par with the world cinema

Other Information:

Original Language ta
Runtime 2 hr 40 min (160 min)
Budget 2000000
Revenue 0
Status Released
Rated N/A
Genre Crime, Drama
Director Karthik Subbaraj
Writer Karthik Subbaraj
Actors S.J. Suryah, Vijay Sethupathi, Bobby Simha
Country India
Awards 1 nomination
Production Company N/A
Website N/A

Technical Information:

Sound Mix N/A
Aspect Ratio N/A
Camera N/A
Laboratory N/A
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format N/A