Iraivan movie review: Jayam Ravi, Nayanthara-starrer is an intense crime thriller that loses its way

Cast: Jayam Ravi, Nayanthara, Rahul Bose

Director: I. Ahmed

Language: Tamil

The success of a crime thriller lies in how intelligent the killer is. The reason why films and shows about Hannibal Lecter or titles such as Mindhunter are extremely popular is because, as viewers we find their psyche intriguing. We are voyeurs, and the actions of characters in films and shows give us an opportunity to see a variety of scenarios play out. Why does someone kill? Their motivations and their weaknesses, are key to writing a good thriller. With Jayam Ravi, Rahul Bose-starrer Iraivan, director-writer I. Ahmed has managed to get a big part right.

At the very start, the mood of the film is tense. Arjun and Andrew are friends and partners, cops who go after ruthless criminals. Arjun is reckless in his approach towards apprehending criminals, and in a way of foreshadowing the future, Andrew warns his friend that he may end up becoming responsible for the death of his friend with his bullheaded behavior. The film is mainly about Arjun becoming a target of a psychopath who is a serial killer. This killer with a God complex, Brahma, targets young women and mutilates their body before dumping them in public places. He enjoys the cries of these women and is a man with no redeeming qualities.

The chase between the criminal and cop is built layer by layer until the tension is thick enough to be cut. The film hits its peak at interval, and is never able to raise beyond that high point after. Not having an interval point would have really served this film well, but alas, Indian theaters do not allow such formats existence. Not for now, at least. If we were to look beyond the fractured narrative, the chase becomes convoluted to a point where it becomes exhausting as a viewer.

The film is rightly certified ‘A’, but the violence becomes so saturated that it doesn’t serve the narrative, but instead weighs the film down heavily. In addition to, there are also inconsistencies in terms of character arcs, especially of Priya (Andrew’s sister and Arjun’s love interest) and Yasmin (Andrew’s wife). Yasmin is purely used as a plot device, one that is used to kindle a killer’s rage. Priya, on the other hand, drops in an out of Arjun’s life with no rhyme or reason.

In contrast, Brahma’s character is well-written from the beginning to the end. The twist in the film serves only to keep viewer’s curiosity piqued initially, but after a while, it is only another idea that weighs down the film. Certain parts towards the end of the film surely is noteworthy, but only when seen in isolation. It is because of isolated excellence that the film itself is a let down when seen as an overall experience.

In conclusion, Iraivan is intriguing but just not good enough to be considered a fine crime thriller.

Priyanka Sundar is a film journalist who covers films and series of different languages with a special focus on identity and gender politics.

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