Mariyaan review

Mariyaan is an Indian Tamil drama thriller film directed by Bharat Bala starring Dhanush alongside Parvathi Menon.

Produced by Venu Ravichandran, the film has music and background score composed by AR Rahman and cinematography by Marc Koninckx.

Dialogues in the film are penned by RN Joe D’Cruz.


Movie: Mariyaan
Directed: Bharat Bala
Produced: Venu Ravichandran
Written & Screenplay: Bharat Bala, Sriram Rajan
Star Cast: Dhanush as Mariyaan, Parvathi Menon as Panimalar, Salim Kumar as Thomayya, Appukutty, Jagan, Uma Riyaz Khan, Rama, Imman Annachi, Vinayakan, Dagbeth Tweh
Music: AR Rahman
Cinematography: Marc Koninckx
Editing: Vivek Harshan
Studio: Aascar Films
Distributed: Venu Ravichandran

Love shatters all the hurdles and keeps you alive through the ages. Such is the immortality of its power. Mariyaan as Bharat Bala assured was to possess this mighty factor as its heart-and-soul. In contrast, the film fails to impress us to a greater extent.

The white salty sands embracing the sea is the backdrop and we see have Mariyaan (Dhanush), a fisherman with his eccentric skills. His love for Panimalar (Parvathi Menon) takes him to the desert yards of Sudan (Africa), where he is a worker on contract. A couple of years have passed by and he is almost done with the toilsome phase and is gleeful about the future he dreamt about. But on the spur-of-the-moment, he is abducted along with his pals by a terrorising group.


What’s more dis-satisfactory about Mariyaan is the brilliant work of actors and technicians going in vain. Dhanush stuns you with an un-matchable performance in places and keeps you hooked throughout the show. Be the scene, where he grieves over the grave of his pal Sakkarai (Appukutty), his frozen-senses reaction to the friend killed in front of him or his conversation with Panimalar by chiseling the baddies down there is superb. On the pars, Parvathi Menon (Poo fame) spells an enchanting charisma with her natural looks, splendid expressions and prodigious performance. She has inordinately exhibited the pathos and affinity of desolated Panimalar for her beau. She is here sure to establish her realms in Tamil industry. National award winner Salim is completely wasted and Uma Riaz as Dhanush‘s mom is okay.

Poor writing turns out to be the stark blemish here. In spite of actors striving to achieve ne plus ultra performance, the flimsy screenplay lets down us. Getting on with the technical aspects, AR Rahman‘s background score is good in few parts, but his experiments to blend ‘Country Music’ with the nativity here doesn’t have the right impact. On the other side, the background score for African portions, especially the one you hear during the intermission point is a remarkable showpiece. Songs proved to be the Chartbusters of this season, but they are nowhere close to the film. Naturally, ‘Kadal Rasa‘ is a good treat for the audience. Alas! The make-up quotients are completely flawed (don’t miss the Dhanush’s hair style that misses continuity from minute-to-minute).


The outstanding visuals of cinematographer Marc Konincks are appreciable for he gives us the feel of ‘The Good, The Bad and The Ugly’ in places. Dialogues by Joe D Cruz isn’t appealing, except ‘Oru Moochukku Poi Innoru Moochukku Inga Iruppaen‘ (Mariyaan‘s promise to Panimalar), which is a metaphorical significance of a professional diver completing their underwater task at one breath in fraction of seconds. The stereotypical climax of Hero Vs Villain combat is completely unwanted here and is forced into the script here.

Overall, despite the fact that the actors and technicians have exerted their best, Bharat Bala fails to utilise these big brand factors. While the first half travels in a docu-drama style of picturing the nativity, the second hour remains engrossing in parts with a happy end. But when you walk out of theatres, you’ll feel something is missing here.

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  1. From shouldering the huge burden of hype and hoopla, Dhanush the actor has broken free from the stage of ROUTINE to an unfazed zone of acting. Mariyan strikes the unique balance of cinematic experience with everything you can dream of. In the hour of test and faith, Love prevails and gets the man ashore swaying all odds. Dhanush, the National awardee comes out with yet an award winning performance, so memorable you would forget to finish off the popcorn. What more could we expect from a team of zealous technicians who have come together to present a movie of a lifetime. However let’s put on our magnifying glasses and review this movie.

    Dhanush has come a long way from the days of KadhalKondein, which was one of the firsts to showcase his talents in acting, and this movie pitches agony and love together, unleashing the unexpected. As a fisherman from the suburbs of Tamil Nadu, carefree but full of energy he is taunted by a girl sparkling with love for long. The film starts off in Sudan, Africa where Mariyan (Dhanush) is seen working for a contractor and after some rigorous 2 years of work, he is upbeat about getting back to home, sea, food and his soul mate Panimalar (Parvati). Dhanush and Parvati ooze the chemistry of love and separation in the first scene itself, a beautiful spring that showcases the excitement of meeting each other after a while.

    Instantly we are sent in a Flashback, where Mariyan is the nomad fisherman who is always happy-go-lucky and keeps smudging off Parvati, who is in her umpteenth attempt to lure Mariyan with Appukuty’s help. The beautiful seashore, the people who flock around, love in the air, BB makes you literally smell the aroma of sea. The first half is a visual treat to watch and feel how the love of Mariyan-Pani evolves amidst the sweetness of the waves and fishes. The screenplay evolves lazily and the director takes plenty of time in the love segment, to an extent where it makes you wait for the intermission.

    Now that our patience was put to tremendous test, he justifies it through the second half where Mariyan is now held captive along with two other prisoners. In the middle of nowhere the prisoners are held at gunpoint by African terrorists who demand money to the company that handles them. From then on the movie almost transforms into a web of struggle and pain that Mariyan faces. Under traumatic circumstances, Mariyan encounters myriad images of Panimalar and takes that as a sense of inspiration to come out of his misery, and that does not come at ease. All said the torture and violence from the terrorists makes you wonder why? Their characters are not etched in a reasonable way, and BB could’ve given more insight on their drive towards cruelty.

    The movie itself is split in two milieus, one with a fisherman’s routine life and love and the other is how much Love can catapult an individual to take the extra mile. In the middle of so many movies lately that end on a negative note, yet hit the BO, Bharat Bala has carved a niche among a positive tale tellers and has given a movie that you can take back home on a high note. The standard he has set is so breathtakingly high, that makes us wonder what next. To ponder hard and point the negativity, it should be the lethargic screenplay in the first half, as BB has taken a lot of time to tromp their love home.

    Rahman is one word “Awesome”, be it the BGM or the songs, they sizzle throughout. In the scenes that follow the struggle of Mariyan it inspires and motivates perennially. For the underwater scenes, Rahman’s ripple effect on the waters magnify with Auro 3D crystal clearly, that its realism demystified. And Marc the French Cinematographer! Boy what can we say about him! The rusty deserts, serene oceans, the fishy tale, enigmatic love and infinite range of visual awesomeness sum up his work. For the African part of the movie he has used mild and varied color tone.A bunch of Kudos to editing work by Vivek.

    Acting wise, no little or lengthy words to explain the magnificence of Dhanush, he can go up with heads high of the fact that, he is no more an ordinary actor down the lane and more is left in that lean body. Parvati as Panimalar is sure to create a crater size impact on Indian Cinema, her eyes twinkle and do most of the talking, but that doesn’t stop the actress, her chemistry with Dhanush is one of the best in Tamil Cinema. Rest of the cast Appukuty, Uma Riaz, Jagan, African cast all live up to their expectations as well.

    Ergo, a fine movie not just to watch and enjoy, but to feel and relish.

  2. The movie opens with a contracted labour Maryan (Dhanush) talking over the phone from Sudan to his lover with a great passion. As its time for his return to India, he narrates his story to his co-workers, and we get to know about who Mariyan was.

    Maryan, a fisherman from a remote village of Neerodi near Kanyakumari is straightforward individual,who is highly skilled with deep sea large catchments. He lives with his mother (Uma Riyaz Khan).

    There is our heroine, Panimalar (Parvathy), who is madly in love with Maryan.But Mariyan is not in a mood to love her for his own reasons but his hearts beats for her. After some hide and seek / cat and mouse game they come together thanks to Maryan’s friends and a goon who tries to misbehave with Panimalar.

    Panimalar’s family accepts Maryan but they are cornered by the goon who wants to trade Panimalar for the money her father owes them. Maryan comes to the rescue, he takes a lump sum as an advance from an agent, who sends contract labours to foreign countries. He hands over the money to Panimalar father and goes to work in Sudan on a two year contract.

    Now Maryan is returning to his homeland but is abducted along with his co workers by terrorists in demand of a ransom.

    Maryan’s life is under threat and Panimalar is under deep sorrow. How Maryan manages to escape forms the rest of the movie.

    Script analysis:
    Bharat Bala in his maiden venture has chosen altogether a different field and an international issue to portray the power of love. He has done a commendable effort in terms of extracting some outstanding performances,treatment, and execution. His homework and portrayal of fisher folks and the terrorists are worth mentioning.

    Many scenes have a poetic portrayal. Cinematography and background score add imminence value to the movie.

    On the flip side if we have to plot something it has to against Bharath Bala theme: triumph of love against odds is not a new formula to cinema; a local goon intervention helping the lead actors turn lover is not new. But the African terrorists angle and the scenes to depict the anger to the life of Dhanush are something new. But the script is too predictable to relish, though the desert sequences have been shot well.

    Maryan’s reluctance to accept Panimalar’s love is not convincingly told. The predictability of the storyline and the slow pace seems to bringing down the efforts taken by the whole team.

    Cast and Crew Review
    Dhanush has once again rendered a solid performance. He has amazingly depicted crudeness, romance, shyness, plight, and fighting spirit in the desert. The actor is growing in stature, has certainly bettered in mastering the art.

    Good looking Parvathy fits the bill as a passionate lover. Her eyes and smile speak volumes. She has handled the sorrow too very well.

    AR Rahman is stealing the show with his background score and is a certain boost the film, unlike his earlier sea(kadal) film. Nenje ezhu and kadal Rasa stands out.

    Cinematography of Mark Koninckx is greatly refreshing with using different color tones for India and Africa.

    Dhanush and Parvathy’s acting and on Screen chemistry
    Mesmerizing Rahman
    Visual treat

    Slugging pace
    Cliches in terms of local goon
    Second half to a extend

    Maryan is an artistic portrayal of the power of love in the backdrop of fisher folks’ lives and the African terrorism. The movie would have been more appealing(commercially) had the director added pace and a few innovative twists in the tale.

    “ Maryan: Great efforts for a Experimental Cinema Lover , less appeal for a Commercial Cinema Lover

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