‘Mynaa’ deviates from the oft-treaded path. Suruli (Vidyarth), a middle-school drop-out at the age of 12, finds Mynaa (Amala Paul) as a homeless girl and takes pity on her. He brings Mynaa and her mother to his village and provides them shelter next to his house. From that day onwards, all of Mynaa’s needs are met by Suruli’s hard work.
Suruli has blind love towards Mynaa. She is everything for him and Mynaa too reciprocates the same feeling. Mynaa’s mother, however, refuses to accept Surli as her son-in-law, as he has no status or respect in the society. Suruli gets wild and gets arrested. He escapes from the police custody a day before his actual release to prevent Mynaa’s engagement arranged by her mother.
The prison guards, whose jobs are at stake because of the incident, reach Surili’s village in search of him, take him back hand-cuffed even as Mynaa interrupts them and embraces Suruli. The rest of the story is about whether or not Suruli and Mynaa’s true-love succeeds and they get married or not. The last 20 minutes of the film is really commendable.
Solomon has penned the screenplay in an admirable manner. He doesn’t narrate the story through a single character. The narrative is made through various characters. The climax makes our heart heavy but it is not an imposed one.
Some sequences are quite impressive. The sequence where Mynaa studies for her exams in chimney lamp and runs out of kerosene to keep the lamp going is very nice indeed. Suruli pedals his cycle to activate the dynamo that beams the light onto her books. The domestic pressure experienced by the jailor because of his first Deepavali function after his marriage is well portrayed. The hotel scene is well conceived and the accident scene is well executed. The change in the equation of the relationship between the lead characters after the accident has been credibly depicted.
Solomon has created his characters from practical life. Suruli, who doesn’t even spare his own parents for the blind love he has for Mynaa, looks very simple unlike our usual hero. Newcomer Vidharth has scored in all departments of acting: his appearance, body language, the slang in his speech, etc.
Amala Paul has done her role perfectly. Amala, who wants to forget her controversial role in ‘Sindhu Samaveli’, utilizes this opportunity well. noone would dare calling her as ‘Sindhu Samaveli fame’ after the advent of Mynaa, in which she has given a soul-stirring performance.
The actors enacting the roles of Ramaiah, Jailor Baskar, etc too have done a commendable work. The director has brought to the fore the human nature in them.
Art director Vairabalan, cinematographer Sugumar and music director D. Imaan complement the film in a commendable manner. Vairabalan has brought a typical village atmosphere while Sugumar’s camera work is quite realistic without any technical glitz. The way he has captured the jungles and hills is excellent. Imaan has delivered the perfect songs but his background score is rather jarring.
‘Mynaa’ is impressive with its gripping screenplay and realistic portrayal.
