To like a mother, you first need to understand who her distant cousin is, or rather what she is. He is the idol of imagination; A mythological figure in a fictional world. He is a vagabond (“nadodi”) who swoops into other people’s lives; A charm that brings happiness and joy to their lives. You can say that she is an avatar of Emily. And like that film, Charlie is a character who can only exist in a book; A fairy tale to be exact. And when you tell a fairy tale, it immediately defies logic and writes its own rules.
The big design of the film and unwavering interest to meet Charlie were attractive aspects to me, apart from, you know, Shruti Raman (Parvati). Charlie is so deceptively simple that, in other words, a difficult film to adapt to. Because, this sensibility is firmly rooted within the film’s reality, and it makes no sense to adapt to a different social background. But what Dalip Kumar (cleverly?) Does in Mara is that he takes the soul and more literally explains what it looks like in the real world of a fairy tale. Props look at murals, landscapes and costumes, which Dhilip uses to achieve the desired texture with an excellent production design. It screams passion. Aesthetically speaking, Charlie has a better adaptation than the film.
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It begins with a mouthwater opening involving a little girl on a bus trip who harasses her grandmother for stories while sleeping. She is at least interested in “so long, so long ago” stories. She wants to hear a story that is unusual. She wants a story that fulfills her fantasy quest. When a fellow traveler, an elderly nun, called Mary, narrates a tale-like journey: her pursuit in locating a soldier and her “soul” is locked inside a fish (I would have preferred a mermaid, But it can’t be a baby story), we get a beautifully animated sequence with waves, winds, thunder and a conch … The fairy tale comes alive and thus, the girl’s journey begins. In a way, the title scene we see ourselves is a guess of the girl’s imagination. Elsewhere, like a girl, someone is on a train journey and their lives are tied together by fate.
And this little girl grows up to become a restorative artist, Paru aka Parvati (Shraddha Srinath), restoring artifacts and precious pieces of art. It is not an irony that Paru’s greatest restoration is to bring back the soldier’s long lost soul. But who is this soldier? Is it real or myth? Can it be real? When Paru stumbles upon a mural of the Lord of the Soldier of the Soldier in Kerala (is there a better place to show the intersection of different communities?), She runs away from home when pressured to get married is. That is, if one can seek his soul.
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Murals point to a name: Maran (Madhavan). Can he be a soldier? Could that be the answer that Paru is looking for? Maara is about this never ending quest and the characters are constantly searching. To complete the big puzzle i.e. Mara, Paru has to meet innumerable characters to get the big picture. It is like a Savitri character from Navratri. The only difference is that the characters who met Paru needed better scenes. For instance, in Charlie, the late actor Kalpana played the role of a sex worker. I don’t remember exactly what her conversation with Charlie was, but it caused a lump in my throat. I’m good Although Abhiram tries his best to impress this character, it does not achieve the same result. Also with Sikandar Babu. And with Guru Somasundaram. And it is the same with Kishore.
Dhillip Kumar comes out as a visual filmmaker. Some of the images in Maara are beautiful and stunning all at once – keep in mind an awesome shot of Maara’s looping shadow and an extreme wide shot of Paaru between a face mural. The theatrical bits needed more shine, but certainly worked better than Charlie, thanks to an excellent decision to take on slightly senior actors in Mauli, Junior Balayya, RS Shivaji and Bharti Mani.
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Molly plays Vellaiya, who is also searching for her teenage love, Meenakshi. He is a playwright, the man behind The Legend of the Soldier for his play, for her… Meenu. This is a story that looked good in Charlie and featured veteran Nedumudi Venu. Here, the nested lives of Vellaiya-Mara-Paru and Meenakshi are too dramatic for good. Molly is brilliant, especially in the scene where he meets Meenakshi. Deciding to yearn for the moment and when it arrives, Vellaiya effortlessly wears her glasses to see if it really belongs to her. Their story is a story that caters to Mara and Paru. And when Meenakshi (who now takes on a different name) asks if the soldier has found her soul and when Vellaiya says, “Nadagathula, Adutha Anju Nimishthula-yeh Kadaidirchu.”
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