Maayon’s intriguing premise let down by inadequate filmmaking

Maayon Movie Synopsis: A gang of idol smugglers plans to steal the treasure hidden in an ancient temple that holds unfathomable secrets.

Maayon movie review: Maayon begins and ends with the following quote: There are two ways to live your life. One is as though nothing is a miracle. The other is as if everything were a miracle. This gives us an immediate idea of ​​what the tone of the film is going to be. Taking the example of the Tamil writer Indra Soundarrajan, who has made a career writing novels that combine mystery and mythology, Kishore N offers us a film that gets the basics right. At one extreme, we have Arjun (Sibi Sathyaraj), a talented smuggler, working for Devarajan (Hareesh Peradi, typecast once again), who teams up to steal treasure hidden in an ancient temple.

We learn that the temple is full of wonders and dangers. Local legend tells Arjun and the team that the place is where Lord Krishna rested after the Kurukshetra war and that the Gandharvas play music for him every night. This is also the reason why no one can be inside the temple walls after 6 pm, because anyone who listens to the music loses his mind or even loses his life. Can Arjun find a way to succeed in his dangerous mission?

If you’re a fan of the 90s TV series Marma Desam (written by Indra Soundarrajan), the Maayon premise will instantly appeal to you. The film’s writer, Arunmozhi Manickam, introduces some interesting knots. While Arjun and his team plan their mission, the police have created a special team to catch the smugglers. Meanwhile, the local bigwig, whose family is also in charge of the temple, tries to prevent anything untoward from happening.

Kishore has some impressive sets, like a song during which Arjun uses a drone inside the sanctum sanctorum of the temple, and a shadow puppetry segment explaining the legend of the place. The idea of ​​turning some parts of the second half into a kind of horror movie that takes place inside a temple seems interesting. The twist ending is also compelling.

But beyond the sets, the filming in the rest of the scenes feels ordinary. Most of the plot developments are delivered through exposition, and the staging doesn’t give us a sense of the geography of the place. Casting and characterization don’t work either. Sibi Sathyaraj strives to peel back the layers of character, while Tanya’s Anjana is primarily a token female presence. The tawdry visuals very much belong to the movies we got when Marma Desam was on the air. Perhaps realizing this, Ilaiyaraaja creates an uncharacteristically bombastic score that attempts to make up for the lack of visual grandeur. The film leaves us with the feeling of having missed the opportunity to give us a desi version of The Da Vinci Code.

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