Adhu Oru Kanaa Kaalam, marks a comeback for the sensitive director Balu Mahendra, who expresses his feelings through the camera, grabs your attention, pulls you into the plot, and makes you feel the movie is about your own near and dear. Telling the story and pulling your heartstrings are his goals; by doing that, if the movies become hits, it is only an incidental side-effect.

Adhu Oru Kanaa Kaalam is a classic example of the master’s magic; a tender story, plenty of emotions, tear-stained kerchieves, and plausible events. As usual, Balu has extracted the best from his lead pair, Dhanush and Priya Mani.

Srinivasan (Dhanush), a young man of 22, escapes from prison, takes a lift in a lorry to reach a remote village in Ooty. In flashback, on the way, he tells his history to the sympathetic lorry driver.

Srinivasan, an easygoing rich youth, parents’ pet, led a carefree life till he met Thulasi (Priya Mani), working as a maid-servant. When his parents (Delhi Ganesh and Usha) went to visit a relative for a week, Srinivasan took this as an opportunity to spend time with Thulasi in his house and get acquainted with her. As expected, they fell in love, but Srinivasan’s parents did not accept the union; rather, they opposed it vehemently.

Srinivasan and his friends rammed their car into a police vehicle, for which they were kept in police custody. To complicate matters, Srinivasan argued and fought with a notorious jail inmate, pushed him, and the inmate sustained a serious head injury and later succumbed to it. As a result, Srinivasan was awarded 10 years rigorous imprisonment; unable to bear the sorrow, his mother died of a broken heart; on becoming destitute and bankrupt, Thulasi left with her family to her village near Ooty, while Srinivasan languished in jail. Later, he escaped from prison to meet Thulasi. Does the couple unite? This forms the rest of the story. But rest assured, you will enjoy the movie, although the second half is slow and predicable for fans of Balu. For the front-benchers, there is an item song by Tejashree.

Dhanush has got his expressions right, and he has learnt to emote with his eyes and body language. He has blossomed into an actor under the benevolent care of the director, who has adequate faith on him. Dhanush’s acting has matured, and this film may be a turning point in his acting skills and career.

Priya Mani has also delivered a mature performance, much more than we expected, and she also deserves kudos for blooming and displaying her talents under the guidance of Balu Mahendra. She wears half-sarees throughout, emotes well, and also displays glamour. She sparkles, and can be confident of more marvelous offers based on her performance in this movie.

Ilayaraja’s music is melodious, but dated. Balu Mahendra’s affair with the camera continues, and he is in his favourite haunts, in and around Ooty. So scenery and camera-work are poetic and splendid. In short, this is a movie where every scene bears the imprint of Balu, his views, thoughts, and different way of seeing any situation. Compared to the movies which are being made today, this movie is certainly different.

Opinion: Balu Mahendra’s movie, unlike other contemporary movies.