Review of the film Aadhaar: A mediocre mystery ruined by excessive theatrics

In the movie Aadhaar, a labourer asks the authorities to help him locate his wife, who unexpectedly vanished the day after giving birth. Will justice be done? What happened to her?

Review of the movie Aadhaar: From the very beginning, it is clear what kind of movie Aadhaar is trying to be. The movie opens with a tacky vehicle launch, and then Pachamuthu (Karunaas) emerges from an auto with a newborn kid and makes his hesitant way to the police station to ask for assistance in locating his wife Thulasi (Riythvika), who has inexplicably vanished just one day after giving birth. The on-duty police officer advises him to return the following day but, upon observing the infant’s constant screaming, takes it from him and feeds the child herself. This sequence is directed by Ramnath Palanikumar, who uses a lot of dramatisation.

We anticipate an emotionally manipulative movie based on the way Pachamuthu sobs, the shot of the policewoman feeding the infant (obviously from behind bars), and Srikanth Deva’s weeping background score.

Aadhaar is absolutely not for you if you are unable to adjust at this time. However, if you can get past the movie’s dated, almost TV serial-like tone, there are some benefits to be had. For starters, it succeeds in keeping the question of what happened to Thulasi unanswered until the very end. Ramnath Palanikumar achieves this by telling the story non-linearly, switching with clarity between the past and present.

Additionally, he doesn’t portray people as good or wicked, leaving them helpless victims of the circumstances they find themselves in. Consider the situation of Yusuf Bhai, an officer at the police station (Arun Pandian). He is competent enough to lead Pachamuthu through the early stages, and because to his candour, he also assists a superior who is being suspended. But as time goes on, we discover something about him that completely alters our perception of him. Or the role of small-time criminal Saroja (Ineya). Even Pachamuthu and Thulasi’s relationship isn’t sugarcoated to make us feel bad for them. We discover that they have a significant age difference and experienced misunderstandings, just like any other married pair.

Nevertheless, despite all these positive aspects, the presentation makes the movie seem weaker than it really is. Sometimes the events we watch on film barely elicit an emotional response, but we wish they had. Other times, we wish the director would tone down the melodrama and allow us to experience the feeling naturally. Since the main theme of the movie is how the “system” takes advantage of the weak, like Visaaranai, it would have been preferable if it had been more subduedly moving.

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