It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

One of the most extraordinary films you will see this year. Take that as you want.

a beacon lightever wondered why Tamil movies hardly get respect from foreign audiences its simple-"we don't appreciate our nativity in the golden screen"you heard me right -though Tamil cinema industry is expanding by leaps and bounds economically we are losing respect at the worldly stage(now even in bollywood).its simply because of the fact that we encourage style over substance all time.plus even the critics have started to praise movies superficially.(even an a.s.s hole named srinivasan from u.k has given this film 1/10 and sivaji 10/10 in the comments section for this film)okay lets get the point i am not hear to bash about the masala films but simply to bring before you the the treatment of realism in kollywood)enough said ,lets speak about Paruthi Veeran as mentioned its a beacon light a path which guides Tamil cinema into glory simply because it appreciates the Tamil culture and sticks to it ( and i am not superficially mentioning the slang or he country music but the emphasizing about the plot and screen play).the film has a rather simpler central plot but has a great character study and narrative to back it.the performances by the lead pair is the best i have ever seen in a Tamil film in the modern era .plus all the supporting cast have selected perfectly all around making it an a+ in terms of actingthe cinematography blends with film and it literally takes to parithiyur you hardly feel you are in a movie through outand regarding the direction ameer has many places to go and hope he continues his guidance of tamil cinema towards greatness along with all the other great tamil artists lots have been said about the film but this comment is not a review but a view of what Paruthi Veeran has done to Tamil cinema

Paruthiveeran is a great effort. With remarkable photography and great performances by the main actors. Karthik plays Paruthiveeran, a low-class orphan who is used to being a free personality, doing whatever he likes without any concern for custom or law. Priyamani plays Muthagalu, a stubborn, free minded, educated girl who is in love with him. They are, in fact, cross-cousins, and so, in a way (according to rural custom), should marry. But there was caste inter-marriage, and so, Paruthiveeran is considered unsuitable.Once Paruthiveeran falls in love with Muthagalu, everything changes. In a way, both have to sacrifice their freedom (and therefor themselves). This is a love that cannot be, but also cannot be stopped. It ends, perhaps appropriately, and very typical of Tamil folk stories and cinema (Kaadhal for example), in shocking tragedy.The story is original and compelling. Both characters are not generic, they surprise us with their decisions and choices. There is an inner tension between freedom and love (independence and belonging) and the tragic but inevitable way they conflict with each other. There are several great cinematic moments and inventions. The one in which Paruthiveeran, after tattooing his name next to his lover's on his chest, reaches for a peacock feather and caresses it, is memorable. The film tempers with some generic conventions - no makeup, no professional dancing and lip syncing. Some outside shots are taken from inside buildings, giving us a kind of 'peeping' feel. In one memorable shot, Muthagalu's father sits in a corner of his yard sadly watching as an entire day goes by.There are two 'spaces' in the film. The first - the open land, shot widely, almost 180 degrees of earth kissing sky. It is rural land, vast, limitless but also hopeless, unchanging. And the other space - an inside, between the walls of the house. The place were laws are kept and honor is upheld. It is a violent space, where freedom has to obey dignity, and so, our heroes have to act violently in order to stay free of it. Once they begin to love each other mutually, they pass from the first space to the second - from chance meetings outside, to planned ones inside. Like the earth and the sky, our couple's confinement signals their doom, they can only live outside, meet by chance, do whatever they wish to do, but only love each other in sudden bursts never by commitment. Once they let their love bond them, they start obeying its law, which crushes them. This is the inside, our second space, where change is possible, but our heroes can't survive it, their past freedom becomes their undoing (Paruthiveeran's friends, used to his visiting whores, attack Muthagalu, who is alone and unprotected because she has alienated her family).There is a tendency, among some western viewers, to regard any non-American or European cinema as some kind of an exotic artifact, showing us "how people live over there". If we wish to appreciate a movie for what it is, this arrogant attitude should change. This is not a film about "the caste problem" (there is no "caste problem", caste is a valid social construct with its own set of conflicts and paradoxes like any other). While some cultural knowledge may help, you don't have to speak Tamil to enjoy this film. It is a great work of art, coming from a remarkable cinematic tradition. An instant classic that has brought tears to my eyes.Tamil cinema deserves to be much more well known worldwide. Its main point of strength, for me, is in the way it uniquely utilizes folk elements (as opposed to "pop" elements), contesting hegemonic perceptions without being subversive. It is a mature cinema, yielding many excellent movies, with its own distinct film grammar and editing techniques. Paruthiveeran is a good entry point.

One can trust Ameer for strong characters in his films. Karthi and Priyamani could have been slightly more better at emoting but considering the fact that they are new, it's no big deal.One can delight at the routine and sets of a beautiful traditional Tamil village visuals. The screenplay has its highs and lows; blink during a rapid sequence of events and you'll miss a lot of the proceedings. Otherwise, the script is a simple love story. The climax is definitely one of the highlights, if not THE highlight. The ending is guaranteed to leave you in tears. Madurai lingo may be a little hard to grasp for those who aren't that well-versed in Tamil.Nice background score by Yuvan. Songs consist mostly of folk. It is the romantic ballad Iyyaiyo that will remain at the back of your mind.

When i bought the ticket for 24th night show at Albert theatre in Chennai, what is bought was not a cinema ticket, it was a ticket to a place in remote village in tamilnadu called Paruthiyur...Nobody in that village know me or the 1500 people sitting in the theatre...they were living their day-to-day life and we were watching that...Oh...their lives are sad at times...happy most of the times...we felt sad for them...happy for them.....and in the end...we all felt sad..My friends warned me against watching the last 10 mins..i did just that..and iam happy for that...my friends couldn't sleep for the last 2 days...When i came home from theatre...I felt " I just saw the best movie in my life"....