I love this movie so much

hyped garbage

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

There's a more than satisfactory amount of boom-boom in the movie's trim running time.

I am going to warn you people about the peril of watching this film, either in Tamil or Malayalam. With no story at all, the plot of this terribly long film drags and manages to stand afoot with one and only one thing: HORSEPLAY.It starts off with characters that are not properly introduced: a happy- go-lucky salesman who is a brilliant communicator, an innocent girl kept on her toes by her strict boyfriend, and some of the worst characters in cinema history: actor and alcohol lovers' fans associations who are in a face off. The narrative is stupid as from thin air, a fictional epidemic strays the city and people start losing their voices. Off-screen, I was starting to lose my temper.Then comes the second half where every single character is seen playing charades, because the city administrators have put up a ban on "talking." The logic behind that is preposterous. This cannot be termed a spoiler alert since there is no plot at all, like I mentioned before. I courageously braved the second half to receive a blown-off climax and a rather clumsy ending. It felt like even the makers had got tired of the nonsense they had voluntarily created. It has many themes, yet even one fails to make a point.Watching Madhoo after a very long time felt good. Nazim is fine and so is Salman. Supporting cast is nothing much to speak about. The film heavily borrows from yesteryear classics, Taare Zameen Par for example.BOTTOM LINE: I had this sinking feeling after watching the film, because I felt like I had lost something out of me and now I know what it was: my logical thinking capability. The 2 stars are for the few chuckles and emotive sequences I enjoyed. Avoid!Can be watched with a typical Indian family? YES

Director Balaji Mohan made an impressive debut with Kadhalil Sodhappuvadhu Yeppadi in 2012.Vaayai Moodi Pesavum has left an impact in the minds of audience with its posters and the trailer. It generated a kind of curiosity and people hoped that they have something special in store for them this time too. And Balaji Mohan has almost lived up to audience expectations. How? Find it by watching the film. Synopsis: A mysterious illness declared as dumb flu spreads in a quaint hill station forcing the town's residents from speaking. Will the problems in the place increase due to this or will it lead to better communication? the screenplay is refreshing and perfectly presented. pandiraj and robo shankar had done justice to their roles and acted perfectly well. you will definitely notice sean roldan's background score.on the whole the film is thoroughly enjoyable and the director definitely reinvented the rom com formula.with romance and comedy its one of the coolest summer release.this film is an highly ambitious effort and the director succeeds in his efforts.a totally new concept coupled with directors narrative style and screenplay makes this film thoroughly enjoyable.

In his second directorial "Vaayai Moodi Pesavum", Balaji Mohan tells us that if you know when to speak and when not to, then most of our problems are easily resolved. He has a brilliant premise to convince us with exactly what he wants to deliver through the film, which undeniably is a smart romantic-comedy (much better than several films in the same genre in the recent past), with spurts of humour and satire at regular intervals to keep us entertained. It's an almost brilliant film that contradicts itself at several junctures for reasons that are never explained and left to be figured out by the viewer. When an imaginary disease called 'Dumb Flu' plagues the inhabitants of Panimalai, forcing everybody to stop speaking because it aggravates when you do, the fate of a few characters that have issues with communication is tested. The first half of the film, which I think was brilliantly executed, harps on the importance of speaking at the right place, at the right time and at every given opportunity. The course of the events during this half has the spotlight on characters that either struggle to express what they want to or on those who won't stop speaking. It focuses on a writer-turned-housewife who struggles to tell her husband that she wants to write again, a young doctor who can't tell her possessive boyfriend that she doesn't like to be controlled and a school boy who fears telling his parents that he's more passionate about drawing than studies. Interestingly, all the aforementioned characters belong to the same family. Throughout the first half, efforts are made by the director to push these characters to open up and express what they want to. You appreciate this effort because you connect with these characters that are so real that you might find them in your own life. It is in the second half that you feel the film contradicts itself. Contrary to the first half, the characters are made to stop talking because of 'Dumb Flu'. There are absolutely no dialogues (but for some voiceovers) and the narrative style is akin to Charlie Chaplin's "Modern Times". The director, who urges us to speak throughout the first half, suddenly asks us to shut up. The director, who said most of our problems are resolved when we sit and discuss, wants us to shut up. Doesn't that contradict the very essence of the film that was built intelligently in the first half? Nevertheless, you don't complain about the film because it dares to address several sensitive issues with a pinch of salt. From how Tamil cinema is being constantly attacked by fringe groups to dirty politicians and politics, Balaji slaps everybody in the face and makes them shut up. Of course, all this is done by striking a perfect balance between humour and satire. Heavily inspired by Woody Allen's style of storytelling, Balaji presents a kind of narrative that Tamil audiences are not used to. Still, they cheer for it because it's creative. He keeps making brief appearances throughout the film in a very funny role of a news reporter, eventually proving how crooked and TRP-oriented the media is in this country. On the acting front, debutant Dulquer Salmaan is a treat to watch. He earns extra brownie points for dubbing in his own voice and speaking flawless Tamil. Nazriya comfortably slips into the shoes of a character so contrary to the ones she has played in the past. The supporting cast featuring Arjun, Abhinav, Vinu, John and others played their respective roles to perfection. Sean Roldan keeps the film alive with his music and knows how to use it as a narrative, especially in the second half that hardly has any dialogues. Tighter editing was required in the second half which becomes a little tedious to sit through due to the slow narrative. To enjoy "Vaayai Moodi Pesavum", just shut up and watch it!

I remember how, after watching the Malayalam classic - Punjabi House, my friends and I spoke to each other in 'Jabba...Jabbas' for a whole day (the movie had been about a deaf and mute couple falling in love). And perhaps the only reason you hear so little about this movie (Vaaya Moodi Pesavum / Samsaram Arogyathinu Hanikaram) is because the second half, which is reminiscent of the Charlie Chaplin silent movies of old, quite simply leaves the audience speechless. The plot is silly and a bit predictable, but that's exactly what makes this satire worthwhile. Was there a message in there somewhere? Maybe, but director Balaji Mohan delivers it subtly and at no time does the movie or its characters feel preachy. The movie might not be a critics' favorite, but its good, harmless fun.