I fully endorse the fact that films are fictional and a make-believe world. Any hero of the movie always looks larger than life; he does everything not only from showering love and affection to his family but also to the public at large who are in distress. He hates affluence but sings duets in foreign or exotic locales because of the rich heroine or his ‘intelligent’ cerebrum. The public laps them up because they see someone who could do all the elusive things to them. This was the story of not just yesteryears; but even today since even though the laborer too owns a cellphone for communication. 

Nevertheless, alas, still a gap exists. Yet, some reflect unexpectedly some segment of everyone’s life. 

That is human relationships. I would have read at least umpteen articles on aged parents, loving children, indifferent wards, affluent but isolated oldies, etc. etc. But those aged ones with money and shrewdness land themselves in luxury senior citizen homes to preserve their dignity and demeanor and practice bonhomie with like-minded members. 

Even then almost every man or woman’s staple entertainment is films. 

If a film shows something close to reality either they reject it summarily if it highlights the negative side and jump in ecstasy if it depicts the positive side. 

I understood this from MGR, Shivaji era to Kamal, Rajni time to the present Danush, Vijay, and Ajith period. 

The heroes are either superhuman and also a superman. Those Superman films enthrall the audience to no limits. The theatre roars when the hero either speaks punch lines or punches the villain. However, here also some problems exist. Take for example while ‘Indian’ became a hands-down victory the same gang churned out a damp squib titled ‘Indian2’. Never mind. The director and the actor are now busy to ‘create’ ‘Indian3’. 

Even Super Stars Rajini’s top flops are considered as best hits. 

What I am going to discuss is the two movies that almost touched a chord of common men and women of all age groups in recent times, and they are but huge surprises. Because both do not have great star values and above all a heroine at all. 

The ‘Manjummel Boys’ and the recent ‘Meiyazahagan’.

Content-wise, both have very thin storylines. The former, originally in Malayalam turned into a super hit and so it was dubbed in other languages to receive very positive to superlative reviews and support. One can leave the criticism behind. 

Let me first talk about the ‘Boys’. Yes, boys are always boys. In a way, this term suits both films. The first one is about a bunch of unruly youngsters whose major avocation seems to be drinking, loitering, making fun of each other, and speeding on bikes threatening the walkers. They decide to make a jolly trip to Kodaikkanal and there in their agenda visit the ‘Guna’ cave (a dangerous and hidden one within the belly of the mountain range) which is prohibited now for public entry. Not just that. They want to engrave the name of their group on the rocky wall while the youngest onlooker unknowingly steps into loose sand and falls into the abysmal depths of darkness. The scenario turns panicky and the one who brought the young guy volunteers (with no option) enters the dangerous abyss and brings back the boy alive with the help of police and others. The press and the public went hysterical about this movie terming it for demonstrating the ‘greatness’ of ‘friendship’.  None talked about the unruly behavior of the youth since they are all young and need to enjoy life. 

The recent success of ‘Meiyazhagan’ is yet another rather pleasant surprise. No violence, heroism, etc. When a family man in his early forties visits his native place after leaving it 22 years before with a bitter taste; just to attend the marriage of his youngest cousin's sister as she had been very close to him. There he is accosted by a garrulous youth in his mid-thirties not even introducing himself but beckoning him ‘Aththan’ (a Tamil term for a cousin) and never leaving him alone. He made him stay with him in his house overnight where they, what else, drank beer and talked about many things except family relationships. Their topic veers from a Jallikattu Bull (named Dhoni) to how the younger one learned cycling in his school days. The city man is flabbergasted as he can’t recall the younger cousin’s name and relationships and also to a great extent his nonstop blabber. He leaves his home stealthily. Being good, he also feels a bit guilty for not even informing him about his departure and thanked him for the goodness shown to him. Later, he comes to know of his identity as ‘Meyyazhagan’ one of his first cousins who was a small boy when he left the village. 

This movie has almost touched everyone’s heart in Tamil Nadu now and nonstop appreciation of it for its neat entertainment values. The film, all feel that brings back memories of their native places, young and teenage days, village life, and the bonding of relationships. The narrative was simple, breezy, and hilarious with touches of emotions in some places. So, the entire Tamil film world as well as well as the viewers are taken on a nostalgic trip of their early personal lives. 

Both movies have touched a sensitive chord in filmgoers; one on friendship and another on relationship, the qualities which are fast dwindling. Both movies do not have any strong women characters at all. 

Before I forget I will add one important common factor for these two films. 

Music Legend Ilayaraja and his songs. In ‘Manjummal Boys’ it was ‘Kanmani anbodu’ from the movie ‘Guna’ (1991) and ‘Meyyazhagan’ it was ‘Inda maan undan sonda maan’ from the movie ‘Karakattakkaran’ (1989). Is it not amazing that the connecting chord is Ilayaraja’s music also? No doubt he is a Legend in the history of Indian Tamil Cinema. 

So both are films loved by Millennials as well as Oldies in recent times. 

Do you want my personal view on both movies? Boys will be Boys.