KollywoodThe audio for Pariyerum Perumal, composed by Santhosh Narayanan, will be released on September 9.Tnm StaffMari Selvaraj’s directorial debut, Pariyerum Perumal, is set to release worldwide on September 28. The announcement was made by Pa Ranjith on his Twitter page on Saturday. நண்பர்களே! மக்களின் ஊடகமான சினிமாவில் “எளிய மக்களின் “அடங்க மறுக்கும்” வாழ்வுதனை காண தயாராவோம் #பரியேறும்பெருமாள்_செப்_28முதல் Audio from Sept 9th @Mari_selvaraj@Music_Santhosh #PariyerumPerumalFromSep28@am_kathir @thinkmusicindia @urkumaresanpro#CtcMediaboy @vinod_offl pic.twitter.com/aBxXmvuw1L — pa.ranjith (@beemji) September 1, 2018 Karuppi will be in your hands from Sept 28 of this month.Embrace our karuppi #pariyerumperumal #sept28@beemji @Director_Ram @mari_selvaraj @Sridhar_DOP @anandhiactress @am_kathir @vinod_offl @Music_Santhosh @pariyankaruppi @officialneelam @urkumaresanpro @EditorSelva @iYogiBabu pic.twitter.
- 9/2/2018
- by Anjana
- The News Minute
Flix Flashback'Thiruda Thiruda' is among the most underrated of Mani Ratnam's works so far.Nandhu SundaramThiruda Thiruda (1993) Cast: Anand, Prasanth, Heera, Anu Agarwal, Salim Ghouse, Spb, Malaysia Vasudevan Director: Mani Ratnam It was only Ar Rahman’s second year in creating film music. It’s hard to see it now, but he had just established that he was not a one-hit wonder. There was a certain euphoria surrounding his music and I had bought every album leading up to 1993’s Thiruda Thiruda (Thief! Thief!). There was a while to go before the film’s release and I was incessantly listening to the album, not quite making out the lyrics or the complex, layered instrumentation. It was as if you had to learn the album before getting down to actually enjoying it. But a couple of weeks into the listening, it was not just me but my entire family that had was hooked. We were all enamoured by what we considered the album’s centrepiece -- Anupama’s rendition of ‘Chandralekha’ with its high-pitched notes, clashing drums and frenzied chorus. I was convinced that Rahman had quite improbably created at least his second masterpiece after 1992’s Roja. Back then, you could always decide on a movie by what your friends and family told you about it. I swallowed the movie hook, line and sinker and was delirious in praising it, but there were murmurs of dissent among my friends who had quarrels with the movie’s unlikely plotting and ludicrous storyline. I saw it as a tale of fantasy while they pointed out that the movie had almost totally departed from reality. In any case, it was clear to everyone that director Mani Ratnam, at the peak of his powers, had broken fresh ground yet again. Thiruda Thiruda was the improbable meat in the sandwich, coming as it did between Roja and Bombay (1995), the two movies when taken together form the core of Mani Ratnam’s reputation even today. While these two movies talked about terrorism and communalism, issues that continue to plague India, Tt was an excursion into the wilderness, plausibility be damned. There was really no message here, no issue to talk about, just pure fun to be had. It was a heist movie with strong comedic elements and it pushed buttons in you that you never knew existed before. The plot goes wild - Rs 1,000 crore in fresh currency printed at Nasik is stolen by the henchmen of the villain, Vikram (a bleary-eyed Salim Ghouse), as it is in transit on a train. With Parliament to meet in 10 days, a desperate government turns to its best man in the Cbi, Lakshminarayanan (Spb, in one his best roles as a cop), to recover the amount. “There are 10 zeroes in Rs 1,000 crore and I have 10 days to bring the crooks to book. It can be done, sir,” says Spb in the Brahmin dialect. The line is obviously funny, but Mani Ratnam is doing something on the sly -- he is pushing his fantasy agenda into the storyline. After that point, exhilarating as it is for us to see how Vikram is caught, we know that the emphasis will always be on entertainment. It is how well the ride is done, you see. This is precisely why Tt failed to get into the good books of some critics. Many of them, who heaped praises on Mani Ratnam’s more serious movies (especially the terrorism trilogy) failed to appreciate the adventurous spirit of Tt. And, the film remains, much to my dismay, among the most underrated of Mani Ratnam’s works. The investigation into the heist leads Lakshminarayanan to Vikram’s pointman, Ashok, played by Ajay Ratnam in one of his early roles. To avoid capture, Ashok mails a computer access card required to open the container with the money to Chandralekha (Anu Agarwal debuting in Tamil cinema). On the run, Chandralekha gets involved with two petty thieves, the Thiruda Thiruda in the movie played by Prasanth and Anand, who are also on the lam. Towing along with the two thieves is Rasathi (Heera), who is fleeing a ruthless uncle. The four keep dumping and double-crossing each other until the money brings them together. Treachery takes precedence over trust in the relationship between the protagonists. The characters of Azhagu and Kathir are the perfect foil for each other, but the woman in their midst spells trouble for both of them, until in the end they decide to become friends. Prasanth used to be the chocolate boy of Tamil cinema during the 1990s and he plays a variation of that stereotype in portraying Azhagu. Watching over him with the demeanour of an older brother is the sharper Kathir, played by Anand in his most plum role ever. And, thus we get a romantic tangle: Rasathi falls in love with the sensitive Kathir, who realises with a shock that Azhagu is love with her. The scene in which Rasathi tells Azhagu that she is not his “Thangachi” (younger sister) starts a playful romance between the two. But the director quite clearly wants to steer us into the comedy-caper territory. Heera appeared only in a handful of successful movies in the 1990s including Kadhal Kottai and Sathileelavathi. In both of those movies, she was the other woman. In Tt though, she is cast against type -- her character, Rasathi, is smart, but not amoral. When her uncle wants to marry her, she flees with the thieves trying to steal from her own house. Anu Agarwal had in 1990 made a stunning debut in the Hindi film, Aashiqui, making her an automatic choice for the role of Chandralekha in Tt. Endlessly resourceful, her character is often resigned to watching the machinations between the others in the film with a bemused expression. Though she dresses like a lady, she is really not one. And, because of that, Azhagu has a little crush on her. Some of the familiar tropes of Mani Ratnam movies are here: The camera that circles the subjects, horses that preposterously are found in a landlord’s stable and several sequences involving trains. The circling camera is prominent in the scene when Rasathi tells Kathir of her love and when Kathir responds by informing her of Azhagu’s love of her. In another scene, Rasathi questions Kathir, asking if he never had a chance to reform his ways and the answer is a monosyllabic ‘no’. A pure Mani Ratnam moment if there ever was one. The sequence involving the horses, during which our heroes make a getaway in tow with Rasathi, is underlined with a dramatic score by Ar Rahman. This gives us, quite strangely, the impression that Mani Ratnam was limited by available technology in mounting the stunt sequence. The shots are often framed by cinematographer PC Sreeram against light, which is by no means unusual for a Mani Ratnam film; the director practically invented the usage in Tamil cinema. But what is really unmissable is the use of filters in cameras on a scale not seen before in Tamil cinema. Towards the climax, there is a brief sequence involving flashing lights on top of a train, which is a depressing and trite cliché considering that this director-cinematographer team did the same in Agni Natchathiram (Coppola uses this trope to great effect in Godfather). Or perhaps Mani Ratnam was making references to his own movies. The dialogues are crackling with Suhasini, Mani Ratnam’s wife, entrusted with the task of providing the director’s peculiar touch to the conversations in the film. The late writer Sujatha, who also pitched in with his lines, was at his wittiest and his contribution to this movie cannot be underestimated. Malaysia Vasudevan plays constable Santhosam, who finds himself assisting the Cbi in nabbing the thieves. The two predominant male singers of the era -- Malaysia Vasudevan and Spb -- are part of the cast, and what’s more, both of them are cops. The picturisation of the songs is a quantum leap in Tamil cinema. The choreography was done by Sundaram, Raju Sundaram and Prabhu Deva. Suresh Urs’ work in the film won him the Best Editor Tamil Nadu State Award. Ar Rahman marks his presence in the background score as well. The computer card, for instance, has its own theme, and so does the villain, Vikram. The supporting cast also includes SS Chandran (at his hilarious best) and Madan Bob in a blink and miss role. One of the scenes I really enjoyed comes when Azhagu and Kathir watch a village meeting from a distance. As the village discusses the thorny issue of the recent spate of robberies, the duo is making their minds up on whom to rob. “I can’t decide whom to rob,” Azhagu confesses. “Look who has the most rings on their fingers. Watch whom the Valliyur Singari is seducing,” says Kathir. “Valliyur Singari is here? Where?” exclaims an excited Azhagu and has to be restrained from giving up their hiding spot. There is no shortage of chase sequences in the movie. After the thieving duo meets Chandralekha (Anu Aggarwal) and fall hard for her, there is a pretty lengthy chase sequence. At one point, the main cast tries to escape from the Cbi (ABC, as called by a horse-and-cart rider) even as the officials chase them in ambassador cars. When Kathir asks if the horse will go any faster, pat comes the reply: “Only if you give ganja”. Kathir raises the puzzling question if the marijuana is for the horse or the rider. It is hard not to get the humour and fun in this sequence, but trust me, such stuff is rarely done is popular Tamil cinema. Mani Ratnam, who was just 37 when Tt was released, showed an admirable sense of adventure in making the movie, infusing it with a remarkable pace and energy. This is quite evident in the picturaisation of the song sequences. If this doesn’t sent your pulse racing, you should probably march yourself to the hospital for there is something wrong with your soul. The contrast between the titular Kathir-Azhagu duo is very different from Vikram’s agenda to wreck the nation. The small-time thieves are out for fun along with earning a meal, but Vikram is just pure evil. This is the most adventurous of Mani Ratnam’s movies. He wasn’t playing it safe as his wiser self is doing today. It is a bit like watching Tendulkar before he ever hit a ton and that kind of zing is worth revisiting. Also read: 'Aval Appadithan': Why this '70s drama was ahead of its time in telling women's stories 'Bale Pandiya': With 3 Sivaji Ganesans, this classic set the trend for Tamil comedy...
- 7/10/2018
- by Monalisa
- The News Minute
InterviewThe director of ‘Pariyerum Perumal’, Pa Ranjith’s first feature production, speaks to Tnm on his journey, cinema and politics. Sowmya RajendranMari SelvarajAfter 12 years in the Tamil film industry, Mari Selvaraj has finally made his own film. Pariyerum Perumal, produced by Pa Ranjith’s Neelam Productions, will mark his directorial debut. Now 32, Mari Selvaraj traces his love for cinema to the days he spent in his mother Papa’s village, Puliangulam, in Thoothukudi district. Hailing from a farming family, Mari’s brothers and sister were keen to go to school and get an education. Mari, however, had other plans. “The people of that village were so passionate about cinema. Cinema was everything to them. Cinema was entertainment, cinema was politics. Cinema was life,” he recalls. The young Mari would dance to cinema songs; he was the star who would perform at celebratory events in the village. “The people would keep telling me to go and join films. But they also knew that cinema was a distant dream. So, I joined law college. But once I did that, I felt I had to try my luck in cinema. So I left the course and came to Chennai. I didn’t tell anyone I was leaving. I worked here and there, doing odd jobs for a while and somehow ended up with director Ram,” he says. Welcome to Kollywood The year was 2006 and it was then that Mari Selvaraj’s initiation to the world of cinema and what goes on behind the screens began. “I didn’t go to become a director,” Mari says, with a laugh. “I wanted to become an actor. I wanted to dance. It was only after I joined Ram Sir that I thought I do have the capacity to become a director. That my life experiences have given me something to say. He saw that ability in me. That’s when I started to read, watch more films.” As Mari learnt more, he became convinced that his work was behind the camera, not in front of it. He worked with director Ram on three films – Kattradhu Tamizh, Thankameenkal and Taramani. Mari with Kathir In between shooting schedules, Mari also found time to fall in love. He met his wife Divya, an English teacher. “She is a huge influence in my life. We were in a relationship for seven years when I was an Ad. It’s only been a year since we got married. She travelled with me in my journey. She waited for me till I made myself and married me in front of everyone. Her love has been my greatest strength,” he says. Along the way, he also began publishing stories in Ananda Vikatan, including the Marakkavey Ninaikiren series. When he felt he was ready, Mari took the plunge. Within six months of getting his script ready, he became a director and the film was shot in a hectic 47 days in the sweltering summer. On Pariyerum Perumal Pariyerum Perumal is about two young people – played by Anandhi and Kathir – who study at a law college, like Mari once did. Asked if the story is inspired by his past experiences, Mari says, “More than inspiration, I’d say it’s a platform built by my experiences. All the stories in the world happen to everyone. But it’s only when that story is placed on a certain platform that it becomes interesting. The law college setting is such a platform. It was a familiar one from which I could weave in characters and experiences. But it’s not my personal story.” The title Pariyerum Perumal comes from the name of the god who is worshiped by people of all castes in the southern districts of Tamil Nadu, says Mari. “We consider Pariyerum Perumal to be a source of motivation. There are many in my family who are named Pariyerum Perumal, as in my village. I’ve always felt it’s a forceful name. So I had decided much earlier that if I ever make a film, the hero would be called Pariyerum Perumal – and then I decided to keep it as the title as well since the story of the film is a biography,” he shares. Shooting with Karuppi A hauntingly beautiful song from the film was launched a few weeks ago. Titled Karuppi, the black and white song mourns the death of innocents around the world. The stark visuals show people from different walks of life carrying a black dog’s head. The dog features prominently in the film’s poster too. So, who is Karuppi? Mari Selvaraj says, “Karuppi is at the core of the story. The whole script was developed around her. It is on the word ‘Karuppi’ and the dog that my story stands. I’m unable to explain it, but when you watch the film, you’ll see Karuppi’s footprint throughout. All through the film, you’ll be able to feel the dog. That’s how I’ve treated it.” Mari with Karuppi Karuppi, the movie star, is Mari Selvaraj’s brother’s dog in real life. Why do people in the Karuppi song carry the dog’s head around? What does the metaphor stand for? Mari Selvaraj says, “I see the dog’s head as a symbol of suffering and separation. There are many children who die without knowing why they die. You cannot carry a dead child around, you can only bury it. When we have a certain pain within us, we carry it around wherever we go. Whether we’re speaking on the phone or travelling, the pain stays with us. It is this pain that the dog’s head represents.” The trailer of the film has several shots of Karuppi, one of which has actor Kathir lifting the dog up in affection. The warmth in the relationship between man and animal shines through without a word being spoken. Mari Selvaraj explains how he shot these scenes: “Since Karuppi is my brother’s dog, she was always with me. I made children from my place act in the film, as the people who are following the dog. So Karuppi was familiar with everyone. She was friendly with Kathir because he was with me. He was dressed like a person from my village, so it wasn’t like a shooting spot for the dog. Not just that shot, there are many such visuals where you’ll see the emotional bond between the dog and the actor. I don’t think anyone in Tamil cinema has captured it to this extent.” The film’s cinematographer, Sridhar, shot the scenes with a gimbal camera because Mari was keen to keep things as close to reality as possible. Karuppi is now a mother with two puppies. “She gave birth soon after we released the Karuppi song,” Mari says. On his cast and crew Comedian Yogi Babu is also part of the cast. Mari says that the actor has played a memorable role in the film, as Anand. “He has done comedy but it’s not the kind he usually does. I’m sure this will be an important film in his life. He modified his style of comedy to suit my film,” he says. Mari with Anandhi Santhosh Narayanan, who has worked with Pa Ranjith from the beginning of the latter’s career, has scored the music for Pariyerum Perumal. “He was busy with Kaala, so I went ahead and shot the entire film. He watched it and really liked it. He showed me how music could make a small film into a big one. He hasn’t used the usual rural music that people put for such films, he wanted to make it universal. You can see this reflected in each song,” he says. In fact, Mari says that the film language in Pariyerum Perumal will be distinct from what we usually see in non-metro cinema. He adds that this can be observed in editor Selva’s work as well as art director Ramu’s vision. On cinema and politics The trailer of the film which released recently, begins with ‘Educate, Organise, Revolt’, echoing Br Ambedkar’s words. It also resonates with Kaala, Pa Ranjith’s latest release with Rajinikanth. Caste politics has been represented in Tamil cinema earlier, but perhaps never so vocally as in Pa Ranjith’s films. Mari says, “There are many films which come out about these issues but nobody realises what they are saying. They are either condemned or ignored. Ranjith annan’s victory is massive and that’s why everyone is speaking about it. If he hadn’t succeeded, nobody would be talking about it. People assume that such stories cannot succeed, that this politics will not have an appeal.” Elaborating on Pa Ranjith’s contribution towards Tamil cinema, Mari says, “Ranjith annan’s films say that everyone’s life stories can be brought into the mainstream, that there is celebration even in the lives of the oppressed. He has proved this. Everyone thinks the life of a Dalit must be one of defeat, but he has changed that. He has shown that there can be victory. This is very useful for filmmakers who’ve come after him, we get positive energy from his films.” Mari Selvaraj believes that this change makes people uncomfortable because they are not used to it. It’s a change which makes them take a look at their way of life with new eyes. Mari in action “Do you remember, there was a time when women driving a car or Scooty used to come as a shock? A woman smoking was shocking. But we got used to it. Women are there everywhere now, they are asserting themselves everywhere. Now the politics in such films (Ranjith’s) would have been acceptable if he’d shown the people as oppressed beings. But he showed them as powerful, forceful people. He made a big star, a big team, speak all this with such a big budget. That was shocking to people,” he explains. Mari also goes on to add that Ranjith had proved a mainstream film needn’t insult women for it to succeed. “There is no need to fear this. When a new generation takes over and creates something, there will be tremors. But if we withstand it, we can win,” he says. Mari Selvaraj shares his views on how art can be used to change people’s mindset, “There is a common accusation against cinema that it promotes vulgarity, a certain kind of politics. And it is true. There are many films which do this. But just as we can promote regressive ideas through this medium, we can also promote progressive ones. There are people who say it is cinema which leads to the ruin of society… and sometimes even I feel like that. When we are in such a state, I believe in creating cinema which can change the status quo.” Pariyerum Perumal was supposed to release in March but the date has now been pushed to July. His family is excited but also nervous, Mari says. “My family is proud of me but they’re also worried about what I’d have said in my film,” Mari says, smiling. “I’ve lived several lives that they have no idea about. They were shocked to read my stories in Ananda Vikatan. I became aloof from Class 10. I had secrets. I needed my independence, I wanted to do my own things. I’d want to go to the railway track at midnight and sing. They didn’t understand it then. They thought I was crazy. But I think they understand me now.” Also read: The women of 'Kaala': How Pa Ranjith's film breaks gender moulds in Tamil cinema...
- 6/13/2018
- by Monalisa
- The News Minute
KollywoodProduced by Pa Ranjith’s Neelam Productions, the film stars Kathir, Anandhi, Yogi Babu, Lijeesh.Tnm StaffTwitterThe trailer for Mari Selvaraj’s debut film, Pariyerum Perumal was released on June 4. Produced by Pa Ranjith’s Neelam Productions, the film stars Kathir, Anandhi, Yogi Babu, and Lijeesh. The trailer begins with an explanation of the film’s title, Pariyerum Perumal. Kathir, who plays the protagonist, is called Pariyerum Perumal meaning the 'God who mounts the horse'. This in itself is a reference to the caste hierarchy. In India, owning and riding a horse is a clear symbol of privilege that is denied to lower caste people, especially Dalits. The title therefore sets the tone for the film that will have political undertones. It was earlier announced that Kathir will play the role of a lawyer in this film. The characters also have a heavy Thirunelveli accent. The trailer’s first scene is a bird’s eye view of a group of people running along with dogs, perhaps on a chase. The music also reminds one of the Spanish film, Motorcycle Diaries. The trailer again ends with the same question: “Pariyerum Perumal na? Who the hell is that” for which comes the response “the dog who studies with me!”. In the end, the film’s title reads 'Pariyerum Perumal, BA Bl Bar'. It also has a visual of the dog running by itself. The first single from the film was released on March 4. Titled ‘Karuppi En Karuppi', the song has been composed and performed by music director Santosh Narayanan. The song refers to Karuppi, a dog that has been killed in caste-based clashes. Pariyerum Perumal is Mari’s first directorial venture. The director has authored a Tamil short story titled Thaamirabharniyil Kollapadathavargal (Those who weren't killed in Thamirabharani) and a fiction series in Ananda Vikatan called Marakave Ninaikeren (I hope to forget). In an interview, Mari shared that director Pa Ranjith got in touch with him after reading his writings. The film has Sridhar cranking the camera and Selva Rk editing it. Watch the trailer here: Also Read: 'Kaala' ban in Karnataka: How much money will the makers lose?...
- 6/5/2018
- by Monalisa
- The News Minute
Music'Karuppi En Karuppi', shot in monochrome, is about the lives of the oppressed. Tnm StaffScreenshot/ Youtube videoThe first single from director Pa Ranjith’s upcoming production, Pariyerum Perumal, was released on March 4. Titled ‘Karuppi En Karuppi', the song has been composed and performed by music director Santosh Narayanan. Presented in monochrome, the song begins with a note that says “This song is dedicated to the lives of innocent little souls that do not know why they’re being killed all over the world.” The song carries with it, in every frame, the head of a dog (a native breed). The films’ poster, that was released a few day ago, also had the face of a dog in its foreground. The song refers to Karuppi, a dog that has been killed in caste-based clashes. The lines “Did he laugh when he killed you? Did he glare when you barked?” tells us the story of oppression and caste-based discrimination. The song’s video alters between studio shots of Santosh’s recording and outdoor shots of people interacting with the dog’s head. The dog’s head seen in the video can be seen a symbol of all the oppressed, innocent lives that have been lost. The lyrics of the song, penned by Vivek and Mari Selvaraj, talk about how the innocent can be waylaid by the cunning. The lines “They pamper and kill. They choke you to death. They caress your cheek. They break your leg” are strong indicators of the deceit that the influential use to smother the innocent. The song comes across as a lament of a loved one who had previously warned the victim of the dubious nature of humans. “The Black, The White, The God, The Devil, The slave, The Lords, The cheapskates, The ruthless. I told you there are many kinds of people. Why didn’t you listen to me?” The visuals also show Pa Ranjith, director Ram, farmers, actors Kathir and Anandhi listening to the song while the dog’s head remains a recurring element in the frame. The song concludes with the lines “Two legged or four, we wander this earth. You're not a dog. Aren’t you me?” Followed by an oppari (traditional folk song for lamenting one’s death) in the background. Pariyerum Perumal has been written and directed by Mari Selvaraj and the film stars Kathir, Anandhi, and Yogi Babu. Earlier, in an interview, director Mari had mentioned that the film is based on the lives of people in the Thirunelveli-Thoothukudi region. The film’s title refers to a local village deity worshipped down south (Pariyerum Perumal - God who mounts the horse). Director Mari also explained that the film’s protagonist, who plays a law student, shares his name with the title. Director Ranjith’s Neelam Collective recently produced Malini Jeevarathinam’s documentary Ladies and Gentlewomen. The production house has also been instrumental in bringing out The Casteless Collective - an indie fusion-music band. Pariyerum Perumal is Mari’s first directorial venture. The director has authored a Tamil short story titled Thaamirabharniyil Kollapadathavargal (Those who weren't killed in Thamirabharani) and a fiction series in Anandha Vikatan called Marakave Ninaikeren (I hope to forget). In an interview, Mari shared that director Pa Ranjith got in touch with him after reading his writings.
- 3/5/2018
- by Editor
- The News Minute
KollywoodThe film has been directed by Maari Selvaraj and has Kathir and Anandhi in lead roles. Tnm StaffOn Tuesday, Pa Ranjith released the poster of his upcoming production Pariyerum Perumal. Written and directed by Maari Selvaraj, the film stars Kathir, Anandhi, and Yogi Babu. Pariyerum Perumal has music by Santosh Narayan, who has scored for Ranjith's films previously. The poster of Pariyerum Perumal shows a dog with a collar and leash around its neck in the foreground while the silhouettes of a number of people can be seen in the background. The film is expected to release in March this year. Interestingly, a new poster of the Rajinikanth film Kaala which Ranjith has directed, was released a few days ago. The poster showed Rajinikanth, who plays the role of Kaala, sitting next to a dog. The poster was reminiscent of Baasha but with a few important subversions that are typical of Ranjith's depictions. Pariyerum Perumal is reportedly set in Thirunelveli. Ranjith, under the banner Neelam Productions, recently brought out Malini Jeevarathinam's documentary Ladies and Gentlewomen. He has also been instrumental in organising the Casteless Collective music band. T he teaser of the film which released last year, features titles of Ranjith's films so far and goes on to display the credits to the beats of the parai instrument. A dog's bark and the sound of the train can be heard, mingling with the beats. Ranjith has time and again reiterated that art is political and that cinema cannot be free of it. The director has passionately spoken out against caste oppression, sometimes at the cost of risking criticism from his fraternity. All of this makes Pariyerum Perumal a highly anticipated film.
- 2/14/2018
- by Editor
- The News Minute
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