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Interesting comments folks !

This might be amusing to you, but Mani is perceived problematic down-south for showing a glossy, superficial landscape (some believe very North-ish! Perhaps the term we’re looking for here is ‘Pan-Indian’), with good-looking ordinary actors (in case of Arvind Saamy, Aishwarya Rai, Abhishek Bachchan, etc) and in general, a lack of nativity and rustic backdrop. The dialogues might be subtle, but also seen superficial unless rendered by superior actors. In this respect, likes of Bala, Kamal and few other Tamil new wave directors (I don’t think much of this “new wave” – but the point here is the rustic authenticity) are far more appreciated, just as Vishal B or what have you, up-north. His casting choices are looked down in his Tamil films. As they don’t fit into right context, backdrop – notably the accent. Ex, Madhavan as the slum hoodlum in Ayutha Ezhuthu, Mohanlal in Iruvar, Aishwarya rai in the same film, etc…

And in case of Raavan, Vikram looks Southern in a role I’d presume to be Aryan descendant. Aishwarya Rai is also a South Indian – but at least she feels more ‘Northern’. The costumes are restricted to Salwars and classical costumes (as she plays a classical dancer) that cannot be broken down to “South” IMO. It’s only when she turns to be a captive, she’s resorting to more toned-down Dravidian ‘rustic’ (although she hardly looks one, let’s face it) costumes, as one would presume there’s a Dravidian connotation to this tribe. But why is Abhishek playing a leader of such a tribe? So in principle, the role reversal is maintained in all characters. Is this a conscious choice? One has to assume ‘yes’.

All said, I’ve lowered down my expectations. Let’s just say the promos didn’t get my hopes up. But then again I’ve never rated Mani’s Hindi films except Dil Se and most of his Tamil films are far superior in content, and execution. IMO.

Sandy,
There’s a certain deja-vu to lead characters in his films, including the male ones. But the kids in his films far outdo the female characters, in sense of stereotyped fashion by which they’re usually rendered. Down south, Mani’s child characters are seen to be nauseating and faux-adults, and it’s the narratives that alleviates the tone.

In case of female lead characters, there are few who fall out of such character traits. But they’re exceptions. But to cut him some slack, he makes it up with other female characters as well. Like say, the mother and sister-in-law of Revathy in Mouna Raagam, Simran and Madhavan’s sister in Kannathil Muthamitaal (the girl is the lead here), Aishwarya’s role as Pushpa, Revathy, Tabu, Gauthami in Iruvar, Saranya in Nayagan, mothers of both Arvind Saamy & Madhubala and her sister in Roja, etc. These are memorable characters, who serve to provide different connotations of Indian women, there’s a predominant bourgeois tone to all. But they are written well, and cast well, for the most part. Sometimes, one relishes these characters more than the lead (who all may suffer from certain character arch and traits, so the speak) itself. In this respect, Priya Mani might just be the actress to look out for, than Aishwarya, in this film. But this particular role looks powerful. Part-Revathy from Mouna Raagam, Part-Arvind Saamy (!) from Roja, Part-Lakshmi from Pallavi Anu Pallavi, Part-BhanuPriya from Thalapathy, and so on. And more. The question is whether Aishwaya could bring out various nuances. But again she’s no Revathy or Tabu or Shobana…

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On the flip-side, is that one expects a certain “mirror” of reality/authenticity in a rigid sense and to an acute degree, to believe in the narrative and characters they invest their time on. But this is a very restrictive understanding of the medium, or at worst, “rustic” criticism in itself.