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Vijay Antony is hardly expressive and his dialogue delivery remains the same be it an emotional scene or an action scene. But he has displayed an uncanny ability in selecting roles that suit his limited range — he certainly looks the part in all these roles. As in his debut film Naan, in Pichaikkaran, too, he plays a character who is living with a false identity, and has to speak as little as possible so that he doesn't give away his true identity. But the film is far removed from Naan. That was a thriller, but this one is a melodramatic action film that seems to be the actor's first step in moving into the mass hero league. He plays Arul, a multi-millionaire, whose mother Bhuvaneshwari (Deepa) ends up on her deathbed following a freak accident. A godman tells him that he can save his mother if he can live as a beggar for 48 days without revealing his true identity. Arul decides to do so and becomes part of a group of beggars. He also strikes up a relationship with Maghilini (Satna Titus), the girl he had intended to marry, but doesn't reveal his true self to her. Meanwhile, he gets embroiled with gangsters and has to fight for life. And there is also his uncle (Muthuraman), who is hatching his own plans to take over his properties in his absence. Like his previous film, India Pakistan, Pichaikkaran is content at being a crowd pleaser, even though its director, Sasi is known for the realistic Poo. The set-up feels like an anti Arunachalam. In that film, a servant accepts a challenge to be rich man for 30 days so that he can fulfill his father's wishes. Here, the rich Arul becomes a pauper to save his mom. And the film also gives itself caveats so that it doesn't have to present Arul as a beggar all the time. This cheat sheet — Arul can take off his beggar disguise and behave as a normal man after 6pm — allows the director to build up the romance between Arul and Maghilini. Arul's transition into the life of a beggar is done mostly at a surface level. We see him living with beggars, but we hardly feel that he is living as one. And the set of beggars seem to be well-to-do ones. After an initial scene, we never see Arul having to put up with hunger or the lack of a shelter. There are also too many coincidences. Like when the beggars gatecrash a wedding where the heroine is also present; or the scene where Arul beats up gangsters and finds his friend waiting for him; the heroine, too, happens to be at the place. Even in the climax, we see a villain turn up at the exact spot where Arul is chasing a gangster. But these niggles don't affect the film so much because the tone is that of an old-fashioned masala movie. Time and again, Arul beats up the men who try to attack him (he even uses a corn cob to maim his attackers) or those close to him, and we can't help but cheer his actions. And Sasi amps up the melodrama at crucial moments, like in the climax when Arul has to choose between revealing his identity and saving a life and protecting his identity and saving his mother, that the narrative is mostly propelled by the emotions in this tale.
A mother and her son find themselves in an awkward situation where they live in the same building but they're separated due to different reasons. Mahmood develops a system to solve this issue and the situation starts to heat up.
Life becomes hard for a family after the father is involved in an accident that causes him to lose his legs.
Surya, a courageous man who was raised in the slums, fights for the rights of the poor and befriends Deva, who hires him as his commander and changes his life completely.
A single mother, who works as a school uniform seamstress. One day, she's forced to cover up her child's hit-and-run case whilst becoming the primary refuge for her child.
Karen McCoy is released from prison with nothing but the clothes on her back. Before being incarcerated Karen was the bank robber of her time, but now she wishes for nothing more than to settle down and start a new life. Unfortunately between a dirty parole officer, old business partners, and an idiot ex-husband she will have to do the unthinkable in order to save her son.
Ryan and Jennifer are opposites who definitely do not attract. At least that's what they always believed. When they met as twelve-year-olds, they disliked one another. When they met again as teenagers, they loathed each other. But when they meet in college, the uptight Ryan and the free-spirited Jennifer find that their differences bind them together and a rare friendship develops.
Raghuvaran, who is unemployed for years, gets his dream job but a powerful rival is keen to put him down. Can he take on his adversary?
Everyone abuses and humiliates a downtrodden orphan until he befriends an old man, who turns out to be the last master of the snake fist fighting style. Jackie becomes the old man's student and finds himself in battle with the master of the eagle's claw style, who has vowed to destroy the snake fist clan.
In a film marked by social clash and family crises, the narrative delves into the emotional intricacies of its central character, Dhruvo. Raised in the countryside by his struggling mother, Dhruvo moves to the city in search of job opportunities, burdened by the loss of his father before birth and a persistent emptiness in his life. Despite his devotion to his mother, he remains unable to alleviate her pain. His life takes a dramatic turn with the arrival of Miss Zara, leading to a turbulent love triangle involving his girlfriend Taniya. Accompanied by his friend Saif, Dhruvo embarks on a journey of self-discovery, only to uncover a hidden past of his mother. Surrounded by societal prejudices and personal doubts, Dhruvo navigates through challenges to ultimately find a path to new possibilities and personal freedom.
Months after disappearance, the mother of a missing daughter begins her own increasingly irrational investigation.