| Directed by | N Kishore |
|---|---|
| Screenplay by | Arun Mozhi Manickam |
| Produced by | Arun Mozhi Manickam |
| Starring | Sibi Sathyaraj Tanya Ravichandran |
| Cinematography | Ram Prasad |
| Edited by | Ram Pandian Kondalarao |
| Music by | Ilaiyaraja |
| Production company | Double Meaning Productions |
Gist of the Story
An archaeological team, led by a cunning and diplomatic archaeologist, is tasked with studying an old temple. The team sets out on an exploratory journey in the hopes of solving the riddle.
Plot
Government officials and criminals are both made aware of a Maayon temple in Tamil Nadu that is close to Pudukottai and is said to contain riches worth millions of dollars according to a long-standing tale. The task of stealing it is given to a team of archaeologists led by Arjun (Sibi Sathyaraj) and Devaraj (Hareesh Peradi) by a foreigner who trades with such goods on the black market. The crew must overcome madness, gandarvas, anacondas, and wicked dwarfs in addition to figuring out a complex maze that has been there for ages to get to the riches. What happens next is whether or not they are successful!
Performance
Sibi Raj makes an effort to convey all of the nuances that his character possesses. Sibi gives a nice performance, and Maayon is unquestionably one of his most impressive recent works. Tanya Ravichandran’s character first reads like the stereotypical heroine, but a twist makes her more fascinating. The other seniors who excel in their roles are Bhagavathi Perumal, Hareesh Peradi, K.S. Ravikumar, Radha Ravi, and Radha Ravi.
Direction/Technical Side
However, his scripts lack the aesthetics and imagination to tap into the “treasure” of screenplay potential. Most of the plot development is provided through exhibitions, and the staging gives no sense of the geography of the place.Director Kishore made sure the flow of the film was engaging. However, in the first half, there is so much information that it is difficult to grasp all at once. I think Maayon is great, but unfortunately not. Yet he continues to work tirelessly, aided by Ram Prasad’s radiant image that defines the film’s “magnificent” mood. But there’s passable fun in the second half, when the story shifts to the temple, and Maayon is one of his more entertaining films, either as an idea in his head or as text on paper. The film benefits from Isaignani Ilaiyaraaja’s very good background his music, but the songs are more subdued. The camera and editing work are functional.
Verdict; Maayon is one of those movies that is more entertaining as a concept or as written on paper, but it lacks the technical know-how and compelling storyline to keep us interested. Could’ve been Better