Ammani talks about the life of Salamma and her relationship with an 82-year-old lady Ammani. Salamma works day and night to meet the daily expenses of her family, but her family does not care about that and they are solely interested only on money.
What does Salamma do, when she couldn’t make her children understand the reality? The film answers this question very beautifully in a simple, yet powerful manner.
The director inside Lakshmy Ramakrishnan has come out with a strong content once again. The film is heart-warming and meaningfully made without any commercial compromises (except one imaginative song), which has to be appreciated. The film conveys a beautiful message about life without preaching, thanks to the wonderful writing of Lakshmy.
The writing has been so strong that the lifestyle and livelihood of poor people are portrayed perfectly. The character sketch of each and every character is beautifully written.
Dialogues are very much noteworthy and powerful. “Kanna moodittaa anaadhaiyaaa poromaa, aaraavarama poroma nu theriya va pogudhu” and “Andha velicham ponaa namma nizhal kooda namakku sondham illa” are few examples of such dialogues. Life is not just about money, but also something more than that. This message intended by Lakshmy is beautifully conveyed.
The film is highly strong on mise-en-scene for which the director Lakshmy Ramakrishnan has to be lauded. Just like her first film Aarohanam, this film also runs for only 90 minutes, which is a great boost for the film.
Lakshmy Ramakrishnan as Salamma scores the best as usual. Subbalakshmi is the one who easily outperforms everyone else. She has lived the character of Ammani. She doesn’t cry or shout with anyone, but she emotes so well. She plays the title character and has totally justified it.
Nithin Sathya as a greedy son does justice to his role. George takes care of humour at places, which works really well. Other supporting actors too leave an impactful performance. Robo Shankar makes a cameo appearance in a song, but the song portion could have been easily avoided.
K has been the backbone of this film. His background score elevates the mood of the film to a different level, and his songs are very unique, especially the ‘Mazhai Ingillaiye’ number, which has been treated with a classical approach. Imran Ahmedh’s visuals are highly appealing.
Even the night scenes and train track scenes are well lit and shot. Rejith’s cuts are crisp and apt. The art direction department needs a special mention for constantly giving us the feel that we are watching a movie about the lifestyle of a lower class household.