YOGI MOVIE REVIEW

Ameer is a slum-dweller who graduates from petty crimes to murder for better revenues. During one of his assignments, he makes way with a car and inadvertently bestowed with the ownership of a child. The child’s mother gets hurt in an accident after the car stealing and the reluctant Ameer is left with the custody of the toddler. It takes no time for him to abandon the kid in one of the street corners, but he holds himself back and brings the kid home for he had never forgiven himself for the loss of a life in a similar manner earlier in his life.
Ameer gets into the skin of a petty goon who gradually becomes a criminal, accidentally owning a baby. The razor sharp dialogues in his coarse voice accentuate his performance and the way he carries a repulsive past with him can be quite depressing for the viewer. His father character, played by journalist Devarajan, is impeccable. He metes out domestic violence at his wife, unapologetic about the death of his little daughter and uses his wife’s dead body to make money. Quite disconcerting and it doesn’t feel that Devarajan is a newcomer.

Another revelation in the movie is (actually there are two, another being Snehan who effortlessly portrays a mean thug) Madhumitha, playing the role of a single mother whose husband walks out on her. Her eyes speak volumes than actually her words and when she is forced to breast-feed the baby of a stranger, she becomes the epitome of motherhood. A picture of whatever little love is left in the world.Yogi is definitely not a time pass movie, it can be distressing. On the other hand, if you are looking for a heavy duty movie with some brilliant performances, try it. It wouldn’t hurt to see the darker side of human life once in a while. It tells you the tryst of happiness with life’s strange play of fate, when hope gets crushed.