Diya (Karu) Movie Review by Praveena | Sai Pallavi, AL Vijay, Veronika Arora | Diya Review
Diya (Karu) Movie Review by Praveena | Sai Pallavi, AL
Vijay, Naga Shourya, Veronika Arora | Diya Review
Diya in Tamil, Kanam in Telugu (English: Embryo) is a 2018
Indian bilingual horror thriller drama film directed by A. L. Vijay and
produced by Lyca Productions. The film stars Sai Pallavi and Veronika Arora in
the lead role, while Naga Shourya portray of male lead.
Diya opens with the parents of Thulasi (Sai Pallavi) and
Krishna (Naga Shourya) coming to know of the pregnancy that has resulted out of
the 20-year-olds’ relationship, and wondering over the next course of action.
Cut to five years later, and we see the two getting married. We also learn that
Thulasi’s pregnancy was aborted so that she can pursue medicine and Krishna can
get a job. But very soon, their family members who coerced her to choose
abortion end up dead; even the doctor who performed the procedure dies. All
these deaths seem accidents, but Thulasi realises that there is something
sinister at play — the aborted baby, whom she calls as Diya (Baby Veronika) is
responsible for the deaths. And Diya’s next target is her own father!
Diya is structured as a revenge thriller, the main
difference being that it is the ghost of a child — an unborn one, at that —
which is on a killing spree. And the victims are its own family! The script
doesn’t have a lot of flab, and at about 100 minutes, the film feels sprightly
enough. And Sai Pallavi comes up with a competent performance, both as the
mother who pines for her lost child, and the wife who is frantically trying to
save her husband. Nirav Shah’s cinematography lends sheen to the visuals while
Sam CS’s score maintains the element of dread.
Surprisingly, despite these strengths, Diya isn’t compelling
enough. Vijay works with tropes that are too familiar — lonely apartment block,
freak accidents, bumbling cops (the comic scenes with RJ Balaji are quite
jarring compared to the sombre tone of the film), and underwritten characters
who we never come to care about. These turn the film somewhat predictable.
Given that Vijay isn’t interested in exploring the ethical dilemmas that
surround abortion — he is quite unabashed in his anti-abortion stance — the
film doesn’t feel different from many of the ghost movies that we have seen in
Tamil cinema in the recent years.
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