But in the midst of a romantic flow, it can be excused. Despite all these pros, there seems to be a drag in screenplay and action scenes lack logic, as usual. When a Georgian actor, younger than Arya and Anushka is introduced as Arya's mother one finds it tough not to smile. Dashes between Aryas have spared the need for a separate humor track. Arya and Anushka have stamped their authority while Anushka creates a bigger impact as Varna (fantasy world) than Ramya (real world). Background score hymns but it is the anti- feminine-alcoholic song that got the best of the whistles. Cinematography is on par with screenplay and in certain cases exceeds the latter. The characters are well described and used only to the point the lip sync of the Georgian actors deserves special credit. Selvaraghavan's distinct signature is written all over the movie, but as good as it might be, not everyone will be able to appreciate the artistic touch in the screenplay.
But a tragedy strikes and brings these worlds together, Aryas meet and what happens when present day Arya meets fantasy Anushka forms the rest of the story. Anushka's feminine qualities fill the present day while the fantasy Anushka kicks Arya in the groins just to keep some distance between them.
The love stories are distinctly opposite, present day Arya tries to woo Anushka while fantasy Arya lives in a world where there is no such word as love. Irandam Ulagam is a parallel love story set in a fantasy world and in our times. But to what extend are these boundaries breached? What happens when such a breach occurs? Selvaraghavan's "Irandam Ulagam" is a boundary breaching love with a visual finesse, credits to the director's imagination and the men behind the lens. Love is in certain cases worse than action sequences, it has no logic, it can crop between two completely strangers who will later claim theirs to be love-at-first-sight, it can bring a patient back from death when the doctors themselves declare a hapless situation, it can breach boundaries.