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IMDb Rating
8.2 / 10


Uploaded By: FREEMAN
Jul 20, 2020 at 01:00 pm



Karthi as Paruthiveeran
Priyamani as Muththazhagu
Saravanan as Chevvazhai
Ponvannan as Kazhuvathevan
Sujatha Sivakumar as Kazhuvathevan's wife

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Movie Reviews

Grows on you

Some of the movies we watch never draws first blood. But it grows on you slowly and steadily like poison. This is one of those. That effect reaches new heights when you realize that it is based on a true story. Ameer I think has taken the 90:10 ratio. Keep the audience happy for 90% of the movie and shock them to hell in the last 10. His mentor Bala does that with similar if not more success. Though the new comer Karthik (though there were shades of Surya his brother) has done a nice job, Priya Mani steals it in the last 10 min. Like how Kamal hassan steals Mundram Pirai right out of Sreedevi in the last 10 min. You will enjoy Saravanan with his dialogue delivery and the ease with which he carries his role. If you want entertainment avoid the last 10 minutes. Otherwise watch it fully for a whole new meaning.

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great effort

After long time, a great movie for Tamil cinema from Ameer

Ameer, his third movie. He made a great impact in Tamil cinema with 'Raam'. Now another magic with the name Paruthi Veeran. The film made with excellent sense of film making. Well written story and screenplay with perfect support from cinematography.

Yvan as usual, did it again with Ameer, with wonderful nativity songs and background score that travels well with the story. the song with Ilayaraja (Ariyatha vayasu...) still occupies my mind.

Karthi (brother of Surya, son of Sivakumar) did a fabulous job. No one will believe this is his first movie. amazing effort in his debut.Priyamani, after long time a lady lead has a great chance to perform and she did a fabulous job.

This movie will change the career for both Karthi and Priyamani.

This is a kind of movie that changes the way of Tamil cinema

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I cant believe that i watched this movie

When i bought the ticket for 24th night show at Albert theatre in Chennai, what is bought was not a cinema ticket, it was a ticket to a place in remote village in tamilnadu called Paruthiyur...Nobody in that village know me or the 1500 people sitting in the theatre...they were living their day-to-day life and we were watching that...Oh...their lives are sad at times...happy most of the times...we felt sad for them...happy for them.....and in the end...we all felt sad..My friends warned me against watching the last 10 mins..i did just that..and iam happy for friends couldn't sleep for the last 2 days...When i came home from theatre...I felt " I just saw the best movie in my life"....

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A bond of love

Paruthiveeran is a great effort. With remarkable photography and great performances by the main actors.

Karthik plays Paruthiveeran, a low-class orphan who is used to being a free personality, doing whatever he likes without any concern for custom or law. Priyamani plays Muthagalu, a stubborn, free minded, educated girl who is in love with him. They are, in fact, cross-cousins, and so, in a way (according to rural custom), should marry. But there was caste inter-marriage, and so, Paruthiveeran is considered unsuitable.

Once Paruthiveeran falls in love with Muthagalu, everything changes. In a way, both have to sacrifice their freedom (and therefor themselves). This is a love that cannot be, but also cannot be stopped. It ends, perhaps appropriately, and very typical of Tamil folk stories and cinema (Kaadhal for example), in shocking tragedy.

The story is original and compelling. Both characters are not generic, they surprise us with their decisions and choices. There is an inner tension between freedom and love (independence and belonging) and the tragic but inevitable way they conflict with each other. There are several great cinematic moments and inventions. The one in which Paruthiveeran, after tattooing his name next to his lover's on his chest, reaches for a peacock feather and caresses it, is memorable. The film tempers with some generic conventions - no makeup, no professional dancing and lip syncing. Some outside shots are taken from inside buildings, giving us a kind of 'peeping' feel. In one memorable shot, Muthagalu's father sits in a corner of his yard sadly watching as an entire day goes by.

There are two 'spaces' in the film. The first - the open land, shot widely, almost 180 degrees of earth kissing sky. It is rural land, vast, limitless but also hopeless, unchanging. And the other space - an inside, between the walls of the house. The place were laws are kept and honor is upheld. It is a violent space, where freedom has to obey dignity, and so, our heroes have to act violently in order to stay free of it. Once they begin to love each other mutually, they pass from the first space to the second - from chance meetings outside, to planned ones inside. Like the earth and the sky, our couple's confinement signals their doom, they can only live outside, meet by chance, do whatever they wish to do, but only love each other in sudden bursts never by commitment. Once they let their love bond them, they start obeying its law, which crushes them. This is the inside, our second space, where change is possible, but our heroes can't survive it, their past freedom becomes their undoing (Paruthiveeran's friends, used to his visiting whores, attack Muthagalu, who is alone and unprotected because she has alienated her family).

There is a tendency, among some western viewers, to regard any non-American or European cinema as some kind of an exotic artifact, showing us "how people live over there". If we wish to appreciate a movie for what it is, this arrogant attitude should change. This is not a film about "the caste problem" (there is no "caste problem", caste is a valid social construct with its own set of conflicts and paradoxes like any other). While some cultural knowledge may help, you don't have to speak Tamil to enjoy this film. It is a great work of art, coming from a remarkable cinematic tradition. An instant classic that has brought tears to my eyes.

Tamil cinema deserves to be much more well known worldwide. Its main point of strength, for me, is in the way it uniquely utilizes folk elements (as opposed to "pop" elements), contesting hegemonic perceptions without being subversive. It is a mature cinema, yielding many excellent movies, with its own distinct film grammar and editing techniques. Paruthiveeran is a good entry point.

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