Times were perhaps happier, until school happened to most of us. Some of us tried to wriggle out of it, dreaded it, while envying some others who seemed to blend in with rare euphoria with the 'normal' routine; some were shy and cosy in their respective shells, some others were a potent mix of dynamic. Director Rajesh Pillai's second venture 'Mili' tackles the category that grew up with downcast eyes and a quivering attitude, shamed easily, but a refusal-to-recover from it demeanor. It is interesting to note how 'Traffic', the movie that sped, is in stark contrast with 'Mili' that makes for the finish at glacial pace.
Cinderella story? No! And that's where the director scores. We've been hauled and mauled into watching countless many makeover sessions of the insecure girl turning into a sensuous beauty over a few nights by the Hollywood fraternity. 'Mili' doesn't speak the same lingo. (Except for the part where she thrusts contact lens into her eyes, and chucks her glasses, but that's okay!)

Mili (Amala Paul) is an introvert, or at least socially awkward. It's not the textbook introvert; she has her quirks like overhearing conversations or kicking down someone's cycle when no one's looking. These could have been made to linger. She bonds well with children, presumably since they are not judgmental, and with the elderly mother (Ambika) of her local guardian Nancy (Praveena).
She is befriended by Naveen (Nivin Pauly), a personality development trainer, who is Nancy's brother. It's nice how the story has underplayed the budding chemistry, and has Nivin strictly not taking centre-stage at any point, despite his surprising perceptiveness. The transition phase isn't very dramatic, and that's score again for the director! It's a slow, sturdy progression, and the trace of quiet vehemence in Mili's solitude, proceeds to a more confident form of vehemence. What unravels here is Mili, and her ways of life.

What transpired between Mili and the teddy bear dustbin could have been said better—the vulnerability that induces a sort of faith was what it could have been. Also, the movie claims to have 22 female characters, although most of them were not needed. Renuka (Shamna Kasim), whose deadly stare convinced me of some menace, vanished after mid point. And the comeuppance of sorts that Arun Iyyer (Amol Parashar) begets doesn't make the point that it wants to drive home.
As for performances, Amala Paul takes the cake and most of the screen space. She and her handkerchief that keeps wiping away her insecurities made for a sparkling duo. Nivin Pauly and Praveena play their parts well and their presence is strong-felt. Sanusha, Ambika, and others fare well, however, it's Sai Kumar who amazes with practiced restrain. The music (Shaan Rahman and Gopi Sundar) plays well with the theme.
As the woman centralised, Mili doesn't come off as intense, but then again, she does make herself heard, however softly.
Rating: 3.25/5