Paruthiveeran received 2 national awards. One for actor Priya­mani and other one is ?

The scope of a film is deter­mined by the impact it makes on us. Most of the movies con­tinue the impact for one night and then dimin­ishes slowly. Very few movies make a last­ing impact and make Toto to think for a longer time. One such bril­liant piece is Paruthiveeran. Every­one knows about the story and Toto would like to get the sweet spots of the movie.

- Open­ing : This movie starts right from the frame where ‘stu­dio green’ logo appears with a sparkling music [ Paruthiyur Ochaan­damman kovil thiru­vizha ]. Ameer, once said we have heard the film music of vil­lages but not the actual music of vil­lage. This movie does the vil­lage per­cus­sion at its nat­ural best.

The fine point every­one won­ders that it’s a mon­tage song for titles and the fes­ti­val. If you watch closely, all the char­ac­ters are intro­duced in the song along with their char­ac­ter­i­za­tion, includ­ing dou­glas and the 2 rel­a­tive per­sons of mut­hazh­agu. [ Kazhuva Ser­vai smiles when the eunuchs sing about Devar com­mu­nity ]. This is one of the best mon­tage songs in Tamil [ one more is dhan­datti karu­paayi from Kaadhal ].

- Trivia time : Thought the movie is set to hap­pen in 2006, no sin­gle ele­ment of tech­nol­ogy has been used [ No cell phones, sig­nal tow­ers, Sun news, com­puter, bank :) ]. The movie at the max­i­mum has 2 ambas­sador cars, enfield and yamaha bikes.

- One of the best open­ing scene for a debut hero, Karthi . Also, watch for the shot when Ameer’s name on screen. It appears col­or­fully with fireworks.

- Priya­mani stud­ies in IX ‘B’ and her teacher jus­ti­fies the age stat­ing that she spent 4 yrs in the same class. Also, the com­plex­ion dif­fer­ence between the young and adult mut­haz­agu is explained in a dialogue.

- They deployed a nice method of using mul­ti­ple dia­logues in the back­ground.. For ex., Mut­hazgu friends talk about the his­tory class [ Kan­mani en kooda cycle-la var­ra­tum ], some talks through­out the movie. All the dia­logues of kut­tichaaku are in this cat­e­gory.. [ nee enna­paa kaathula padam varain­jikittu ]. The dia­logues are aptly sprin­kled with sense of humour.

- Some peo­ple reviewed that they don’t like the cli­max and sug­gested for alter­nate cli­max. Ameer’s answer is review should be done for the film made and not the film could have been made. Cin­ema is always made for Toto and not for review­ers :) . How true !

- Some anamor­phic shots in wide angle cover the rus­tic look of the loca­tions fully and those shot glo­ri­ously enhances the look of the film. Mostly used in the song sequences. Cam­era­man Ramji did a fab­u­lous job.

- “Kaad­halin deepam ondru” song gets an apt place­ment in the film. Veeran men­tions about radio and not FM.

- The edi­tor did a won­der­ful job if plac­ing he flash­back sequences with­out dis­turb­ing the main story flow and also doesn’t loose in the entire length of the movie [ 2 hrs 40 mins ]. Raja Moham­mad got the other national award for his work.

- Sel­l­akka kurathi char­ac­ter is new to Tamil cinema.

- Priya­mani got her life time role in this film. 3 best sequences of her are get­ting beaten up by kazhu­van, get­ting beaten up by veeran in the pond and the breath tak­ing climax.

- Karthi’s won­der­ful body lan­guage needs a spe­cial men­tion.. One nice sequence is that he goes to Muthazgau’s house for ask­ing her to marry and the cli­max. He did a splen­did work in the dances. Class ! [ Ameer chore­o­graphed his steps — loose control :) ]

- I have to men­tion about pon­va­n­nan and Sar­a­vanan.. Pon­va­n­nan [ Kazhuva Ser­vai tha/pe : Seenikannu the­var ] nat­ural looks with moutache, beard and his char­ac­ter­i­za­tion was nicely por­trayed. Sar­a­vanan needs to be men­tioned explic­itly for his catchy char­ac­ter depic­tion. Every char­ac­ter in this movie got a link with the story flow.

- Vil­lain is karthi and cir­cum­stances.. Every sequence hap­pens acci­den­tally. The moment you see the lorry in the cli­max, you get a lump in the throat. [ of course, when u watch it sec­ond time ].

- Ameer said some of the sequences weren’t actu­ally turned up as he thought and listed that could have been avoided.. cin­e­matic fight with gusthi vaad­hyaar dis­ci­ples, sarigama song, Veeran’s reac­tion in the cli­max. As per him, the veeran char­ac­ter doesn’t know how to cry and he stays still.. for cin­ema it’s changed.

- Yuvan­shankar raja’s work is note­able as he just fol­lowed the true colours of vil­lage music except in duet songs. He slipped up in the cli­max scene, I think. Other BGMs fil aptly. I like the love theme, when­ever Muthzagu tries to look for Veeran.

- Madu­rai slang was used exten­sively in this movie and it was very nice. Thi­rap­par­vai Mad­han said to Ameer said the he could’nt fol­low the dia­logues. Ameer replied that the peo­ple can’t speak Chen­nai Tamil, sir. :)

- Have u noticed [ Unaku mat­tum endaa ippadi :) ]. the direc­tor chain Bala-Ameer-Sasikumar have a com­mon charc­ter­i­za­tion in Pithamagan-Paruthiveeran-Subramaniapuram [ school girl lov­ing a thug and thug has a friend ]. I’m afraid Samuthrakani comes up with one more story like this [ he is the asso­ciate in Paruthi veeran and he is the vil­lain in Sub­ram­nia­pu­ram — Kanagu].

Above all, Ameer says ‘I don’t fol­low world cin­ema’ !! No won­der this film was screened in Berlin film fes­ti­val and appre­ci­ated much !

Rajini said to Ameer ’ idhaan.. idhaan.. idhaan.. idhaan namma cin­ema.. idhu padamnu solli solraanga..idhu padamil­lai.. kaaviyam’. I sec­ond him.

–Toto.

Related Posts B

1. Aayi­rathil Oruvan
2. Nadodi­gal –Why ?!