ANNOUNCEMENT : PIXMONK WAS DOWN FOR A WHILE AND I WAS WRITING TEMPORARILY IN PIXMONK.WORDPRESS.COM :( . ANYWAY, I AM BACK :) .

எது ந‌ல்ல‌ ப‌ட‌ம் ?

எது அனுப‌விக்க‌ப்ப‌டுகிற‌தோ அது ந‌ல்ல‌ ப‌ட‌ம்.

When­ever there’s a sag in the tamil film indus­try, a fresh cre­ator comes and cre­ates magic. Of course, this will be diluted by other set of junk cre­ations. Still, we have this fresh air com­ing up in some kind of intervals.

Can you rec­ol­lect any direc­tor mak­ing his first movie with­out the reg­u­lar fea­tures of a Tamil film ? beau­ti­ful hero­ine, Songs, Dances, fights, sen­ti­ments, com­edy tracks, mag­nif­i­cent vil­lain, for­eign loca­tions, fast paced edit­ing gim­micks, make-up, famous star cast­ing, 1st class tech­ni­cians, Star cin­e­matog­ra­pher, famous writ­ers pen­ning the dia­logues, extra­or­di­nary pro­mot­ing adver­tise­ments, star music direc­tor [ mostly they sur­ren­der their first film to Ila­yaraja ] etc., Let it be Bala, Mysskin, Ameer, Sel­varagha­van, Radha mohan, Goutham or any one. How­ever, the credit first goes to SPCha­ran [ iron­i­cally, B  is miss­ing his name, who funded this project !! ] to invest in such a ven­ture and of course, the direc­tor Thiya­gara­jan Kumararaja for mak­ing such an expe­ri­ence movie.

The direc­tor never assisted any­one and self-made, mostly. Nei­ther he talks about world cin­ema, his shots, shoot­ing efforts, books and other junk trivia — he was very cool in an inter­view said ever­thing just hap­pened. Except the expe­ri­ence as the dialogue/lyrics writer of Oram Po he is new for film mak­ing.. One good thing I saw was ‘no com­pro­mise’ in all the areas. The cin­e­matog­ra­pher is P.S.Vinod who is slightly famil­iar to Tamil crowd [ Rhythm  movie cam­era­man ] and he assisted San­thosh Sivan earlier.

Story

It’s a day in the life of dif­fer­ent pro­tag­o­nists in a city – Singam Peru­mal, Pasu­pa­thy, Subbu, Sap­pai, Kodukaa­puly, Kaalaiyan, Gajen­dran and few oth­ers. They all hunt for a com­mon item, which trav­els through­out the movie.

View

What’s so spe­cial ? It’s raw in the first place, mul­ti­ple strong char­ac­ter­i­za­tions, racy script with afford­able twists and a won­der­ful back­ground score. When­ever a movie is praised the first ques­tion for a com­mon man is whether to go for it or not. The answer is please go for it. All the great world movies are sim­ple in the first place, well nar­rated and audi­ence feel close to the movie. It can’t be that a movie hap­pens in a dif­fer­ent plane where the viewer is unable to enjoy – then it’s a fail­ure [ ex : Uyire ]. It asks the viewer to watch closely to enjoy the detail­ing more.

Loca­tions – TK has avoided any com­mon loca­tions in Chen­nai [ beaches, rail­way sta­tions ] and this is the first movie to avoid area names in the movie. This adds up the mys­tery to the nar­ra­tion [ Looks like Ennore, Is it Meen­jur ?! Board says Thiru­votriyur - kind of your own inter­pre­ta­tions ]. Direc­tor scores in cast­ing, dia­logues [ crisp n best ], por­tray­ing the raw­ness – as what they are up to and of course the BGM. BGM is placed con­sciously in con­trast with the raw ness of the movie with pure non-local music. It resem­bles th cin­ema par­adiso, in the mood of love kinds of music to make a ref­er­ence. In fact, it enriched the music expe­ri­ence.  The other notable effort is plant­ing film songs through radio or TV. ex : Check post police stops the car and the car stereo plays ‘Kaatu vazhi pora ponne kavalaipadahde ’ :)

Pro­fan­ity in dia­logues – the good word was lastly used in Vet­taiyaadu Vil­layaadu very aptly in the entry sequence of Kamal [ thaa Gate-i moodraa :) ]. The dia­logues are penned in such a way analysing how the com­mon dia­log comes out – though it was lit­tle silly in the sap­pai - subbu seg­ments ( it has another mean­ing ). I don’t see any dia­logue alien in this movie. I wish I had seen the uncut ver­sio of this movie.

Guru Soma­sun­daram - One of the best per­for­mance of sup­port­ing cast in the recent past. How­ever, in my opin­ion his dia­log deliv­ery reminds me the kup­pam char­ac­ter of Kamal in Ellaam inba mayam and Kaaka Rad­hakr­ish­nan [ like repeat­ing dia­logues with pauses.. Irukku.. irukkun­nen ]. The father-son episodes are one of the finest showed on-screen, so far. The detail­ing is too good and answers all ques­tions as well as jus­ti­fies almost all scenes in the film. Ex : Singam­pe­ru­mal searches for a gun in one scene and we for­get about it. The gun comes out in from dif­fer­ent place in another scene. Even the Singam­pe­ru­mal was to show once he was a singam — no more expla­na­tions, I guarantee :)

I was lit­tle bit shocked in a chas­ing scene when pasu­pathi says ‘relax machee’ – I antic­i­pated a junk song there Thank­fully it didn’t hap­pen, then. If you have friends speak­ing other lan­guages, pls rec­om­mend this movie. I would not say this effort will change tamil cin­ema and unfor­tu­nately not. Even­tu­ally, this will be made for­got­ten in the com­ing days. Mysskin was in mys­tery when Anjathey was released and he didn’t get the sup­port from the indus­try and was in fact diluted. The rea­son is that if this is recog­nised as the real movie then what hap­pens to them. So this effort will come once in a while and will be def­i­nitely diluted by other ‘so called’ film makers. 

There’s no point in crib­bing by watch­ing this movie in DVD or in cell phone. This movie is purely meant for big screen.

Happy view­ing

Toto.

Related Posts B

1. Alai­payuthey — Out of the way
2. Kallavaani — Fra­grant Frangipani
3. Eeram — Neat effort.
4. Black Fri­day