Aadukalam Amarkkalam

Aadukalam Amarkkalam



It was like after watch­ing Pud­hu­pet­tai in Ban­ga­lore PVR and think­ing much about the content/making of the film in the late hours. I felt the same after watch­ing Adukalam [ AK ]. Also, it once again proved my choice of films based on Direc­tor and not based on actors !

The first chal­lenge of any cre­ator is to express some­thing which was never told before. Cock­fight­ing is one such blood­sport which was never reg­is­tered on screen, before [ I bet­ter exclude the typ­i­cal fights in Raanuva veeran, Kizhakku seemaiy­ile or the crap named ‘Sandaik kozhi’ 😉 ]. The writer has clev­erly used this sport, sports­men, Anglo-Indian families,close to real police­men and Madu­rai back­drop to give life to his bril­liant script.

Cin­ema is all about con­tacts and rela­tions. That’s how we have work­ing chem­istry like Bharathi­raja & Ila­yaraja / Selva & Yuvan – the offi­cial rela­tion­ship based works are dif­fer­ent [ infe­rior ! ] from the per­sonal part­ner­ship between 2 friends. The same with Vetri­maran and Dhanush [ also the crew ! ]. Vetri has started his career from Balu Mahen­dra and Kad­hir [ Kad­hal virus which infected Kadhir’s career 🙂 ]. The first film of him was actu­ally Desiya nedun­jalai which was shot for a week and shelved. Dhanush was the only hero who sup­ported Vetri. They later deliv­ered Pol­lad­ha­van — a film stands as an exam­ple fo mak­ing [ of course with first film com­pro­mises like com­edy track, Kuthu Ramya, Dheena, Brindha Parekh  😉 ].  Also he got a won­der­ful team Cin­e­matog­ra­pher R.Velraj and MD GVPrakash.

Story :The story is all about the impor­tant hap­pen­ings in the life of the char­ac­ters : KPKaruppu, Pet­taikaran Periyasamy, Pet­taikaran wife Meena [ Actress Meenaal ], Durai, Moham­mad Ayub, Oolai, Inspec­tor RKRath­nam, YEtu Ramesh, Ara mandaiyan Veera­mani, Rail­way can­teen Thanga pandi, Ganja Sundar, Irene mar­cus, Mar­cus Claud,  Nico­las, Dinesh and their life ! Every sin­gle char­ac­ter, dia­logue was used metic­u­lously and the screen­play was won­der­fully webbed. The dia­logues mostly explain the happenings.


Aadukalam’s story has two groups but they don’t clash the way we expect. It has songs but not pic­turised as we expect. It has a plot based on Madu­rai and rooster-fights but it doesn’t merely excel in show­cast­ing sports [ like Ven­nila kabadi kuzhu / Chennai-28 ]. It has love but doesn’t travel [ at least, mostly ] as usu­ally in films. It has the most twists and turns but noth­ing as we were trained to visu­alise so far. There are no duets yet the romance was poet­i­cally reg­is­tered. It has mother sen­ti­ment but as never told before. The next bold step was to cut the com­edy artists, item song and unbe­liev­able fights. In fact, the first half itself is a per­fect movie and the sec­ond half gets the inner shades of the char­ac­ters in a dif­fer­ent way. This leads a sag in the later half and some repeated moments.

View :

Cast­ing — I vote this seg­ment first. It worked out very well. Dhanush [ Sparkling per­for­mance after Pudupet­tai ], VIS­Jaya­balan [ Best char­ac­ter­i­sa­tion & mov­ing per­for­mance ], Taapsee pannu [ silent beauty — Chris­t­ian Bale maadiri kan­nukulla oru maru 😉  ! ], Bose, Kishore and almost all char­ac­ters. Of course, the tech­ni­cal crew was bril­liant. Cin­e­matog­ra­pher R.Velraj [ spe­cialised in night sequences ], Art direc­tor Jackie, dia­logue writer Vikram Suku­maran [ Spe­cial accoldaes to him for bring­ing the right dialects in the con­ver­sa­tions ], MD GVPrakash and edi­tor Kishore. I won­dered how Chen­nai based Vetri­maran has cho­sen a plot based on Madu­rai and later knew that Vel­raj & asso­ciate Vikram are from Madu­rai, who helped the exe­cu­tion. Though I was aller­gic of Madu­rai based movies, the slang, dialect, into­na­tions and the flow­ing dia­logues were very con­vinc­ing. Taapsee per­fectly fits in the char­ac­ter and thank God for not hav­ing Nayanthara/Trisha as they planned ear­lier [ Yaathe song waste aagi irukum ].

VIS­Jaya­balan — I mis­took him as GMKu­mar [ acted in Veyil — Aru­vadai Naall direc­tor ] by see­ing the posters. One of the pow­er­ful char­ac­ters and minute performances, I have seen recently. Radharavi’s voice aptly fits him and he deliv­ered a con­vinc­ing per­for­mance with gen­uine body lan­guage. Sim­i­larly, Samudrakani’s voice to Kishore and Andrea’s voice to Taapsee.

Songs were very catchy and I vote “otha sol­lala” as my favourite — a cel­e­bra­tory n jubiliant song. This song was rightly written/ sung/ placed/choreographed [ by Dinesh ! ]  and has sim­ple but lively lyrics. The credit goes to GVP, Lyri­cist Ekadesi and Singer Velmurugan. The song “Ayyayo” is not con­vinc­ing as it deeply reminds me Inji Idu­pazaha and Kot­tai paakum song, though it was dif­fer­ent try com­bin­ing SPB/Charan/Prashanthini. GVPrakash had some bit­ter moments in Pol­lad­ha­van as Dheena/YogiB shared the music cred­its whereas AK is com­pletely under his con­trol. In fact, the BGM was well done and as Vetri says songs are just the attrac­tions whereas BGM is close to the movie. To add, I have seen the traces of other BGMs in this movie — Love theme resem­blesVaazhkkai [ theme of Sar­vam ], Mother scene bgm resem­bles “aarariO paadiyad­haro” and some cli­max pieces resem­ble Braveheart’s sound­track  “revenge” [ Audio­gr­pahy could have been included at the end 🙂 ].

The height is that Vetri has listed bib­li­og­ra­phy and fil­mog­ra­phy which helped him to under­stand more about Madu­rai [ may be for blog­gers !! ] — which includes Viru­mandi, Paruthi veeran, Amores Per­ros, Pow­der kag, Babel and more films. Per­son­ally, I found few ideas were from Cin­ema Par­adiso. To men­tion about the cock­fights, they have used the CG at its best .

There are more spoil­ers, twists and turns through­out the movie — bet­ter not to see the pro­mo­tions, com­plete [?! ] reviews and mainly TV :). It was a lengthy movie [ 2.45 hrs ] and there are chances for the the­atre oper­a­tors to sharpen their editng skills. It’s a mile­stone for Dhanush and Vetrimaran.

When Suba.Veerapandiyan was once asked why do we praise our own peo­ple with col­or­ful adjec­tives like Per­ar­in­jar, Veerar, Soorar and he answered that if we don’t praise our own peo­ple, who else will do. Same here. If we don’t cel­e­brate our films, film mak­ers and artists, who else will do ! Also, I wish I had seen the movie with uncut dia­logues [ beep sounds increase my curios­ity about what ‘good’ words used swimmingly ].

Some tech­ni­cal terms used in rooster fight

Vep­por         — Plain rooster fights with­out knives tied in their legs
Eeras             — Win­ning rooster fight­ing for the 2nd time
Mooras         — Third time
Jameen         — End of the game
Thod­hayam — Tris­tate
Thanni            — Round/break
Saavakat­tari — Group leader

கொன்றாப்ப‌கை,  கொடுவ‌ஞ்ச‌னை , செங்குருதி ‍-  இவை சேவ‌ல்க‌ளுக்கும் சேவ‌ற்ச‌‌ண்டைக்கும் ம‌ட்டுமான‌த‌ல்ல‌.

There’s a final com­ment said in the Ayub tour­na­ment about Pettaikaran’s team. Con­sid­er­ing Balu Mahen­dra as Pet­taikataran and vetir­maran as his breed ..

பேட்டைக்கார‌ன் ப்ரீட்னா பேட்டைக்கார‌ன் ப்ரீட் தான்யா !!


Just a wild thougt.. The rela­tion­ship between Pet­taikaran and Karuppu is noth­ing but a stu­dent over­tak­ing his mas­ter and master’s over­re­ac­tion to the same. Pet­taikaran is left alone after that. This hap­pened in Tamil cin­ema too.

A famous music direc­tor X insulted a bud­ding MD Y, when Y tried to impress with a new tune. X insulted that music is not such an easy thing and it requires more time for Y.  That’s the moment Y has decided not to give any sug­ge­si­tons to any­one and also never engage an assis­tant for him. X — GKVenkatesh; Y-Ilayaraja.

After 2 decades, Ila­yaraja, at his peak deliv­ered a speech that what­ever he does is music and it’s the fate of Tamil peo­ple to lis­ten the same. The fall of the Pet­taikaran began there !  I can core­late a dia­log in this movie after IR was left alone dur­ing his fall.. Ippo mani patharai.. inneram inga JJ nu pro­duc­ers kootam irukkum — Prasad record­ing theater :).

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