Home Entertainment ‘Saani Kaayidham’ film assessment: Keerthy Suresh, Selvaraghavan are terrific on this bloody, but centered revenge drama

‘Saani Kaayidham’ film assessment: Keerthy Suresh, Selvaraghavan are terrific on this bloody, but centered revenge drama

‘Saani Kaayidham’ film assessment: Keerthy Suresh, Selvaraghavan are terrific on this bloody, but centered revenge drama

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Filmmaker Arun Matheswaran’s second instalment in what he calls his ‘revenge trilogy’ is gory and disturbing. Just like the director’s earlier movie, it has a number of auteur touches right here too, and but, there are a number of points

Filmmaker Arun Matheswaran’s second instalment in what he calls his ‘revenge trilogy’ is gory and disturbing. Just like the director’s earlier movie, it has a number of auteur touches right here too, and but, there are a number of points

This assessment might include graphic particulars that could be triggering

There’s a uncommon pessimistic look that Arun Matheswaran brings about in his movies by means of using monochrome visuals as a way to convey despair and struggling. Arun makes use of this black and white cinematography solely at intervals, particularly for the characters’ flashbacks — each in Rocky and Saani Kaayidham. It’s typically stated of Bergman’s black-and-white movies and the pessimistic affect they’d. However the pessimism in Arun’s movies comes from powerlessness. The monochrome, in different phrases, is meant to convey the stillness of the characters and the absence of color of their lives. This, in fact, could be attributed to the narrative alternative with a really particular goal: to tease us with a flashback. However the backstory by no means turns into the forefront, it is just a reminder.

There are at the very least two completely beautiful pictures within the flashback that do remind you of Bergman — simply by way of its choreography. First is an excessive lengthy shot of a abandoned hut and a boy who appears abandoned. Second, additionally an excessive lengthy shot, of a (abandoned?) mom and her daughter in focus, whereas the boy turns into a shadow determine within the background. My jaw dropped. Cinematographer Yamini Yagnamurthy does a incredible job; her work could be very formal. She opens with a large, a mid and a close-up shot. This form of a composition is what you’d discover in traditional movies. Yamini is particularly terrific with regards to filming scenes of sexual violation, however extra about that later.

Arun Matheswaran is an enchanting expertise, little doubt. He appears at cinema not simply as a way of telling tales however epics. Therefore, he’s not glad with making movies, however epics. As we noticed in his terrific debut Rocky, Saani Kaayidham too is structured equally like a weighty piece of lyrical textual content — with six chapters separated by a prologue and an epilogue. Arun’s Rocky was a quick exploration of the concept of land by having a protagonist who has his roots in Sri Lanka. The politics in Saani Kaayidham is direct and nearer to actuality with caste-based violence. If Rocky was a few man asserting his rightful place in an alien land, Saani Kaayidham is an assertion to rise above the social order. Each these movies are concerning the powerless combating their solution to the highest. 

When you take revenge as a style, most filmmakers would have a look at it from the prism of trigger and impact. And therefore, they’d be content material with having three huge moments within the narrative. Or perhaps 4. However in Arun’s movies, these huge moments are what they’re about. These huge moments aren’t precisely “huge” within the typical sense, say, like in a Vetri Maaran movie. These are huge in ideas, decisions and the size with which frames are painted with blood. In different phrases, Arun Matheswaran’s movies don’t construct as much as violence. They’re designed to start and finish in violence, even on the conceptual stage.

This uncommon conviction that Arun possesses is what makes him a dedicated filmmaker. That dedication is even rarer to seek out today, when movies are more and more turning into corporate-controlled and filmmakers needlessly pandering to the tastes of the market. Having stated that, this author undoubtedly feels Arun must put the follow of his stylised violence to higher use. He must direct his violence in the direction of the viewers and never be content material with exploiting it for “shock” worth. He must direct his violence in the direction of making standout sequences.

This was an enormous drawback for me in Rocky. It is a enormous drawback in Saani Kaayidham. Full disclosure: I’m all in for excessive cinema, offered it makes me flinch. The violence in Arun’s movies are too straightforward, too exploitative and too playful. Some scenes are censored and cuss phrases are muted within the present model of Saani Kaayidham. What’s the purpose of releasing such movies on digital platforms anyway? What’s the purpose of those atrocious claims about “creative freedom” that you just get on OTT platforms? 

Saani Kaayidham

Solid: Keerthy Suresh, Selvaraghavan and Kanna Ravi

Director: Arun Matheswaran

Storyline: Ponni and Sangaiah, who share an estranged relationship, are introduced collectively for a typical goal: revenge

Saani Kaayidham is constructed across the brutal sexual assault of Ponni (Kudos to Keerthy Suresh for agreeing to do that) that goes for therefore lengthy. It is vitally, very disturbing and chilling. But, the sequence eschews the standard sensationalism and finally ends up being suggestive. Props to Arun and Yamini for filming the assault with minimal particulars. The sequence, sure, is merciless. However Arun is cautious to not exploit the assault, not like our business filmmakers. On the similar time, Arun is equally cautious with regards to writing the unhealthy guys. They don’t seem to be unhealthy due to what they do, however how they suppose. There’s a scene the place somebody makes a hand coronary heart gesture at Ponni. This was extra triggering than the aforementioned scene. That is what makes Arun an necessary voice as a result of greater than something, he is aware of how hierarchy works, is aware of how males suppose. 

However that is to not say that Saani Kaayidham is completely sensible. The movie says that the occasions happen in 1989. However the language, phrases the characters converse are immediately’s Tamil. Sure, violence is graphic, however it isn’t actual. Which is why when Ponni and Sangaiah (a terrific Selvaraghavan) go all out, we develop into detached to what we see after a degree. This occurs as a result of violence is stylised. Generally the movie does make you are feeling it was conceived for these “huge” moments and never the opposite manner spherical. Talking of violence, there’s an outrageous scene when Ponni and Sangaiah (who’re half brother and sister) are butchering somebody, their fingers bathed in blood, when ‘Malarthum Malaratha’ from Pasamalar performs within the background. It’s a scream.

Keerthy Suresh’s eyes by no means regarded extra highly effective. Selvaraghavan, alternatively, is a good alternative. He will get two excellent moments the place you actually purchase his innocence. There are a number of shortcomings although. Sparing particulars, the best way Ponni reacts in the long run will not be how she would react. These two characters have been by no means sentimental!

There are a number of auteurist touches in Saani Kaayidham. A curse comes true. The uncared for half-brother turns into a watchful protector. Mahabharatham performs on the radio when Ponni will get her closing act, as if to suggest Panchali’s sabatham. Like Inglourious Basterds, we get an explosive climax in a theatre. Blood drips on kaayidham . There’s a lovely parable a few thousand eyes and a visually-impaired boy. I’m a fan already.

Saani Kaayidhamis streaming on Amazon Prime Video

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