Author Archives: M S ASHWIN BALAJI

Lokesh Kanagaraj | Vijay, Vijay Sethupathi, Malavika Mohanan | 2021 | Action Thriller

           Master – a big release in kollywood after almost a year. A film release that sowed the seeds of hope in Cinema post pandemic. This third directorial feature of Lokesh Kanagaraj is the talk of the town starring top actors in the country: Vijay and Vijay Sethupathi. Master looks like the new mode of commercial cinema in the industry. From the hype the film had created right from the announcement of Vijay deciding to work with new generation content-driven directors, to almost every time Master made it to the headlines, people watched intently. The production, in an insurmountable task, managed to keep the hope alive despite the release being on hold for eight long months. When an experimental director tries to crack the commercial formula, he ends up creating his own format, and Master is a textbook example of the same.

           The story dominantly travels in two settings, St. Jeffrey’s college and the Nagercoil – Neyveli Juvenile school along with its neighbourhood. In terms of time period, there is just a 10 – 15-minute background setting of a fifteen-year-old incident, rest being the present. Master is a unique format for a commercial film in the Industry. As sarcastically stated by Vijay Sethupathi in the film, he the antagonist in the film stood as the hero of the story and his shades and character arc brought the required intensity with added intrigue though the film. Master has a few flaws, but it is majorly for the critics out there. The target audience and the general public pretty much celebrate the film for the level of experiment the film maker has done unlike the actor’s previous directors. The film hit the target audience right at home. Master is one of those films that embark on celebration. Kudos to the production to hold on the film for such a long time even with the insecurity the pandemic had caused.

           Director Lokesh Kanagaraj is the talk of the town for his tremendous growth in such a short time. It had potentially diverted his route from the kind of films he does to a commercialized experiment. With an interesting filmography of Maanagaram and Kaithi, Lokesh has yet again created something different in Master. Being Martin Scorsese’s admirer and Kamal Haasan’s fan boy, he always had their impact in his stories and screenplay. Known for a narrative through action, Lokesh has continued the same in this film too. With multiple action sequences and stunts all throughout the film, every scene seems different from the usual unnatural stunt choreographies we’ve seen all these years. Song placements and setting the mood of the film right at the start have dwelled into the film and enhanced the story telling. A major positive from the film maker’s side was how different and imperfect the protagonist’s character was written for a larger than screen picture of Vijay and the conviction to execute it without compromise. Lokesh created an antagonist as intelligent and intense as the protagonist, in fact even stronger and mightier than the protagonist in a couple of scenes which was completely new to the commercial Thamizh cinema format.

           Although the film had a mighty casting, the film predominantly travelled between Vijay and Vijay Sethupathi. A drunkard, not so perfect hero and a terrorizing steel fisted Vijay Sethupathi. The initiative to such realistically painted roles has been a call for the industry to do away with traditional shades. Malavika Mohanan wasn’t just another Vijay heroine, she had an important connection to the plot that diverts the whole story with her low screen time. Arjun Das, who plays a juvenile boy fits perfectly into the character and once again proves the kind of actor he is. Mahendran looked like the actual younger Vijay Sethupathi and was the one who initiated the much necessary intensity for Bhavani right at the start. Poovaiyar who played the role of Undiyal – a juvenile boy, had his own mass elements in the story and that even overshadowed the protagonist at times, crafting a delightful experience. Apart from them, Andrea, Shanthanu, Dheena, Ramesh Tilak, Gouri Kishen, etc., had small scene space, but did their parts rightly.

           Master is one of the technically strongest films in recent times. The technicians who were few films old showed what talent is when opportunity is given in such films. Cinematographer Sathyan Sooryan portrayed the vision of Lokesh in the most beautiful way. Lokesh’s love for night shots and scenes wouldn’t have come across so beautifully on screen, if not for him. His colour palettes were unusual for a Vijay film and stuck to the story in every possible way. Anirudh’s songs in Master were ruling our playlists for almost a year now, but his background scores have shown us what he is truly capable of. His music sense and audience pulse works rightly all throughout the film. A three-hour long film is no joke when it involves one hundred and forty crores. Although the film was a bit too long for the story, editor Philomin Raj did a pretty decent job in bringing to us the right frames and shots that narrated the story in a more convincing way. In short, Master is an experiment in the waters of commercial cinema, and boy, has it stood the test of time.

Anthology Mini Series | 2020 | Netflix Originals

          Paava Kadhaigal, a Netflix anthology web series and the first in Thamizh directed by top Kollywood directors Sudha Kongara, Vignesh Shivan, Gautham Vasudev Menon and Vetrimaaran falls on the lines of Pride, Love, Sin and Honour respectively. Paava Kadhaigal is a small example of how fantastic and different storytelling experience could be when four diverse filmmakers join hands to give their take on these themes. Each episode is a movie of its own and gives a unique take on their stories and characters by the filmmaker through their perspective. 

Thangam – Pride

Sudha Kongara | Shanthnu Bhagyaraj, Kalidas Jayaram and Bhavani Sre

          Sudha Kongara’s Episode with Shanthnu Bhagyaraj, Kalidas Jayaram and Bhavani Sre in the backdrop of Retro Coimbatore region. Easily Thangam is the best of the four in terms of pre-production and detailing. Right from the accent, houses, costumes and names, every aspect was on point. Playing the role of a transgender, Sathaar is easily Kalidas’s career-best performance. The plot explores the ill-treatment of a person who is different from the rest with a pinch of Hindu – Muslim touch and a shade of LGBTQ. Dialogues were added positives and brought tears on many who watched especially in the pre-climax sequence. Kalidas’s convincing performance, Shanthnu and Bhavani’s supporting roles to convey the motive made an impact. 

Love Panna Uttranum – Love

Vignesh Shivan | Kalki Koechlin, Anjali, Padam Kumar

          Vignesh Shivan’s Episode with Kalki Koechlin, Anjali, Padam Kumar explores the takes of Love in a dark humour genre. Though the plot deals with honour and stereotypical mindset, it was beautifully wrapped inside the classy Vignesh Shivan’s touch. Anjali’s duel role variation and Kalki’s subtle yet powerful acting were added positives. Anjali’s father and his men gave a contrasting and out of the box innovative experience when compared to the other pieces of the series. although the film had a lot many swearing scenes, it was always in the humour side worked pretty much among the audience in midst of heavy contents. The scenes were well built and never seemed forced into the plot. Anjali’s dialogue ‘It’s love Dad, it just happens’ was an eye-opener and not just her dad but gave a slow yet impactful mark on the audience to accept love irrespective of differences. The episode had a ‘Venomous Bastard’ experience.

Vaanmagal – Sin

Gautham Menon | Gautham Menon, Simran and Aditya Bhaskar

          Gautham Vasudev Menon’s Episode with himself, Simran and Aditya Bhaskar in lead reiterates faith and shows how a family especially a mother who undergoes ‘Sin’. A complete rural package from a filmmaker who has always given us classy urban stories was refreshing to watch, especially seeing him in Veshti (Dhoti) and shirt. Set in the backdrop of Madurai, the plot deals with a middle-class Thamizh family who meet with a tragedy and how each person respond to the after event keeping in mind their bond with the victim, the society, victim and relatives. Beyond the theme, the story explores a variety of beautiful family bonding and gives a subtle opinion on what is more important. The film pretty much had a lot many intense scenes with wasn’t that comfortable watching on screen, yet is one of the much needed in recent times. The music blended with the story seamlessly and give strong backing to the story just like any other Gautham Menon film. Ignoring a pinch of artificial Gautham Menonish English accent in the rural setting, the film is definitely a must-watch. 

Oor Iravu – Pride 

Vetrimaaran | Prakash Raj, Sai Pallavi and Hari Krishnan

          Vetrimaaran’s Episode with Prakash Raj, Sai Pallavi and Hari Krishnan shows us the story of a father who comes back to his pregnant daughter who had eloped two years back and got married to a lower caste guy, takes her back to his village to arrange for a baby shower function. Oor Iravu is a stand-alone example of cinematic brilliance. A simple story with minimal character and setting, but conveys the conflicting emotions between the characters and the bond between them. the film maker’s convicting is evident on every single frame of the film. Out of the four films, this was the one with the least background score backing, the episode conveyed the story through brilliant acting and single-take shots. Known for his gitty and raw film making techniques, Vetrimaaran has once again proved himself as one of the finest filmmakers in the country. Prakash Raj’s acting naturally convincing and added more emotions to the story narration. Sai Pallavi, on the other hand, stood as a key to the story progression and pulled off the pregnant lady role convincingly. 

Sudha Kongara | Suriya, Aparna Balamurali, Paresh Rawal, Urvashi, Mohan Babu, Karunas,
Vivek Prasanna, Krishnakumar, Kaali Venkat | 2020 | Biopic – Drama

          One of the most anticipated movies in Kollywood, Soorarai Pottru is based on Captain G R Gopinath’s “Simply Fly: A Deccan Odyssey”. Suriya’s thirty-eighth film directed by Sudha Kongara is a biopic about the man who brought low-cost airlines to the Indian public in the early 2000s. A film well written and shot , Soorarai Pottru is Kollywood’s biggest OTT direct release. Released as an Amazon Original Movie, the film can easily be claimed as movie of the year in the industry. Claimed as a powerful comeback for the actor after a string of low-key movies for a few years, the film managed to satisfy both the commercial and critical audience and has emerged as a critically successful film.

          Following the three-time period and the backdrop of the Airline industry, Indian Air Force and rural Madurai, the film explored an excellent mix of cinematic fiction into Deccan Air’s reality. Although the story plot and genre were relatively new to the industry, the execution made it seamlessly gel into the audience’s minds. With a strong emotion and determination value, the film inspires a lot many youngsters and evokes the spark of entrepreneurship and pursual of dreams. Every dream has a spark and a film’s success in such biopics depends on how strongly the spark provokes the protagonist. Soorarai Pottru does everything right in that aspect and builds a sense of relatability in the audience. Director Sudha Kongara’s conviction, clean writing and collaboration with the right people have been the base for such a classy output.

           Right casting for the right roles does half the job. Undeniably, it was key to the film’s success as well. Aparna Balamurali as Maara’s wife Bommi has given a standalone performance for what the character demanded; the role was tailor-made for her. From the rural Madurai accent to the body language, everything seemed natural and in line with character demands. Urvashi’s emotional portions brought tears to the audience and registered the character significantly. Karunas and Kaali Venkat’s innocence added a lot to the story and kept the humour lively and natural. The Air force and Airline’s backdrop with Mohan Babu, Vivek Prasanna, Krishnakumar and Paresh Rawal contributed substantiallyto the story. It portrayed the never seen Indian Aviation beautifully. Suriya, the man on whose shoulder the whole story travelled, lived as Nedumaaran Rajangam. His expressive gaze and closer to perfection acting in the film easily mark it as one of his career-best performances. His portrayal of the character brought in the much-needed hope and courage for people in the real-life pandemic situation.

           The film, amongst everything, enjoyed an excellent technical backing as well. Director Sudha did everything right here again. Right from Vijay Kumar’s powerful dialogues, GV Prakash’s heart-melting songs and goosebumps inducing background score to Niketh Bommi’s awestricking visuals, everyone contributed their parts rightly to bring the dream of Captain G R Gopinath as Nedumaaran Rajangam’s life on screen. With no fight sequences, they’ve managed to deliver such a raw and gritty film.  Major contributors for the same are the costumes and Jackie’s artwork. The sets brought the much-needed period feel and gave the actors the liberty to relive the 80s, 90s and early 2000s. In short, Soorari Pottru is an absolute stunner and an inspiring biopic.

Karthik Subbaraj | Rajinikanth, Simran, Nawazuddin Siddiqui, Trisha, Vijay Sethupathi,
Megha Akash, Malavika Mohanan, Bobby Simha, Sannath | 2019 | Action Drama

          Set in the backdrop of Madurai and Darjeeling, Petta – Superstar Rajinikanth’s 166th
film is riveting. Directed by a Rajini fanboy Karthik Subbaraj, the film is yet another addition
to the Gangster Movies in the actor’s filmography. With a massive multi starrer under the
banner of Sun Pictures, Petta targeted the 2019 Pongal. A festive release for the actor after
almost two decades, the film brought back the vintage Rajini, exactly how a fan would love to
see him. Witnessing the biggest Kollywood clash with Viswasam, the film emerged as a box
office winner with exceptional critic reviews.

          Karthik Subbaraj’s fifth directorial venture Petta, created a new genre of Rajinism.
With a fanatic angle lacing through each aspect, the film gave a refreshing feel and was
celebrated for recreating iconic Rajini moments all throughout the film. Petta is definitely a
unique film. It showed a different dimension of the actor,something that was never seen
before. Although it was a complete Rajini-fanatic film, the director never missed to show his
own flavours in it. Unpredictable twists, realistic characters with grey shades and use of
impressive gangster story lines; his flavour with Rajini’s screen presence took the entire
experience a notch higher . To point out the climax twist with Chinna – Jithu, the connection
between Anwar; all in all, Petta was weaved through unpredictability and kept reminding us
who the filmmaker was. Iconic Rajini references like ‘Basha Silhouette’, ‘Annanukke Jai’ in
“Marana Mass” Song, ‘Chandramukhi Intro – Lorry top instead of Bullock Cart’, ‘Mullum
Malarum – Gate opening’, ‘Alex Pandian – Coolers Reference’ are a few of many iconic
moments that were recreated in Petta.

          Regardless of the film being a multi-starrer, the film travels on Rajinikanth’s
shoulders. As a result, other characters were given minimal screen space. Simran’s love
montages were an absolute delight to watch, not to mention how the pair enlivened the film
with the unconventional set-up. On the other hand, Trisha in the flashback did a pretty
decent job and delivered a convincing role. Mahendran, Malavika Mohanan and Sasikumar
too supported the reminiscence in giving the much-needed backdrop for the setting and the
plot. The college portions involving Megha Akash, Munishkanth, Sannath, Bobby Simha
added flavours and positivity. The film progressed and moved towards the gangster plot. The
plot was held and supported by Nawazuddin Siddiqui and Vijay Sethupathi. Although the film
had such a big casting, Petta is a complete Rajini film and these actors were just holding the
Rajinified feeling on a higher pedestal.

          Petta being a Thalaivar tribute film was not just written and directed by a fan boy, but
the whole cast and crew were Thalaivar fans and their admirable craft is what makes the film
what it is. National Award-winning Cinematographer Thiru’s lighting techniques are the
backbone of the visuals. Since all important sequences are shot during nights, each fight
sequence required a special treatment and recreation to portray the Rajini the director
dreamt of and Thiru has done nothing less than a fabulous job in that regard. Another strong
backing for the film is the stunt and fight sequences. Choreographed by the superstar’s
favourite Peter Hein, the nuances of Karate and authentic Madurai styles reflected in the
stunt choreography throughout the film. The master mind that kept the audience on the
hook: Anirudh’s background score and songs are an industrial hit! To point out, Anirudh’s
instrumental arrangements for the silhouettes and recreations had a mix of mass commercial
Rajini trademark and his own experimental signature which, in combination, had an
everlasting impact on the fans.
In short, Petta – Get Rajinified!

Thiagarajan Kumararaja | Vijay Sethupathi, Samantha Akkineni, Fahadh Faasil, Ramya Krishnan, Mysskin, Gayathrie | 2019 | Black Comedy – Science Fiction Fantasy

          Categorizing this film into a particular genre is not appropriate. It involves multiple genres and layers. A 175 minutes film without any songs or diversion in Tamil cinema is new, and the best part is that it has played its role rightly. Thiagarajan Kumararaja’s second feature film after Aaranya Kaandam after nine years. I still remember one of the interviews where the anchor asked him the reason behind doing only two films in ten years while other filmmakers are almost releasing a movie in two or fewer years. His answer was simple: ‘l am in no hurry, let me take time and life is long.’ Probably, to deliver a film like Super Deluxe one has to take this time. Super Deluxe is one unusual film with twelve characters, four-story threads, four writers and two cinematographers. This extraordinary film seems to be the spiritual sequel of the film maker’s debut film in terms of genre and treatment.

          The real success behind the film lies is weaved through the writing of it. Since the screenplay was written by four directors: Thiagarajan Kumararaja, Mysskin, Nalan Kumarasamy and Neelan K. Sekar, each of them with diverse ideas and ideologies pooling in everything and weaving all the different story threads into one piece and this difference had played a significant impact in the story portrayal too. When talked of writing, Super Deluxe is one of the most flawless scripts in the industry, and the time taken for the filmmaker to complete this is justified. It’s worth the wait to watch such a masterpiece. Each character, frame and dialogues are designed and perfected according to the flow of the story and give the audience a flawless film to watch. It was that curiosity among us in knowing the endpoint where they would lock all the stories that kept us awake throughout the story. Surprisingly, all the stories and the audience were all revolving in the same orbit but with different perspectives.

          It’s hard to spot all characters and choose who was the best individually. Vijay Sethupathi would be our obvious choice for his bold choice of portraying Shilpa. Nevertheless, story-wise each character had a reason and justification assisting them all fit perfectly into their roles. Both Ramya Krishnan and Samantha deserve recognition for their choice of Leela and Vaembu. When all other actresses are heading towards commercial films, these two women took up such challenging roles and aced it in style. Fahadh looks smart and does exactly what a typical middle-class guy would have done in his situation. The relativity in his character made him shine throughout the film. As usual, Mysskin with his beard filled the rugged dark look, as pain and regret were being blinded in the name of belief but leaves an open question to us, ‘What would happen if we break that barrier?’ Finally, my personal favourite master Ashwanth; his charm and smart innocence are what spreads positivity among others. His urge to prove his friends wrong and the courage to accept the reality holds a significant impact in the crafting of inclusive perceptions and breaking stereotypes.

          Simply put, Super Deluxe has shown us dull locations in the most vibrant way. Each house has a unique colour template and palette. Detailing makes each character stronger and helps in establishing the feelings and the incident. Although the film had two cinematographers, nowhere in the movie, we could spot the difference. Both did their job with utmost perfection and gave a top-notch on-screen experience. Ramya Krishnan’s single take in the hospital, Samantha and Fahadh’s close shots in the warehouse and in their house, those street shots of Vijay Sethupathi and Ashwanth brought the scenes closer to us than it could have been. On the other hand, Little Maestro Yuvan Shankar Raja had only the background score and yet brought in the magic. His subtle, repeated tunes elevated the scenes and kept the intensity as alive as possible. The film held its emotion firmly with the help of Yuvan.                                   
Super Deluxe; an equilibrium breaking stereotype.

K V Anand | Vijay Sethupathi, Madonna Sebastian, T Rajendran | 2016 | Political Thriller

National award-winning Cinematographer turned Film maker K V Anand’s sixth film Kavan, starring Vijay Sethupathi, Madonna Sebastine and T Rajendran in lead is set on the backdrop of Media and Journalism’s darker sides. Kavan is the film maker’s second film on the similar plot lines of media after Ko which spoke about the politics, press and media’s manipulation both positively and negatively. After a well-received KO, the filmmaker joined hands with his favourites Subha (Suresh and Balakrishnan) along with Kabilan Vairamuthu who are the writers of the film. K V Anand is one of the few filmmakers who prove collaborations bring out different and strong dimensions to the story, in that case Kavan is a classic example of well researched and technologically strongly written film. With ample research on the media and its darker sides, Kavan opened up the heights of media’s manipulation in our opinions and thoughts. Right from Breaking News to Reality shows to Advertisements to Political propaganda to Embedded Journalism, the film touched almost all aspects possible.

            Detailing and Cinematography perspective to the story is what makes K V Anand stand out from the rest Kollywood filmmakers. In Kavan, his story telling ability through cinematography has played a major role in showing the minor media nuances which has added strength to the story flow and the screenplay as well. To branch it down, the film has multiples layers and character lines which have effects to the main story plot and travel. Thilak’s (Vijay Sethupathi) perspective towards journalism and its ethics with align with Mayilvaganan’s (T. Rajendran) intake in media and failed progress in keeping up with the commercial media channels and ideologies have played a key role in the film’s travel of social activists Adbul (Vikranth) and Kalpana’s (Darshana) conflict points with politician Dheeran Maniarasu (Bose Venkat) and his pesticide company which affects a whole generation which lives nearby the factory’s discharged wastes. On the other side the corporate media minded Zen TV and its mains try to create sensations by twisting the reality and manipulating the news as per time which has outrightly shown the sides of media which never comes in the screens. Generally, in a film, the conflict between two ideologies or perspectives when crossed each other creates a conflict which is the crux of every story said, in Kavan this is one of the major positives which turned out to be the base for all other character’s line to flow on.

In short Kavan is a conflict between two sides of media where on says you need to manipulate the content negatively to make it reach the audience (Zen Tv Kalyan and Bavana) and on the other side original news can be given to audience with the same interesting way without twisting the content or cutting down its originality. The battle between both these sides with perfect technical balance in terms of screenplay and story flow is what makes Kavan interesting and unique. Starting from the insider fixing done in reality shows to keep the most popular contestants alive in the competition to grab audience viewership for TRP and Advertisement attraction, a lot many channels cut down the talented ones. This reality show manipulation includes Negative comments from judges to spice up the show and sledging and insult comedy anchoring techniques were shown abruptly. On the other hand, creating news to make it a breaking news and catch viewership, media and journalism ethic died. As portrayed, there are multiple ways of handling news, cutting down the whole news into pieces to manipulate it in the name of media freedom is a crime. This has been one of the major issues in the media industry. The talk show’s real faces were surprising, the influence media has on the public’s opinion is massive and talk shows can easily build an image as well as break it down into pieces in one show. As quoted in the film “The one who wants to prove his point yells at a heated talk show and the one who wants answer stays low and gets it the way he wants, the tone of your words don’t decide the authenticity of the point being argued”, this is one many sense that is lacked in the media right now.

The political perspective and Embedded Journalism ideologies have played a key role all throughout the film in the story plot of Abdul, Kalpana and politician Dheeran Maniarasu. Portraying a person good or bad can happen in just second with media and the intensity of this is severe, else none of the political parties would have started television channels to for their party propaganda. Interval scene of Kavan is one of the iconic Interval interviews ever, although the scene reminds Mudhalvan Raghuvaran and Arjun’s interview, this scene stands out for its cause and intensity. Media knowledge such as a CCTV can’t record audios, video camera mic’s range can be used as a tracker and spiral of reality programs that are copied after the successful experiment on one channel are all eye openers to the audience. Music and background music have been a key all throughout the film, especially the reality show which induced Mahakavi Bharathiyar’s poetries. Editor Anthony had one the tedious jobs ever and the film cinematography had multiple perspectives which kept swapping from different media tools, yet did a fulfilling job with a runtime of 160 Minutes. In short, Kavan shows us what the happens behind the camera.

Balaji Mohan | Dulquer Salmaan, Nazriya Nazim | 2014 | Satirical Romantic Comedy

Vaayai Moodi Pesavum (Thamizh) / Samsaaram Aarogyathinu Haanikaram (Malayalam), is director Balaji Mohan’s Satire Romantic bilingual (2014). This Thamizh debut venture for Dulquer Salmaan, is his second combination with Nazriya Nazim. Also starring Madhoo, Robo Shankar, Arjunan, Nakshatra, Ramesh Thilak, Pandiyarajan and John Vijay, the film is set in the backdrop of Munnar as Panimalai. With a story based on a hill station and a fictional dumb flu, the film maker has managed to spin a bold ambitious experimental attempt through the film. As stated by the film maker, the story is a “sort of social and political satire. It presents a critique of our country’s political and social setup. The fictional dumb flu, which renders people incapable of speaking, as a “metaphor for society’s refusal to communicate freely, which is the root cause of all problems personal, social and political.” Technically the team has a good backing from music director Sean Roldan, cinematographer Soundararajan and editor Abhinav.

            The story has a lot of sub texts and character link which gives a lot of weightage to the co-actors, not just to the leads which has been something not very usual back in 2014 Thamizh Cinema. Most interesting part in the film is the simple connections and emotions between them. Aravind’s friend who has problems with facing people and opening up, gets a nurse without speaking. The orphanage where Aravind was brought up faces rental issues from the landlord who has lost interest on speaking and being happy in life due to his eloped son at the end accepts his son for his grandson and also gives back the land to the orphanage. Vidhya, Anjana’s stepmother, an aspiring writer tries to create the bond with her step daughter who finally accept her and calls her “Amma”. This aspiring writing who gave up her passion for the family decides to pick up her passion again and decides to share her work with her husband. Her son who is not so good in studies has a passion for art and sketching, which Aravind helps her figure out. Anjana who is in a relationship with a guy who dominates her and is too possessive, finally gives up the relationship and chooses Aravind. Protests against Nuclear star Bhoomesh for showing drunkards in a bad light in his films by Mattai Ravi, a drunkard who is the President of State Alcoholics Association and Ramesh, President of his fan’s club who opposes this protest finally compromise through the small incident where Aravind weaves his white shirt and which is interpreted as a symbol of peace. Health Minister takes care of the dumb flu but contracts it in the end. So many different sub plots but concludes by the acts of Aravind.

The film was not a commercially successful venture, yet has been one of the bravest attempts with Satire Romance in Thamizh Cinema. The most interesting parts of the film are its interpretations of character colliding and conclusions drawn from it which symbolises the society as a metaphor. The major themes colliding, Actions speak louder than words and everything can be sorted when spoken, are contradicting yet with perfect blend can create wonders in life. The story line between Anajana and her possessive boyfriend when she finally decides to stand up for her shows how equality is important in a relationship, you get to choose what you like irrespective of the gender, stand up for yourself. Her bond with her step mother Vidhya, shows acceptance. Acceptance and adjustments made in life makes it more meaningful and we never know how good anyone could be, Anajana realises that only when she sees Vidhya supporting her to be herself and wear whatever she is comfortable with. Vidhya’s son who is weak in studies but interested in sketching and art, picks videogame over books, but later picks sketches over videogames showing us that his love for passion stands over entertainment, just that if this additional pressure is taken off he would excel is exactly the metaphorical representation of our educational system’s flaw. Vidhya who is an author or two books gave up her career, but when she realises that there are people who stand for her and like her works, that gives the motivation for an artist, that’s the moment she realises to share his burden with her husband and sort out her works and find time for writing. Breaking stereotypes are important especially for married women. Bhoomesh – Matta Ravi – Ramesh ‘s plot line shows how simple solutions are and how big problems to lead to when spoken without sense. Every problem has a solution and each solution can be as simple as wearing a white shirt by a stranger by mistake. Someone’s small action can be louder than the quarrelling words. Aravind’s friend finds his girl, the nurse when he keeps his mouth shout, at times all you need to do is nothing don’t open your mouth and things fall in place. The landlord’s anger broke into pieces when he saw his grandson and his anger didn’t last for long. Every action has a reaction and in return realises the happiness of the orphan kids and gives back the building for them. This whole story plot shows us that there are a lot of emotions and relations which are more important than just money. Finally, Aravind and Anajana, you just have to wait and be you never change the human in you, you’ll definitely find the right person. Vaayai Moodi Pesavum / Samsaaram Aarogyathinu Haanikaram is patience tester, but such movies are worth watching for the deeper meanings.