I realise I just might have oversold Subramaniyapuram to a degree that the film cannot hope to live up to, but when you’re excited about something and when you rush back for a second viewing immediately after the first (possibly to pinch yourself and check if, indeed, your reaction to the film was proportionate to its merits), you want to shout from the rooftops – especially when the kind of theatres the film is playing in are likely to deter certain classes of the audience. The year has already seen the release of Mysskin’s Anjaathey, and going by the laws that govern Tamil cinema – commandments such as the one that says, Thou shalt not cast a heroine unless she knoweth not the language, or the other one that goes, Thou shalt fall on all fours before the hero and sacrifice every other consideration about the film at the altar of his magnificence – there weren’t supposed to be any more nasty surprises in the form of cinema as cinema (and not just cinema as a commodity hawked at the intersection of the A, B and C centres), at least till Bala came out with Naan Kadavul.ĭoesn’t M Sasikumar know this? Doesn’t he know he can’t just spring out of nowhere and dazzle us with craft and control and give us one of the best first features ever made, so wonderfully written and so beautifully shot and put together? Doesn’t he know he’s got to make tinny excuses about not having the support system of a multiplex culture or not being able to rope in saleable stars, and therefore end up making a highly compromised work – with item songs like Kathaazha kannaala – that merely exhibited promising slivers of his talent, rather than one that showcased him as a fully-formed visionary who appears to have done for the bloody bylanes of Madurai what Scorsese did for Little Italy in Mean Streets? Verdict: A credible work from a debutant.J– IT WASN’T SUPPOSED TO BE LIKE THIS. However, this is not a film for romantic buffs. Subramaniapuram is certain to be lapped up. Kudos, also, to the art director who has brought in the feel of the 80s in all the scenes. Director Sasi’s approach is throughout realistic: he chooses shots carefully, amplifying the film’s tone of realism deeper. Cinematographer, editor and director need to be complimented in the introductory scenes of characters.Ī sample of artful editing can be palpable in the sequences wherein the chutney turns into sambar in a different place in the plate and in the scene where a bucket of water one takes to bathe turns into water on the other's head. His scores are exciting with no trace of a newcomer whatsoever. Fuming with anger forĭebutant music director James Vasanthan –former television personality- proves his mettle and impresses, especially in the romantic sequences where he is being helped by Ilayaraja's 'siru pon mani asaiyum' track. But as luck would have it, even though Samudirakani ignores them, the trio somehow emerges out of the jail taking the help of a different source. This distresses Samudirakani and to help him, the trio kills the member of the opposite group and goes to jail in the hope that Samudirakani would bail them out. A romantic angle is added to the storyline when Jai falls in love with the councilor's daughter.Īs the story proceeds, the councilor is deprived of a chief post in his party by a member from the opposite camp. Their release from the police station is usually aided by their neighbor Samudirakani whose elder brother happens to be a former councilor. They become involved in petty fights and brawls, frequenting the police station. It revolves around five friends, the prominent ones being Jai, Kanja Karuppu and Sasikumar. It is also set in and around the Mofusil bus stand and the Polytechnic College.
The story, set in the 80s, takes place in Madurai Subramaniapuram, a suburb of the city.
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