Style has been known to win over substance from a BO POV but what about from a purely artistic standpoint? Surely good writing is the most important thing? What is the point of pretty framing and exquisite set design if the characters and plot are half – baked? An Auteur’s touch can only go so far without the solid foundation a good script offers and mostly amounts to little more than glittery cinematic flatulence. But that said, I am not sure I agree with your assessment that the narrative and craft are equally important. Well I did pay a somewhat grudging compliment to the craft with which the film has been made especially when compared to I Spit on Your Grave. The narrative, after all, is only half the movie. So yes, I did consider that aspect, too, and had good things to say. It is just B-grade revenge porn pretending to be better than it is.īR: ‘Your rant is almost entirely about Arun M the screenwriter, while not considering his direction of the film with the DOP Yamini Yagnamurthy. Saani Kaayidham is not in the same league. It is getting ridiculous that so many Tamil filmmakers are jumping onto this particular bandwagon hoping to hone in on the success of the likes of Mari Selvaraj (Pariyerum Perumal, Karnan) and Vetrimaaran (Asuran) who actually risked something to make brave films tackling the evils of the caste system which were also genuinely good cinematic experiences.
All this just goes to show that the so – called female centric films made by men are not that far removed from masala films with loosu ponnu heroines.Ĭritics (even BR was super kind IMO despite the flaws he pointed out) are raving about this film and I assumed that if you throw in a badly written anti – caste angle in the interest of winning sympathy for your hackneyed gore fest, critics feel compelled to say nice things. She even allows him to further mess with her head and betray her yet again as she makes a futile attempt to find legal recourse for her woes. In a cringey climax the heroine worships the male savior as her God 🙄 And it was galling that the heroine who is a cop took an inordinately long time to figure out exactly who betrayed her in the first place. Even after she embraces her inner vengeful Goddess, she needs a male guardian angel to hold her hand as she goes on rampage. Until then, she is the typical working gal saint who has endless patience for her loser husband. Case in point, the ‘strong’ female protagonist comes into her own only after she has been gang – raped & brutally beaten. Instead it is an unabashed excuse to celebrate violence with boyish glee.
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It got old really fast and I wished they would just hurry it up.Īnother issue with this film is that it is not exactly anti – caste or even pro – feminist. Guess the I Spit on Your Grave formula works at some level but that was only at the start of the revenge spree. Still there is something satisfying about watching evil men die in increasingly gory and gruesome ways. We really need to get more creative about hurling filthy epithets at rapists that don’t drag in their mommies.
It was there in the way they held the weapons (gingerly) as if they were scared they would actually hurt themselves with the bloody things, a certain sense of inhibition when it came to body language… It was all most unimpressive.Īnd I really wish the worst expletive directed at a man in all languages doesn’t involve impugning the virtue of his mother. Selvaraghavan was not bad but neither of them were convincing as people capable of inflicting great violence on others. Keerthi Suresh is earnest and strains a lot of facial muscles but she lacks depth and I got really bored with the same deathly stare she trots out at regular intervals throughout the film. The performances are nothing to write home about either. The writing is weak, characters are unidimensional and the killing is repetitive, utterly lacking in imagination and mostly bland. Saani Kaayidham is the Tamil version of I Spit on Your Grave, made with more honourable intentions and better craft. You can read the rest of the review here: And the film is divided into chapters with quirky titles. There are scenes about time and wristwatches. There’s a brother-sister angle, a little girl angle. I said that the story and characters are generic, and the premise was just this: You killed someone from my family and now I’m going to take revenge. I said that after a point the violence becomes repetitive and it begins to look like action scenes or violence for the sake of action scenes and violence.
I said that the film’s USP was the gorgeously designed and utterly unapologetic violence. When I saw Arun Matheswaran’s first film, Rocky, I said that the narrative was generic, but the film signalled the arrival of a genuine cinematic voice. Stripped of makeup, Keerthy Suresh dives into a difficult role. The main attraction of the film is the cast.
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