Anjathey is just over 3 hours long, tends to veer occasionally into OTT melodrama and only has 3 songs, but still manages to enthral with some good performances from the cast, excellent camera work and an engrossing storyline. Director Mysskin takes a story about two friends and the wedge that drives them apart, and weaves it through a crime thriller without losing any of the intensity he creates in the opening scenes. Its slick, the pace is relentless but the main characters are still clearly drawn and each has a well-defined role to play in the drama. There is so much that is different about Anjathey that it’s annoying when a few clichés do creep in, and the film does suffer from an overly long climax. But despite these few flaws and a truly terrible wig worn by one of the villains, it’s an impressive film and did inspire me to seek out Mysskin’s other excellent movies.
Anjathey starts with shots of the sky and the characters only appear as brief glimpses from an odd angle while the action builds. It’s a different approach, one of many unusual camera angles used throughout the film, and helps to build the characters of the two men by contrasting the first appearance of Kripa (Ajmal Ameer) with that of his best friend Sathya (Narain) who is shot more conventionally. Although the two are both sons of policemen and live opposite each other in the same colony, the similarities end there. Kripa is dedicated to his dream of becoming a Sub-Inspector in the police force and to that end he trains and studies every day. Sathya on the other hand is a drifter with no real aim in life and is happy to spend his days lazing around drinking with his friends. Sathya’s father is not impressed by his son’s lack of ambition and constantly compares him unfavourably with Kripa, which does nothing to improve their already strained relationship. Finally after a very public dressing down at a temple festival, Sathya decides to prove his father wrong and applies for an SI position at the same time as his friend.
The different attitudes and personalities of the two friends are illustrated in the way they tackle the exam and interview; Kripa is tense and eager to excel, while Sathya is laid back and relaxed. He has already arranged for his influential uncle to ensure he gets a place and ultimately he has no real desire to be a police officer, so failure just means his father proves his point once again.
Sathya is accepted as an SI, but Kripa fails the selection process which makes him resentful and bitter. To the dismay of his friends, he turns into a drunken layabout which in this film means a wild hairstyle and a tendency to abuse the local bar staff. Meanwhile Sathya discovers that he likes the deference he gets from the community in his new job and also enjoys the perks, although his early career of brawling hasn’t prepared him for the gruesome reality of life on the force.
The rather abrupt turnaround by Kripa is a little unconvincing given his early dedication and generally decent persona, but the gradual change is Sathya is well written and Narain portrays his growing pride in his uniform well. However this is also where those clichés start to appear, and Sathya quickly becomes a one man army capable of overcoming armed gangs of thugs with ease. Even more ridiculous is the ‘one by one’ attacking strategy employed by the gang when a concerted rush would have removed Sathya easily – how come the bad guys never know this? However the small details that show Sathya’s concern for his friend and his determination to become a good police officer go some way towards compensating for the filmi hero antics. The local police aren’t so much corrupt as lazy and their preference for the easy way doesn’t fit well with Sathya’s newly discovered ambition. But Sathya isn’t perfect either and the flaws and shading of his character are more in keeping with the realistic style of the film than his occasional forays into crime fighting superhero.
However, where Anjathey really excels is in the depiction of the criminal gang operating a kidnapping ring in Sathya’s area. The gang is strictly small time and there are no mega maniacal big boss scenes or ridiculous schemes to extort money. Daya and Logu, along with a couple of sidekicks, focus on kidnapping young girls who are kept unconscious in sacks before being ransomed back to their families. Their operation is basic but feasible and Prasanna as Daya makes a convincingly creepy villain. Full marks as well for managing to look menacing in that dreadful wig! The interactions between the characters are all very well written to give a sense of the different personalities and their very ordinariness makes their actions all the more chilling.
Pandiarajan starts off well as Daya’s partner in crime Logu, but once the gang are on the run he becomes a whimpering coward and loses some of his credibility. Interestingly one of the other gang members is never shown in any detail and his face is never seen although he does appear frequently and has a major role to play in the gang. It’s one of the strengths of the film that the support cast have well written roles and create an impact even with their short time on-screen. ‘Bomb’ Ramesh who plays Sathya and Kripa’s friend Kuruvi deserves mention for his antics, but the old lady who helps Sathya with an injured man on the street and Vijayalakshmi who plays Kripa sister Uthra are all excellent.
Once Kripa is recruited into their organisation it’s obvious that the film is going to end up with a show down between the two friends, but the journey to get there is kept engaging by the police operation to track down the kidnappers. It’s kept reasonably realistic and there are no overly dramatic shoot outs or suicidal rescue attempts to interfere with what becomes a serious police drama. And I do always appreciate a good white-board moment.
The liberal use of free camera does suit the suspense of the police drama, but Mysskin also uses some odd camera angles and unusual shots. One scene is filmed entirely at a few inches about the floor, and it’s rather bewildering until the last few seconds where with one of the character’s actions it suddenly makes sense. Not all of the techniques work however, and occasionally it feels as if the director was trying out a variety of different styles just to see how they would look rather than to create a specific effect. But the cinematography by Mahesh Muthuswami is excellent and there is good use of shadows and unconventional lighting techniques to add atmosphere and tension to the plot.
There are only three songs in the film and at least two of them seem superfluous. The story isn’t one that needed an item song, or even a romance, although the relationship between Sathya and Uthra is kept very much to the background. However I really like this song featuring the friends’ dancing in the pub and it fits well into the story.
Anjathey is a complex film that sucessfully combines a number of themes. It’s a story of friendship, a thriller, a crime drama and also throws in a touch of romance. Overall it’s compelling viewing and I recommend it as an entertaining and rather different style of film from Kollywood. 3 ½ stars.