Kadaikutty Singam (2018)

 

Kadaikutty Singam

Pandiraj’s latest film is a village-based family drama with an extended cast and surfeit of relationships that ends up feeling more like an over-stretched soap opera. The story focuses on the only son of Ranasingam (Sathyaraj) but it’s his various sisters, their husbands and Ranasingam’s two wives that make the most impact in the rather wandering screenplay. The film includes a number of social messages and the story tends to disappear under the requirements to include the benefits of a career in farming and a myriad of moral issues associated with ‘traditional’ village life. However, Karthik does a good job with his role, the support cast are excellent and the film is full of colour and light, even if it does have an overly melodramatic finale.

The film starts with the story of Ranasingam and his quest for a son. His first wife Vanamadevi (Viji Chandrasekhar) has four daughters which leads to Ranagingham casting his eye about for a second wife. He ends up marrying Vanamadevi’s sister, Panchamadevi (Bhanupriya) who promptly also has a daughter, but before Ranasingam can marry for a third time, Vanamadevi falls pregnant again, and this time the baby is a boy. By the time Gunasingam (Karthi) has grown up, his five sisters have all married and two have grown up daughters of their own. The expectation is that Gunasingam will marry one of his two nieces, but when he sees Kannukiniyal aka Iniya (Sayyeshaa) he is immediately smitten, making a family marriage seem unlikely. Luckily for Gunasingam, Iniya reciprocates his feelings and the two happily embark on a relationship. However, there are a few obstacles to overcome, such as Iniya’s politician uncle Kodiyarasu (Shatru) and Gunasingam’s sisters who all vociferously object to the match.

What works well here are the relationships between Gunasingam and his sisters, and between his sisters and their various husbands. Mounika, Yuvarani, Indhumathi, Deepa and Jeevitha play the five sisters who all have distinctly different personalities, and are all convinced that they know what is best for their younger brother – that’s marriage to either Aandal (Arthana Binu) or Poompozhil (Priya Bhavani Shankar) and a life spent running the family farm. Gunasingam has no problem with the latter half of that plan as he’s proud to be a farmer, and makes a point of announcing his monthly salary (1.5 lakhs) and giving expensive gifts to his family. However, Gunasingam only thinks of his nieces as ‘family’ and he’s determined to marry ‘soda-girl’ Iniya, so-called because she runs a soda business. These parts of the story are well nuanced and I like that Iniya has a successful life by herself and isn’t just on the look-out for a husband to take the place of her Uncle Kodiyarasu. Apparently Iniya’s family follows the same uncle/niece marriage idea, but that’s mainly a method for Kodiyarasu to irritate Gunasingam. Kodiyarasu is a politician, but he’s firm on the idea of caste and involved in an honour killing which leads Gunasingam to report him to the police. The feud between the two men seems mainly to be an excuse to include the message that casteism is bad, and of course, the obligatory masala fight scenes.

While the arguments with Kodiyarasu go on in the background, Gunasingam attempts to deal with his sisters who try everything in their power to break his relationship with Iniya. Being family, they know exactly where to attack for the most impact, and eventually the argument leads to a schism in the family. Added to the rift between the sisters, Panchamadevi leaves Ranasingam, but unfortunately, despite being potentially the most interesting thread in the drama, this gets only brief screen time and isn’t fully developed, presumably because there is so much else going on at the same time. Much of the writing here is excellent, and it’s a shame that the rather more predictable ‘villain’ thread keeps intruding into the more compelling family drama.

The romance between Iniya and Gunasingam mainly takes place during a song, which is probably enough time given that it’s the fall-out from their relationship that is more interesting. Although Sayyeshaa looks somewhat out-of-place in a Tamil village drama, she is otherwise fine in the role. Her Iniya has plenty of charm and personality despite limited time on-screen, and her romance with Karthik is plausible. Karthik too is good as a confident and dedicated farmer who buckles under pressure from his family. He’s energetic in the fight scenes and dance numbers, and his various speeches about how wonderful it is to be a farmer aren’t as pompous and patronising as expected. He also has good rapport with the various members of his family and gets his inner conflict across well. His best relationship is with his nephew (who is roughly the same age) Sivagamiyin Selvan (Soori), which is used to add light-hearted comedy that’s mostly relevant to the story. Soori is actually very good here and he handles the role intelligently which helps add more depth to Karthik’s character.

I enjoyed the songs from D. Imman which are catchy enough in the cinema, although not particularly memorable. The film looks good too, and cinematographer Velraj captures both the colours of the countryside and the warmth of the community. A word too about the subtitles from Rekhs and team, which are easy to read and in proper grammatical English – yay! Rekhs has also subtitled any significant written signs which is a delight and really does help with understanding the story.

Overall Kadaikutty Singam has too much going on to be truly successful. It’s also let down by an overly dramatic finale that fizzles just when it should be starting to heat up. However, the family relationships are well done and I love the realistic interactions between the sisters and their husbands. There are a few too many moral messages too, although it’s hard to complain given that they fall into the – ‘girls can do anything’ and ‘caste isn’t a barrier to relationships’ baskets that still need more promotion in cinema. It’s also good to see farming portrayed in a more positive light with a nod to the importance of the people who feed the nation. Worth a one-time watch for Karthik, Soori, the excellent support cast and the well-written family relationships.

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Oru Nalla Naal Paathu Solren

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Arumuga Kumar’s debut movie Oru Nalla Naal Paathu Solren is a quirky comedy drama that’s a bit hit and miss. When it’s right, the film is pretty funny, but more often than not, the situations and the dialogue aren’t amusing at all, and it’s hard to know exactly what Arumuga Kumar was trying to achieve. It’s frustrating too since there are some good ideas that should have worked much better, mixed in with a few too many tired and clichéd scenes. According to the subtitles, the title means “I’ll tell you when the auspicious time is right”, and a number of the characters repeat this line at various intervals. Since it’s impossible to tell what is really going on for the first hour of the film, I was hoping that someone would finally decide that the auspicious time was right sooner rather than later, but it does all finally come clear at the end.

The film starts with a short astronomy and geography lesson voiced by Vijay Sethupathi, starting in deep space and finishing in a small village somewhere in Andhra Pradesh – Yamasingapuran. The village is inhabited by around 200 tribal villagers, who wear black, drape themselves in gold and worship Yama. They are led by Yeman (Vijay Sethupathi) and his mother Arumugakumar (Viji Chandrasekhar) who appear appropriately outlandish and over the top to rule a group of death-god worshipers somewhere out in the forest.

The villagers are a very proficient clan of thieves, and as their star performer, Yeman is sent to Chennai on a mission to steal more gold. Also, along on the trip are his two side-kicks, the competent if rather unenterprising Purushothaman (Ramesh Thilak) and Sathish (Daniel Annie Pope) – a bumbling failure whose antics must have sounded funnier on paper than they turn out on film.

While robbing a house in Chennai, Yeman spots a photograph of someone he calls Abhaayalakshmi, but who is actually Soumiya (Niharika Konidela), a fresher college student who is blissfully unaware of the existence of Yeman and Yamasingapuran. Unfortunately for her, she is about to become closely acquainted with both. Convinced that Soumiya is Abhaayalakshmi, Yeman and his inept associates fumble around using various ridiculous disguises in an attempt to ‘steal’ (ie kidnap) Soumiya and take her back to their village. Foiling their plans is Harish (Gautham Karthik) and his best friend Narasimhan (Rajkumar), for no real reason other than Harish finds Soumiya attractive.

Harish is a male version of a typical ditzy Tamil heroine, complete with half-baked ideas, ridiculous clothes that are totally unsuitable for a rescue mission to a forest, and an unnatural attraction to his sunglasses. This works well, for the most part, although some of the situations are too predictable to be funny, while others are simply not funny in the first place. However, there are some moments where dialogue, situation and character all come together and work perfectly – there just needed to be a few more of these. Gautham Karthik is fine but since his character is such an idiot it’s difficult to empathise and feel much connection to Harish. It’s quite a departure from his last role in Rangoon though and he doesn’t do badly with the comedy he has, so it will be interesting to see what he does next.

More reliably amusing is Vijay Sethupathi’s laconic portrayal of a desperate man in search of his long-lost bride. He gets to wear a succession of ridiculous wigs and costumes, but it’s the matter of fact attitude that Vijay Sethupathi exudes that makes his appearance so funny. Adding to this is his rationality when faced with all the absurdity of his mother, Harish and his misguided rescue attempt, and the multitude of mistakes made by Purushothaman and Sathish. Although Yeman is more subdued when in Chennai, once the action moves back to the village, the film does get funnier as everyone gets more and more outrageous.

Less successful are the characters of Narasimhan and Sathish. Both are bumbling idiots whose slapstick is presumably supposed to add more humour, but mostly falls flat while having two similar characters just makes it even more obvious that this type of comedy really isn’t funny. Both actors do their best with what they are given, but none of their dialogue is even remotely funny, and even their interactions with Harish and Yeman fail to raise more than the odd smile. I also have little to say about Niharika Konidela who didn’t live much of an impression at all. This is through no real fault of the actress, but she just had very little to do for most of the film.

Gayathrie Shankar is the one person who gets to play a reasonably straight role and she does it beautifully, making me wish that she had more to do in the film. She is so much better here than in her last outing with Vijay in Puriyaatha Puthir which has made me move Naduvula Konjam Pakkatha Kaanom to the top of the ‘to-be-watched’ pile. While Gayathrie needs to ensure her character Godavari is relatively sensible to make the role work wihin the story, Viji Chandrasekhar needed to be crazier as Yeman’s mother Arumugakumar. Apart from a few wide-eyed stares, she’s actually quite restrained which is a shame since the film needed the sort of boost that only a totally OTT ma character can bring. A lost opportunity for sure!

Oru Nalla Naal Paathu Solren is a film that is funny in short bursts, and the overall impression is of a screenplay that didn’t get enough time to fully mature before being harvested for the big screen. Vijay Sethupathi is as watchable as ever and there are enough funny moments to make this worth seeing in the cinema, but expect to be mildly entertained rather than crying with laughter.