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A persona in Veerapandiyapuram looks at Jai’s Shiva with frustration and says, “Yen pa tak nu solli mudikama ipdi javvaa ilukura?” It used to be onerous now to not nod in approval, because it resonates with the movie’s meandering screenplay, that tries so onerous to duvet up the wafer-skinny memoir. More disappointing is how the narrow speak isn’t fresh, and is merely a mishmash of suggestions from yesteryear movies. Need the core revenge perspective from NTR’s Ramayya Vasthavayya, add speak twists from Vada Chennai and comedy sketches from Aadhavan, and eureka, you rep Veerapandiyapuram, but without the pleasures of such movies.
Even Suseenthiran’s now not-so-mountainous movies devour Nenjil Thunivirundhal and Paayum Puli, which suffered from same issues had some standout scenes, but this movie lacks any redemption. The craft, truly, feels shoddy. Seeing the villain thrust a pillow on the camera to showcase a execute is a mediocre visual you don’t slightly save apart a question to of from a inclined cinematographer devour Velraj. Though the dialogues attempt onerous to remind us that the movie is about communal clashes, we in no intention truly look this translate into visuals. Very few of us take the show camouflage camouflage, and this means that the movie used to be shot at some level of the lockdown, likely on a paltry finances.
At some level of an interview with us a yr ago, Jai had said that Veerapandiyapuram would label the foundation of his return to Subramaniapuram days. But sadly, the similarities between both movies are restricted to their titles and Jai’s hairdo. Though revenge is the crux of both movies, it’d be criminal to even enlighten of this movie in the identical vein as Subramaniapuram. There, we seen the solid performer in him; here, he largely looks exhausted and puzzled. Fragment of the blame have to skedaddle to the character sketch. But Jai, as the composer, feels extra up to the mark, and delivers an improbable debut album.
Though Bala Saravanan evokes a pair of guffaws, I laughed loudest when Aakansha, playing the ‘Tamil teacher’ Yashodha, is busy mouthing dialogues in English! Don’t even rep me started on the total loopholes on this memoir. How is Meenakshi’s character ignorant of a first-rate crime that resonates at some level of the village? How stay Sharath’s brothers manage to flee without a scratch? How stay both rival gangs dart about scot-free after killing a truckload of of us? The questions are never-ending. The authentic title used to be it sounds as if Shiva Shivaa; that used to be quite powerful the mantra of my exasperation whereas staring at this movie.
Solid Jai, Meenakshi Govindarajan, Bala Saravanan, Aakansha Singh