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And the other angle deals with how these 4 guys get pulled into various fights, squabbles as a result of Somu’s and Kanagu’s political ambitions.
#TAMIL MOVIES SUBRAMANIAPURAM MOVIE#
The first half of the movie almost exclusively deals with developing two stories in parallel – the budding love story between Azhagar and Tulasi which involves both of them stealing glances at each other without actually speaking to each other with a beautiful song ‘Kangal Irandal’ thrown in.
#TAMIL MOVIES SUBRAMANIAPURAM TV#
All the while Azhagar has an infatuation with Tulasi (played by Swathi, a Telugu TV anchor) which is reciprocated by the girl also. The story deals with Azhgar (played by Jai of ‘Chennai 600028’ fame), Paraman (Sasikumar, a debutante), and their 2 good for nothing friends who pretty much do nothing but while away their time performing odd tasks for their political mentor, ex-councillor Somu and his brother, Kanagu. What follows is a recounting of the incidents that took place at Subramaniapuram in 1980, 28 yrs ago. The actor Jai, who plays her lover, keeps on shaking his head whenever he looks at her - which irritated me for some reason.The movie begins with somebody being released from the Madurai Jail sometime in 2008, only to be almost immediately stabbed in the stomach just after taking a few steps to freedom. Swathi, the actress who plays Thulasi, looks beautiful with her large eyes, though I felt that there was an overdose of her sidelong glances in the film. The background music for the film by debutant James Vasanthan- especially the piece that appears in the title sequence and later near the climax, is good, and the romantic song " kankal erandal." featuring Thulasi and Azhagu, is just wonderful to hear. The camera work by Kathir also has contributed to the realism in the movie in its own way - The many long sequences in the movie, in which the camera (hand-held?) just follows the moving characters at their eye level, makes us feel as if we are just walking along with them, while the ultra-wide angle in some of the stationary scenes gives an impression of looking at them through a peephole. Most of the actors are non-professionals (in fact I haven't seen any of these actors in any other movie before) and I think their freshness, more than their performance, has helped to make their characters believable, devoid of traces from any previous characters they could have played. There has been no attempt to build any larger-than-life hero, and all the characters look so real. Subramaniyapuram stands far away from these movies with a realistic narration style. There have been many other Tamil movies with similar themes ( Bheema for example) that glamorized violence and gundaism by showing their gangster heroes as charismatic role-models (Not that I believe that the heroes of films should be role-models for viewers), who go to Europe for occasional dance sequences. Subramaniyapuram is made with a lot of sincerity which is visible in its every frame.
#TAMIL MOVIES SUBRAMANIAPURAM SERIES#
Rest of the story shows a series of betrayals, brutal murders and revenges. They surrender to the police, hoping that the politician would "rescue" them, but he pulls out his head conveniently. The youngsters consider the politician as their godfather, and they eventually end up committing a murder for him. Azhagu, one of the youngsters, is in love with Thulasi, the politician's daughter. Five jobless youngsters of Madurai town, who waste away their time smoking constantly and creating minor nuisance in the locality, are utilized by a local politician and his brother for achieving their various objectives. Most of the film is told as a flashback, based on a story set in 1980. The film is written and directed by debutant Sasikumar, who plays a main role in the movie as well.
It is a well made film and it has a few characteristics that make it unique among other mainstream films of recent times, though I personally don't think that it is a revolutionary film of sort. The article mentions about the "beauty of violence" (!) that the film showcases, and says that it is reminiscent of the "beauty of violence" that director Bharathan used to bring out in some of his Malayalam films. An article praises the film in superlative terms, pointing to the realistic picturization in the film, and its commercial success amidst films by superstars, terming it as "Subramaniyapuram Viplavam (Revolution)". It has a cover story on the recent Tamil film Subramaniapuram. A week back, I bought Mathrubhumi weekly after a long time.
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