“Saani Kaayidham (2022).” This will not be a comparable piece between Matheswaran’s first poem and his worst movie. Arun Matheswaran, in two films, has made an impression on the audience by making violent, dirty dramas with simple, well-trodden structures. “Rocky” is roaming the area by making a fun and creative movie about its low budget and using its simplicity to dig as much energy into its area as possible.
Saani Kaayidham (2022): Movie Review
“Saani Kaayidham” is a very high-budget feature, but the tone and dirty nature of its storytelling are still intact. Following a police officer (Keerthy Suresh) a low-ranking officer her husband had an altercation with high-level workers in the factory where they all work. Their meekness is crushed; they lured a police officer into a conspiracy with a fellow police officer to one of their outdoor houses, where they raped her while burning her house and her husband and daughter inside.
The daughter was asleep when the husband was beaten to death, her daughter unknowingly. The law, too, is simple enough to succumb to the desires of the evildoers, and thus our character, and his half-brother (Selvaraghavan), take matters into his own hands, leading to a sloppy, bloody, and vicious revenge game.
It would be easy to call “Saani Kaayidham” abusive, and Matheswaran sometimes the brutality and violence would be enough evidence, but his choice to focus on Keerthy Suresh’s stinking face, a camera firmly clinging to a broken and changing retaliation. the power of nature, anger almost takes hold of him, as evidenced by his clapping or imitating the act of amputating the limbs of one of the perpetrators.
The second major incident was inside a van where she was exposed to acid on one of the perpetrators, who was already recovering from injuries sustained by his injuries. Then she began to punch her repeatedly. The camera focuses on his face for a second when she stops to catch his breath, and we see a sad smile. Matt.
But again, the genre itself invites violence into its fabric. This is a vicious revenge game, a western set in the coastal areas of Tamil Nadu. Open vistas, as well as chasing the green leaves, are very different from cutting limbs and carrying the proper vengeance of two brothers, all of which take place in confined spaces. One is in an isolated guesthouse, another is in a pickup truck, and one is in an abandoned theater.
The sharp contrast between the spaciousness of the landscape highlights the brilliance of rustic beauty and the violence that ensues behind closed doors. Foreign violence is rampant in every movie, as well as a healthy dose of reduction in disrespect for women. Unlike his first match, Matheswaran brings great public comment to the forefront in “Saani Kaayidham,” and that is something we should enjoy.
However, the biggest mistake of the movie is its screenplay. Within two hours and 18 minutes of working time, the movie takes a while to get to the point. The central opponents are not very well developed, or that would be deliberate, even Selvaraghavan’s character is very small on paper. That, however, is considered by Selva herself, who is perfectly versed in the role and criticizes it. He brings back to life the faithfulness of the brother and the feeling of doubt and fear when he sees his sister on the road to revenge, anxious for her peace of mind but unable to stop helping her.
It also acts as a rescue of his character, as he is unable to save his nephew and his brother-in-law. There is a small episode dealing with a blind child, the son of one of the perpetrators, who unknowingly engages with his siblings. Although it may be constructed as a mirror in the same scenario as “Rocky,” in which the character “Rocky” is tied with a child in the last part of the movie, the plot series doesn’t work well here, and it just pops up unnecessarily.
“Saani Kaayidham” is aptly supported by Yamini Yagnamurthy’s cinematography and well-managed camera work. From a technical point of view, “Saani Kaayidham” is beyond suspicion, and Matheswaran moves his inner Tarantino into another sequence of action. “Saani Kaayidham” is surprisingly funny, especially the “Matador assassins,”; it could be Selva blocking her attackers with a shotgun (unloaded), or it could be Keerthy Suresh, a character who drives a pickup truck, decides to crash a van with his attackers.
That piece of the set is interesting in its construction, with equally dubious amounts and an amazing amount of humor to fix the approaches that exist throughout the movie. However, what prevents “Saani Kaayidham” from being so old in its kind is the lack of depth given to the characters or attempts to make them more interesting than what could have been provided for their archetypal construction. Opponents are all evil, some are cartoons and some are deceptive, while the main characters take revenge.
But as I explained, only the Suresh character is shown a certain depth, and yet, those who feel like part of the screen but are like an imitation or directing choice. Matheswaran is likely to be on his way to making a third take on Park Chan Wook’s career, and this second release, though incomplete, is a definite victory. “Saani Kaayidham.”
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