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Starring: Jay, Swathy, Kanja Karuppu, Sasi Kumar, Samudhirakani
Direction: Sasi Kumar
Music: James Vasanthan
Production: Sasi Kumar
A film arriving with little hype or fanfare proves that if packaged neatly with a succinct narration, it can sustain the interest of the audience despite being devoid of a big star cast.
Debutant Sasikumar, who had his initial training under Bala and Ameer has followed their path in choosing a different plot for his first film and succeeds in delivering a slick product. He has sketched, in an impressive fashion, the lives of people who are drawn into killing, portraying Madurai from a different perspective.
Debutant Sasikumar, who had his initial training under Bala and Ameer has followed their path in choosing a different plot for his first film and succeeds in delivering a slick product. He has sketched, in an impressive fashion, the lives of people who are drawn into killing, portraying Madurai from a different perspective.
The story, set in the 80s, takes place in Madurai Subramaniapuram, a suburb of the city. It is also set in and around the Mofusil bus stand and the Polytechnic College. It revolves around five friends, the prominent ones being Jai, Kanja Karuppu and Sasikumar. They become involved in petty fights and brawls, frequenting the police station. Their release from the police station is usually aided by their neighbor Samudirakani whose elder brother happens to be a former councilor. A romantic angle is added to the storyline when Jai falls in love with the councilor's daughter.
As the story proceeds, the councilor is deprived of a chief post in his party by a member from the opposite camp. This distresses Samudirakani and to help him, the trio kills the member of the opposite group and goes to jail in the hope that Samudirakani would bail them out. But as luck would have it, even though Samudirakani ignores them, the trio somehow emerges out of the jail taking the help of a different source. Fuming with anger for being let down by Samudirakani, the group plans to avenge themselves. From here on, the plot delves on the repercussions and twists and turns that springs from their plan to take revenge.
Subramaniapuram begins on a note of suspense that catches the viewer instantly, and sustains it till the end. The narrative is spun in an intelligent fashion. Though it moves slowly in some places, it raises the curiosity level of the viewer about what will happen next. The Madurai Tamil spoken here is simply an auditory delight.
Debutant music director James Vasanthan –former television personality- proves his mettle and impresses, especially in the romantic sequences where he is being helped by Ilayaraja's 'siru pon mani asaiyum' track. His scores are exciting with no trace of a newcomer whatsoever. Cinematographer, editor and director need to be complimented in the introductory scenes of characters.
A sample of artful editing can be palpable in the sequences wherein the chutney turns into sambar in a different place in the plate and in the scene where a bucket of water one takes to bathe turns into water on the other's head. Director Sasi’s approach is throughout realistic: he chooses shots carefully, amplifying the film’s tone of realism deeper. Kudos, also, to the art director who has brought in the feel of the 80s in all the scenes.
Subramaniapuram is certain to be lapped up. However, this is not a film for romantic buffs.
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