Suseenthiran’s Aadhalal Kadhal Seiveer is a love procedural, a painstaking step-by-step account of how a boy and a girl get together, how they are when in love, what happens to those around them while they are in love, what happens to them when there’s a crisis that brings about hurt and humiliation and ego hassles, and how they pick themselves up and carry on. This outline, in itself, doesn’t suggest anything new. It’s what’s been happening in love stories over the decades. What’s new is the vérité approach, the feeling that we are a fly on the wall, a silent spectator along with the handheld camera. This is an important film, the director’s best, and more than ample atonement for Rajapattai. It marries the traditional concerns of Tamil cinema – romance, friendships, family honour, virginity – with modern narrative techniques, and it proves that the way forward isn’t just in making irreverent tongue-in-cheek entertainers (welcome though Pizza and its ilk are) but also in telling old stories in new ways.
The film opens in and around an engineering college, and the director draws us in with lots of sharp, well-written humour. Studies appear to be the last thing on these students’ minds. There’s the guy who moans, “Breakup aayiduchu machi.” There’s the guy who parrots the cliché, “Sincere-a love pannaren…” There’s the girl who advises a boy that in order to get himself a girlfriend, he must first be friends with the girl and – possibly more important – he must get himself a bike, for girls like to go on long rides while holding on tight to their boyfriends. We meet the guy who speaks in a vaguely feminine voice. We meet the girl who has a birthday, and gets calls from midnight even as her father struggles to fall asleep amidst all the chattering. We meet the guy with grey hair who thanks Thala Ajith for making salt-and-pepper hairstyles cool again.
And then, we withdraw from this crowd and begin to follow Karthi (Santhosh Ramesh) and Shweta (Manisha Yadav) – partly because this is their story, partly because of the reality that friends begin to fall behind as we fall in love. An older film would label this as selfish, but it’s more self-absorption, the feeling that our emotions come first, we come first, and everything and everyone else can wait. And this self-absorption makes Karthi and Shweta cheat and lie. They have to resort to subterfuge because they aren’t upper-crust kids who can go home and declare to too-busy parents that they have a boyfriend or girlfriend. These are middle-class people, the children of tuition teachers and housewives who knead dough while watching programmes on the Tamil channels. If Karthi and Shweta didn’t cheat and lie, they couldn’t be together.
At first, he loves her. She doesn’t reciprocate his feelings. Her friend advises her to walk away. But at some level – maybe just because she’s been advised to walk away, for who likes to be advised at that age? – she’s interested. He does something reckless. She falls for him. And two more names, in hearts, go up on the KAJ Schmidt memorial at Elliot’s beach. Suseenthiran captures this courtship beautifully. He doesn’t force Karthi and Shweta into artificial scenes that we’re meant to find cute. Instead, he follows them around as they walk into Globus, past the eager salesgirl, who rolls her eyes when they walk in the next time because she knows they aren’t here to buy anything but just to hang out. Even the laugh-out-loud scenes – a priceless one involves a courier – are natural, organic, uncinematic developments. I had no idea Suseenthiran, whose career after an impressive debut with Vennila Kabaddi Kuzhu has been a source of diminishing returns, was capable of such tact, such delicacy.
The film is stuffed with lovely snatches of conversations (not dialogue, sharpened and conceived to dazzle, but easy and remarkably unremarkable conversations, like the way the subject of caste crops up in a gathering), and inventive bits of drama, like the part where Shweta’s mom discovers the truth about her daughter. This development arises from a power cut that occurs out of schedule. When was the last time we saw a film so tuned to ground realities in the state? The actors (Thulasi, Jayaprakash, Arjun) are all terrific, without a scrap of makeup – and even this doesn’t come across as an affectation. (“Look what a sincere and uncompromised movie I am making.”) It’s just how it is. And the relationships are detailed quietly, simply. There are no shots of mothers coming across sleeping children and adjusting a bedspread. Even without these smoke signals, it’s easy to see how much these fathers and mothers love these children. Sometimes, guilt over reading a child’s SMS is all that’s needed to reveal what the dynamics are in a relationship.
That is why I began to squirm when the film – as it gradually turns very, very serious – veers into melodrama, the throwing-oneself-under-a-truck kind, the slicing-a-wrist kind, the showing-up-at-someone’s-doorstep-and-screeching-like-a-fishwife kind. So far, the only missteps have been the songs, which have a staged quality to them and stick out in the middle of a film that feels so casual. But now, we enter a dangerously messagey zone, and I couldn’t help wondering why. Why this finger-wagging undercurrent, this need to end with a horribly manipulative song, when the repercussions of actions have already been laid out through a pregnant sister who goes into sudden labour thanks to an unthinking brother, and a father who’s reduced to tears when forced to hear things about his daughter that no parent should have to hear? In the final stretch, Suseenthiran succumbs to the puritanical streak that infects much of Tamil cinema, but that should not be held against a film that does so much so well – and in so little time. Added bonus: urban kids aren’t castigated as evil pizza- and burger-chompers, their every bite a sign of the corruptions of Western civilization. They simply tuck into samosas. I practically wept.
Copyright ©2013 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Shankar
August 16, 2013
It almost seems like Suseenthiran does well only in alternate (every other) films…Vennila was good, NMA was so-so, Azhargasami was good, Rajapattai was terrible and now this one has positive reviews…just an observation.
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Harish S Ram
August 16, 2013
“Added bonus: urban kids aren’t castigated as evil pizza- and burger-chompers, their every bite a sign of the corruptions of Western civilization. They simply tuck into samosas. I practically wept.”
after those internet vultures attacks for the past 1 year,’this’ i believe must have assuaged you! [ps: i still get comment alerts now & then on that topic]
you could do a piece comparing Vazhaku en 18/9 and this film! I still feel you didn’t nail the point convincingly that time around.
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Dinakaran Sankaranarayan
August 16, 2013
Agree to every word in review ! I love the fact how movie travels just the way how we didnt expect – like how the friend breaks casually abt hero’s love proposal or that funny courier scene. we expect girl’s father to kill himself but it doesnt happen. we expect hero’s family to be fully ok but these kids screw up all by themselves – here it takes middle ground . both parents and these kids screw it up totally . though climax was done just to surprise us by throwing curve ball , i thought it was bit stretched. I really couldnt accept fact that both girl and her father could do some thing like that, it didnt stick to the characters morality may be ? but then it seems they both are interested in safety of girl but not the child. The climax was not a tragedy in usual terms of violence or death but it was pretty disturbing !
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Dinakaran Sankaranarayan
August 16, 2013
Btw it’s hard to believe that otherwise smart youngsters are really that dumb not to play safe.Wish they have taken the line that there is nothing like total 100% protection,(like how Charlie finds out about in Two and Half Men )there may be cases of manufacturing defect 🙂
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Kiruba
August 17, 2013
To me, the film was remarkably restrained. For all its heavy theme touching upon collateral damage caused by contemporary teen romance, it steered clear of making any value judgements. Neither did it seem it asked me to judge Karthik or Shwetha. After all that happened, I was happy for them both when they managed to move on.
I thought those sequences you term melodrama/messagey were integral and staged low key. The climax song was indeed totally unwarranted. but after the initial queasiness, I was drawn in by that kid. He was so natural!
And hey, I thought urban kids ate Caribbean Delight too?
BTW, what did you think of the Irandaam Ulagam trailer?
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brangan
August 17, 2013
Shankar: Not the biggest fan of “Azhagarsami..”, which I wrote about here. It had its moments, but looked like too much like they settled after they got a great concept and didn’t bother much after that.
Harish S Ram: you could do a piece comparing Vazhaku en 18/9 and this film!
Ayyo… venaam pa saami! 🙂 But why do you feel I wasn’t convincing in that review? I thought all my irritation with the film was vented out in full, which is what pissed off so many people… over 150 comments 🙂
Dinakaran Sankaranarayan: Well, they could have played it safe and still ended up with this result.
Kiruba: … it steered clear of making any value judgements.
I felt the shame way till that horrible song at the end, which was manipulative enough to make the audience backtrack and say things like “this is what happens when you do this…” Suddenly a damn good film morphed into a bloody “nalla karuthu” film. But as I said, the rest of the film is so good that these last five minutes didn’t bother me all that much.
I thought those sequences you term melodrama/messagey were integral and staged low key
Low key-aa? Are you serious? “Naan oruthanukku mundhaanai virikkale…” etc.? 🙂
They didn’t show “Irandaam Ulagam” trailer. They showed “Thalaivaa” and “Idharkuthaan Aasaipattaya Balakumara,” which looks fun!
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Mambazha Manidhan 2.0
August 17, 2013
Here. I wish I hadn’t watched his interview after the trailer.
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Mambazha Manidhan 2.0
August 17, 2013
Did you happen to catch the premiere of Kadal on Vijay TV saw ? Any ruminations on. watching the film again and that.
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KayKay
August 17, 2013
“Instead, he follows them around as they walk into Globus, past the eager salesgirl, who rolls her eyes when they walk in the next time because she knows they aren’t here to buy anything but just to hang out”
“The film is stuffed with lovely snatches of conversations (not dialogue, sharpened and conceived to dazzle, but easy and remarkably unremarkable conversations, like the way the subject of caste crops up in a gathering), “
Both these statements bring to mind Richard Linklater’s gorgeous “relationship trilogy” Before Sunrise, Before Sunset and Before Midnight (Ethan Hawke and Julie Delpy) which I watched recently. Have you seen them?
Wonder if there’s any chance of seeing a movie like that in Tamil, the charting of a couple’s growing attachment through casual strolls and naturally flowing dialogues without the usual accoutrements of parental conflicts, or songs or fights or triangles or….ad infinitum?
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Ok OK
August 17, 2013
Trailer: OK…..Quinten Torantino…James Cameroon…Speilberg……+++++= can other’s add to the list…ippadi than AO was an half baked attempt……I feel there is no sincerity in his screenplay…SR is talented….but lacks the true originality….he doesn’t have to keep aping the other Hollywood directors…..I think Vettrimaaran …admits his limitations and what he likes to do in his attempts…why SR is so stubborn and seeks hype….
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KayKay
August 18, 2013
“Quinten Torantino…James Cameroon…Speilberg”
Ok Ok….you doing a MAD magazine spoof or you genuinely don’t give a toss how their names are spelt?(something the now-banished commenter used to be guilty of, but then he was borderline illiterate.). 3 visionary filmmakers at least deserve that, no?
But I must admit to being fascinated by the trailer. Unlike Hollywood trailers which practically give you the movie’s entire narrative in shorthand, I like ones like IU above that are a collage of images with no thematic coherence, which actually works because it keeps you guessing as to what the movie is about.
AO, leaving aside the embarrassing bargain-bin effects and a script that didn’t know when and how to end, remain for me personally, an endlessly fascinating film and if SR is going to travel down that Fantasy/Mythology road again albeit with ahttps://baradwajrangan.wordpress.com/wp-admin/edit-comments.php#comments-form more coherent script and better Visual Effects, then I may even be tempted into the cinemas to catch it.
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brangan
August 19, 2013
Mambazha Manidhan 2.0: Nope. I don’t usually see movies on TV, with all the 1000 ads. But this film I’ve seen so many times that I didn’t feel I was missing anything 🙂 No ruminations as such. Still feel that the songs were a problem, that the first half excellent, the second half somewhat all over the place. But I’d take this any day over the “Roja”-“Bombay” phase.
KayKay: Have seen (and love love love) the first two “Before” films — a lot of personal-level identification both times. Haven’t seen “Midnight” though. I thought “Neethane…” came somewhat close to that feel, though it wasn’t technically a “walk and talk…”
And I agree about the trailer. Would rather have a WTF-y collage that’s intriguing than a fully coherent preview that gives away everything. And flaws and all, AO was a bloody impressive movie.
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Mambazha Manidhan 2.0
August 19, 2013
“But I’d take this any day over the “Roja”-”Bombay” phase.”
😮 Say what? Do you mean to say well-tried is better than well-executed for you? I’m one for experimentation and films that have interesting ideas, but are they emotionally satisfying as well? It would be Roja > Kadal and Alien > Prometheus for me.
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vijay
August 20, 2013
I think Roja and Bombay haven’t dated well for BR, like it is for many others. At the time Roja came out it was still a fairly fresh effort(compared to what he did earlier), but then when Mani started making the same kind of love in the backdrop of riots/terrorism movies with the resolution being rather tame one grew tired of it.
BR does tend to favor the bold and experimental over just well executed genre films, but then when it came to Ayirathil Oruvan, I found myself agreeing more with Sudhish Kamath’s review. The script went haywire. It felt like 2 different movies slapped together.I didn’t even mind the bad special effects, its almost a given in Tamil cinema.
Selva comes off as a guy who wants to do something daring and different all the time but doesn’t have the skills/craftsmanship yet to pull off a coherent film where the tone isn’t uneven(Pudhupettai was maybe an exception). He is more like his musical counterparts, Yuvan and GV in that aspect. Not ready or mature enough to pull off experimentations seamlessly. These guys have all benefited from their lineage and have had a relatively easier break into cinema. They jumped into it a little too soon and are still honing their skills at the viewer’s/listener’s expense.
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Prakash
August 22, 2013
Rangan,
Sorry for commenting so late, but I am one of those who watched the film very recently after hearing very good things about the film. As on most occasions, I, afterwards, read your cud-chewing and compare it with my own cud-chewing to see if I(or you) had missed out anything.
While your review covered most significant aspects of this very “significant” film, I was left wondering why you have made the following observations:
1)“At first, he loves her. She doesn’t reciprocate his feelings.”
Correct, but hardly does justice to the subtlety with which the events play out, don’t you feel?
Firstly, the early signs of “love/infatuation/receptivity-to-love-proposal” is hinted at some sub-conscious level, like on Swetha’s birthday, when she is not merely curious to know why Karthi hasn’t called to wish her, but also tells her friends not to let him know that she is expecting his call.
Secondly, as the “knowledgeable” female audiences in “Neeya Naana” have informed us poor souls time and again, a girl may reject a love proposal even if she likes the fella if the chap screws up with the conveying-of-the-sentiments part as our “hero” undoubtedly does here(He pretty much dilly-dallies too much till his exasperated friend leaks it out in much the same manner as expelling gas). So it wasn’t as if she was totally repelled by his appearance as some female members in the audience were at the theater where I was watching.
2)” the showing-up-at-someone’s-doorstep-and-screeching-like-a-fishwife kind.”
I am surprised that you found it out of place in this film, while in reality I don’t believe it is quite that much so.
I say that because even though these characters are mostly mellowed down middle-class people who don’t talk “bad words”, their backgrounds and family/caste histories often tend to be more rustic, and on personal experience, I have seen many polished speakers tend to betray the crudest sentiments voiced through equally crude terms when they are in a state of mental agitation, as the mother’s character here is shown to be.
Isn’t it true, Rangan, that we tend to suppress those traits/attributes of our upbringing that we find to be uncouth as we grow up in a mixed society? Isn’t it also true that this seamier aspect tends to out itself in moments when we let the mask slip?
I therefore ask you, isn’t your “fish-wife” comment a tad unjustified?
3)“this need to end with a horribly manipulative song”
Rangan, I know you have a problem with manipulative songs, but is this song not better than that, in the sense that, while outwardly the lyrics seem to say “what wrong did the child do to suffer like this for the mistakes of two flawed individuals”, the visuals conveyed a different story. The child is shown to be growing in an environment that inherently encourages contentment, sharing and less selfishness/ego, in dire contrast to the so-called “strong” family setup where he would have all his needs taken care of, but only to grow up into individuals who cannot look past interests beside their own, where personal/family/caste ego plays a poor substitute to carefully nurtured notions of right and wrong.
I felt that it is this contrast that Suseenthiran wants us to ponder over as we leave the theaters, that, in this perverse manner, the orphaned child may be more blessed than his seemingly better-off parents.
Please do respond with your thoughts. Would be glad to hear them, not to press for a debate or anything, but just to read a more detailed take on these three points.
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brangan
August 22, 2013
Mambazha Manidhan 2.0: Do you mean to say well-tried is better than well-executed for you?
Not always. But if the trial is thrilling enough and the film ends up in the “noble failure” category — i.e. as a whole, it has problems, but parts are more brilliant than what we see usually — then that film becomes more “interesting” to me than a film that does all the “right” things but without much ambition or excitement.
For me, “emotionally satisfying” is not a must-have. I don’t especially care if I leave with a lump in the throat, or am moved, etc. If that happens, well and good. But the fact that have a more thoughtful response (as opposed to emotional) is also valuable. The fact that Father Sam was born into a “thanga thottil,” for instance, is fascinating. What is this man doing in a seminary? He says for “dhyanam,” but again, what’s that about? So the character lends himself to the audience’s projection — when compared to the characters in, say, “Roja,” which are fully fleshed out, but merely functional within the perimeter of the film.
vijay: BR does tend to favor the bold and experimental over just well executed genre films
I don’t know if I do this always — for instance, I really like KSY, and that’s essentially a well-executed rom-com. But yes, i do prefer a bold film that works in parts to something that’s merely competently made (but is “competent” throughout).
Prakash: I think all your points come under “what I see in the film” versus “what you see” — because no two people see the exact same film.
With (1), what I meant is that she doesn’t reciprocate his feelings outwardly. That’s why I said in the review that she’s interested “at some level.”
With (2), I am not saying that the character will not behave like that, but I was wondering more on the lines of whether the film needed this melodrama, after all this restraint. The pitch of the film suddenly changes and it made me feel queasy.
And (3), I’m sorry but I didn’t see the song the way you did. But your view of the song is interesting, and yes, it does provide a different prism with which to view the ending.
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Mambazha Manidhan 2.0
August 23, 2013
I agree with you. ” then that film becomes more “interesting” to me than a film that does all the “right” things but without much ambition or excitement.” I’m all for noble failures like Kadal, but still the high of watching a good film is tremendous as says you-know-who. 😉
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Niranjan
August 26, 2013
I saw the James MacTaggart Memorial lecture for 2013 by Kevin Spacey on youtube yesterday:
What a passionate case he makes for the writers and the story tellers!
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Subha
September 6, 2013
While I agree with all that you have said about the movie, I do not agree with the statement on the last song. It is manipulative, yes but in a good way. I did not interpret it like how Prakash above interprets it either. I see it like how the youth are very careless ( and I am not even preaching saving yourself ), but how life goes on for them without guilt while at the same time adding an ‘orphan’ to the pool.
Mainly, the last scene where the kid runs in the hot sun, grabs his toy and runs back but starts crying once he realizes the heat in his feet, is very very heart wrenching. It was just a short phase of incovenience for the families but then for the child?
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Kutty
September 29, 2013
“this need to end with a horribly manipulative song”
Is the song the problem or the fact that they had a kid whom they left in the orphanage the problem? While I agree that the song in itself seemed forced on the movie, did not think the movie was preachy in any sense. If anything, it only called on those who have kids from premarital sex to own up for it and care for it themselves. Therefore by the time the movie ends every individual gets a black mark for what eventually happens.
The differing shades that Suseenthiran gives every character (all of them in some part are responsible for the kid growing up as an orphan) is fantastic. For all the familial love that the two mother characters espouse, they had a role to play in this too and Suseenthiran calls a spade a spade rather than backing away from showing the women in a bad light (which would have been a more traditional, conformist ending).
Btw. Would not have watched the movie if not for your glowing review. So, thanks for that!
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Uma
November 3, 2013
I watched this movie and the climax shocked me. I don’t think I have been impacted by a movie in recent times. Really wants me to consider adopting a baby.
I was trying to compare it to “Juno”. Juno had a pro- life message and at the the end the baby gets adopted by Jeniffer Garner who is longing to have a baby.
I am all about people making choices that are right for them. No matter how difficult it is to go through abortion, this movie made me thinking that abortion is a better choice than abandoning babies at orphanages.
Condoms don’t offer 100% protection nor do morning after pills. I hope teens in India get educated about this.
I wish doctors and people in general don’t hurt a woman who is probably already hurting by their scathing words about pre-marital sex.
However i do think that if abortion is easily availableI then ppl would end up using it as a contraceptive measure.
There were lot of comments about Poornima being wasted in this inconsequential role. I feel that she has a ceratin good feel image and she was casted in this role to maybe bring out the feeling that even good natured people can be manipylative ( like how she insists her son to leave to Madurai instead of addressing the situation, or how she insists that her son convince his gf to get an abortion).
Sorry for the long rambling comment
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Jayashree
May 13, 2017
Sorry for the late comment Sir. But I am a new reader of your blog and to be honest, I am hooked. I am watching old and new movies, chosen based on your positive reviews. In this way, I happened to watch this movie as well. I was shaken by the climax (song) which drove me to write a comment here. Cinema if used as a medium to convey such powerful messages, would be so wonderful. Instead we get a lot of movies which are frivolous.
Thank you Sir for your reviews. I admire your writing as well as your insights.
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