We are subjected, so often, to flat staging and the dialogue-over-all-else style of filmmaking that when someone makes a movie that actually looks like a movie, a piece of cinema, the question of how good it is becomes secondary to the sensory experience of it. Balaji K Kumar’s Vidiyum Munn is the most excitingly staged movie since Mysskin’s Onaayum Aattukuttiyum. This isn’t about frames filled with pretty pictures, which we usually hail as great cinematography, but about mood and texture and disorienting canted angles and all those things that affect us at an almost subconscious level. It’s about the prostitute walking away from us in lipstick-red high-heeled shoes, the long shot of a wheelchair-bound man being led to an SUV, the view of a bedridden villain through the mosquito net that falls around him like a shroud, and above all, the superb gallery of unique-looking men and the close-ups they’re captured in, sometimes in front of an old-fashioned table fan, sometimes near a hissing cobra.
Vidiyum Munn is about a sex worker named Rekha (Pooja Umashankar) who is on the run with 12-year-old Nandini (Malavika Manikuttan) as various men chase them, and the who-what-why scenarios suggest, at first, a nail-biting thriller. There are thrills, notably in a superb sequence in a house in Srirangam where a former sex worker (Lakshmi Ramakrishnan) is menaced by a couple of thugs (John Vijay and Amarendran; I had a knot in my stomach about when, exactly, they’d unleash violence) – but the film is really a mood piece (suggested, apparently, by the British thriller London to Brighton). The pace is deliberate, and the subject matter is bracingly adult. No attempts are made to dilute the mood with comedy or romance, and except a stray line about all of us housing both God and Satan, or a veiled threat in the form of a fable, there’s none of the dime-store philosophising that frequently taints our films.
The director is right to stylise this material – presented more “realistically,” the narrative may have come off as too thin, too familiar. (Or put differently, the style becomes an indispensable part of the narrative.) Still, there are times I wished he’d held back. A lurid montage set to RD Burman’s Duniya mein logon ko feels out of place in this milieu. (Why not something by MS Viswanathan or Ilayaraja?) And a slow-motion stretch in the climax is a mistake. We’re meant to be squirming with dread, and instead we seem to be viewing an arty music video. But the performances carry the film home. Pooja, with her thin, tremulous voice, is very effective as the kind of beautiful woman so battered by life that she only sees the ugliness inside her. And as her underage companion, Malavika is excellent. We may wonder, at times, if she is a little too composed for someone so young, but then we remember that she’s seen and been through things that have made her grow up in a hurry. And mercifully, her horrific plight isn’t used as an excuse for a lament about social ills. The director understands that it’s not his job to be stuffing our heads with explicit messages. He makes us think. He makes us feel. That’s all that’s needed, really.
An edited version of this piece can be found here.
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Rekhs
November 30, 2013
Bull’s eye!
i so enjoyed subtitling this one
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Avinash
November 30, 2013
Baradwaj sir do you think it is the best film in tamil this year?
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Dev Chand
November 30, 2013
Classic Baradwaj Rangan right here. I like how you deconstruct films and provide a look into their subtle parts and portions, while showing why they work and what elements make them work. It’s pleasing to see that you haven’t lost your touch at all. Keep up the good work!
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Drunken monkey
November 30, 2013
Being a mood piece the score should have been an important element…anything significant about it? Quite curious after listening to the brilliant songs.
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Udhay Sankar
December 1, 2013
at last a movie a tamil movie dealing an sensitive issue,without a big fat message???????
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brangan
December 2, 2013
Avinash: I like “Onaayum” better… About “best,” haven’t thought about that yet.,..
Drunken monkey: Noticed that the songs were quite different, sounded nice with the film and went with the mood. Score was effective I guess. It didn’t stand out in any obvious way, and yet it contributed to the goings on. Ideal.
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raj
December 2, 2013
I know you hate making the best lists, can you still make a list of all interesting indian movies (tamil, hindi, others) for folks like me who “catch up” on good movies a little late? You star ratings used to be enough to get such a list, but then you hate doing that as well.
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sanjay2706
December 3, 2013
This must be the best “crafted” film of the year. As brangan rightly said, it’s a movie which relies on mood and suspense. The two scenes which were brilliant according to me. The scene where the 2 thugs enter the srirangam house was brilliantly crafted. And the scene where the little girl is taken to that massive and spooky house. The scene is so meticulously crafted. It’s a perverse scene, and makes you imagine bad things as the scene progresses along. For a minute, the director makes you a paedophile. It’s scary and spooky.
The final reveal in the end was also well made. The only drawback was the many slow-mo’s that were used in the climax.
Few years down the line, there will be many articles written on this. India’s answer to “Drive”. Bravo!!
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Drunken monkey
December 5, 2013
B,
True. I watched it yesterday and felt the same. It didn’t come across very noticeable but thinking back it contributed a lot to the mood for sure.
I suggest you give the album a try. An interesting production for sure. http://www.saavn.com/p/album/tamil/Vidiyum_Munn-2013/21CdRKicqMc_
And is it just me or even others feel that the high contrast black-yellow tone is being over used lately?
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brangan
December 7, 2013
raj: I don’t like to evaluate movies for other people. I truly believe that what is interesting for me is not necessarily good for you, plus these reviews are from watching films on the big screen and they may not mean the same thing when you watch the film on your laptop or on TV.
Drunken monkey: thanks for the link. Very evocative and unusual soundtrack.
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raj
January 5, 2014
brangan: Hmm I didnt mean for a list that is expected to be THE best movies of the year for everyone. I just wanted to know the movies that *you* found the most interesting of the lot. Is it a ‘no’ for such a list as well?
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Innocent Blood
August 13, 2016
Saw this one today. Great piece of Tamil cinema 👍🏻 wish the director would make his 2nd movie soon.
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ravenus1
August 23, 2020
I’m late to the party, but I just saw this on Prime. Pretty good as a non-stereotype noir thriller. In some ways it reminded me of Sin City (not for the visual aesthetic but for being a noir with simple yet effective archetype characters).
But damn, I was constantly distracted by the awful artificial “blue = night” color grading. Most of the time in the climax, it didn’t even feel like the characters were in the location.
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