Spoilers ahead…
The best Tamil films, these days, are usually those that are set in the smaller towns and villages, and that’s because they don’t have to make too many compromises in the storytelling. In these films, we don’t sense the fear that’s so evident in the urban upper-class films, where we can practically hear the director wipe away cold sweat and think: “Okay, this movie is about a very small section of the Tamil Nadu audience. So maybe if there’s a track with that popular comedian, more people will watch it. And maybe I’ll [over]explain some portions, put them in context, for those who aren’t likely to have encountered these situations. And maybe I’ll throw in some fancy songs as well.” These decisions end up wrecking these films. Last year’s Kalyana Samayal Saadham didn’t make that mistake. It made no attempt to “reach out.” It stayed true to its premise, its characters, its milieu. P Ramesh’s Thegidi is another such film, small and tight and contained, more invested in pursuing an organic vision than in being all things to all people. Will it succeed? That we don’t know. But in its own way, the film is a success.
The story is about Vettri (Ashok Selvan), who, after an MA in Criminology, joins a detective agency for a job that involves – as his employer puts it – “shadowing and surveillance.” I waited a couple of beats for the inevitable translation, but it never came. And when Vettri begins tailing people, he takes pictures of them and pins them on a board, affixing post-it notes with key characteristics. (“Chain smoker.” “Short temper.”) These aren’t translated either. The Major Sundarrajan-isation of lines is, in itself, not a crime, but it slackens the pace – which can be fatal in a thriller – and it takes us out of the film by reminding us that this is being done for the sake of the viewer. If Thegidi clocks in at just a hair over two hours, without a single wasted scene, it’s because its characters do what they would do under these circumstances, not what an imagined audience out there would expect them to do.
This is one of those paranoia thrillers – I was vaguely reminded of a John Grisham novel that was made into a successful movie – where the protagonist finds himself deeper and deeper in a conspiracy, and the only major issue I had is that this paranoia isn’t played up enough. In the best scene, Madhu (Janani Iyer, perfectly cast) leans on Vettri and curls her fingers around his. He’s happy that the girl he likes so much seems to like him back, but a second later, he freezes. He sees a sign on a door nearby, that the area is under video surveillance. And he extricates his hand from hers. He knows he cannot afford to be seen with her, and the sign is a reminder of what people like him do, “shadowing and surveillance.” We needed more such moments of the sinister lurking in the everyday.
But I was surprised by how well this romantic track is handled. The meet-cute is more thought-out and more convincing than the ones we see in most romantic films, and the short conversations Vettri and Madhu share are beautifully written. I was especially taken by his need, earlier on, to explain himself to her, whom he doesn’t even know, simply because she caught him in a compromising position and he cannot bear the thought that she now has the wrong impression about him. We get, through this, the beginnings of their romance as well as a shade of his character. This is rock-solid writing. (And it’s funny when he tries to explain himself and she, unexpectedly, turns detective.) Selvan isn’t a very expressive actor, but the scenes (and the songs) with the couple work very well, and you soon find yourself wishing that they don’t do anything to screw it up. It bodes well for a filmmaker when even the non-thriller portions of his thriller register this strongly.
The thriller portions are equally impressive, with the preposterous elements (like an underwater murder) balanced out by the more restrained scenes. I wished we’d seen Vettri do a little more sleuthing (the non-flashlight kind), and I didn’t quite get what the deal was about his not owning a cell phone, a fact that’s impressed on us quite often. I also wished the Big Reveal at the end had come with a better explanation, especially as the second half, by when we’ve come to know who the bad guys are, revs down a bit. But there are plenty of tense moments, thanks to the deliberate pacing (that steers clear of cheap, amped-up thrills) and the fact that the film keeps zooming in on a small cast of characters. Everyone’s important in the larger scheme of things, even the army wife whom Madhu lives with. She has no problem with Vettri dropping in to see Madhu, and this is another way the movie’s milieu is established, rather than explained. Thegidi is proof that if the small things are worked out well, the bigger ones will take care of themselves.
KEY:
* Thegidi = dice, gambling, fraud and deception
* Kalyana Samayal Saadham = see here and here
* Chain smoker = see here
* The Major Sundarrajan-isation of lines = see here (the 2:40 mark)
* a John Grisham novel = see here
* cheap, amped-up thrills = see here
An edited version of this piece can be found here. Copyright ©2014 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Vijayakumar
March 1, 2014
Firstly thank you for sharing the meaning of Thegidi. I should really read more in Tamil. 🙂
Spoilers ahead
Thegidi was quite impressive indeed. And I liked this better than Villa (I cannot help but compare these two because both the movies have the same set of actors). I agree with everything in your review. As you say, the romantic portions in the movie were good. However there were a few scenes that I felt that did not belong in this kind of a movie. For example, the scene where Madhu finds out that Vettri has been lying to her, she just walks away without giving him a chance to explain, and he lets her walk away even though he knows that her life is at risk. This adds to the dramatic tension yes. But it seems quite convenient don’t you think?
Also, in a thriller like this with very few characters, it is not always difficult to predict the villain, especially the revelation about the Professor was quite obvious no? Early on in the movie, there were dialogues like ‘The Professor resigned three months back, he usually keeps to himself’ and the professor also mentions his sick mother. So when we know that this gang is after money, and when we are left with only one more villain revelation, we connect the dots and we expect the Professor to be there in that house. And we expect him to kill himself. I personally felt that the romantic portions were well written than the conspiracy part. The treatment of this conspiracy thread is good. But the thread itself is quite weak. Anyway I liked the movie and the movie has a lot of goods than bads! I was happy after watching this movie. These Naalaya Iyakunar short film-makers-turned-directors are creating a very healthy trend in Tamil cinema.
I see most of your reviews lately have “Spoilers alert” message. What happened?
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Rajesh
March 2, 2014
One word – Mind-blowing film. Thoroughly enjoyed.
(SPOILERS)
Oru chinna alppa sandosham.. Find some some loop holes in the film
1) Professor sees Vetri with Madhu – Why doesn’t he alert Shailesh that Vetri is in touch with THE SUBJECT ?
– Professor is the head of the project kind. Then he must know Madhu right ?
2) Professor takes bail for Vetri and Nambi – How come in overnight that happens ? Why Vetri didn’t question how Professor came in there ?
– Partial answer could be – Vetri trusted his professor very much
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Rajesh
March 2, 2014
(SPOILERS)
One more alppa sandosham
1) When Professor came to take bail. Since Professor came to ensure that Vetri doesn’t speak with the Police during enquiry, Why didn’t he stop Vetri from further investigating it ? He could have explained it to him
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Rahini David
March 2, 2014
Why have you started this spoiler warnings? You used to write without major spoilers before right?
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brangan
March 2, 2014
A request to everyone posting on this thread: please have a spoiler warning if you’re discussing specifics. Thanks.
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brangan
March 2, 2014
Vijayakumar / Rahini David: Well, I haven’t changed the way I write. But as you know, the kind of reviews I write involve going into some amount of detail, and I kept getting complaints about how I needn’t have spoken about this or that. So I thought let’s just put this warning up there permanently.
SPOILERS AHEAD
Vijayakumar: I had to look it up myself. The dictionary I have at home didn’t have this word 🙂
The scene about Madhu walking away from Vettri didn’t feel odd to me because she’s really hurt and she knows he’s lied constantly to her. So I see why she walked away. As for him, I guess he’s torn between wanting to tell her and wanting to take care of this without her knowing. But I agree that a line about this dilemma would have made it easier for us to understand where he’s coming from.
About predicting the villain, I have to admit I never saw it coming. I’m notoriously slow at this sort of thing. Even in the most obvious Agatha Christie and Perry Mason cases I would always be surprised at the end. And friends in school would slap their heads and tease me, for they apparently knew who the killer was midway. About midway, I thought Nambi Annan was the killer 🙂
But — coming back to this film — I did find the explanation for the guy’s doings weak.
You have said it well: The treatment of this conspiracy thread is good. But the thread itself is quite weak.
Rajesh: (1) Maybe he did alert Sailesh that Vettri is in touch with Madhu. By then, Sailesh has already begun to try to kill Vettri no? (2) Vettri didn’t question the professor’s bail because Aunty was also there, and maybe he thought Madhu told Aunty who told Professor, etc. It wasn’t a big deal-breaker for me. (3) If Professor asks Vettri to stop investigating, he’s digging himself in deeper, right? He knows Vettri is his brightest student, so why would he take the chance of getting caught?
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Vijayakumar
March 2, 2014
SPOILERS AHEAD
Maybe the idea that Madhu would get hurt for such a discovery was not convincing for me. Especially considering that she is quite a modern girl (I liked the scene where Vettri asks her out for a coffee and she says ‘Lunch?’, simple and sweet). They also have been together for some time, so I expected her to give him the benefit of the doubt and probably ask him why he lied to her. Though there was this explanation scene in between that montage song where Madhu’s friend says that she does not like being lied to (I thought that was unwanted too).
And Nambi annan? Please tell me you are kidding! 🙂
I always wanted to ask you, do you watch any TV series? My friends and I watch The Mentalist, Sherlock, Dexter kinds and I guess I have some practice with these sort of predictions. But come on you can’t be that slow, considering how *deep* your reviews are? 🙂 No seriously. I watched Vallinam too, but I could not make that Mahabharata connection. Even though I was hearing the Pandava reference again and again, I just did not think about it. Maybe because I was not looking for anything deeper in that movie. But as you had rightly put Arivazhagan is ambitious indeed.
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Afridi
March 2, 2014
From what I could filter through after looking away multiple times owing to the many spoiler alerts in the review and comments so far, this film seems like a very worthy watch. Will have give it a thorough read after watching it, but for now, just wanted to say that you sir are a genius for the following observations:
“the fear that’s so evident in the urban upper-class films, where we can practically hear the director wipe away cold sweat and think: “Okay, this movie is about a very small section of the Tamil Nadu audience. So maybe if there’s a track with that popular comedian, more people will watch it. And maybe I’ll [over]explain some portions, put them in context, for those who aren’t likely to have encountered these situations. And maybe I’ll throw in some fancy songs as well.” These decisions end up wrecking these films.”
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VA Shiva Ayyadurai
March 3, 2014
What is your email address?
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Ravi K
March 6, 2014
SPOILERS
I thought it was a better-than-average thriller for an Indian film, and pretty good on its own terms as well, though, like you mentioned, I thought it could have used some more amping up of the paranoia and tension. The non-thriller portions could have used more of an undercurrent of tension at times.
About the “preposterous” underwater murder. I loved that scene! I thought it was masterfully shot and edited. The scenes leading up to it were rather suspenseful, and it was a fun injection of grand guignol into the film.
The endings of these films are rarely as fun as the rest of the film, and this is no exception. In fact, I wondered why Vetri wasn’t wearing a wire so the police outside could come in and arrest him or save Vetri if there was danger. They just let him go into the house while they waited.
BTW, where did the death of Kamalakannan take place? That looked like a particularly seedy area.
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Bala
March 6, 2014
Heh. Much as I liked the movie, I couldn’t help but compare it to Mysskin’s films. They are similar in some ways (I was reminded of Yudham Sei for some reason) eschewing unnecessary song interruptions, comedy tracks etc and in their efforts to show the leads as competent people who use their brains more than their brawn. But Mysskin’s films seem more real, more grimy – than the idealized world of Thegidi no even if more melodramatic ? Even the bullet wound does not lead to as much as a mess as one (ok, I) would expect. And which water body in Tamil Nadu has that clear water pa ? 🙂 And a professional police ? Wonder land only 😀
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Ajay
March 6, 2014
Are you the Bala I know ? 🙂
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brangan
March 6, 2014
Vijayakumar: I watched “Dexter,” right down to the awful last few episodes.
Ravi K: No idea. But what I recall from that scene was the very interesting decision to have the interval point at the moment where the window of the car comes down. I thought we’d see who the driver is, but that’s saved for the post-interval portions.
Bala: Non-clear water? Professional police? Ungala sandhosha paduthardhu romba kashtam saar 🙂
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Arjun
March 7, 2014
This review is quite appetising 🙂 – and I didn’t find any major spoilers, just FYI. I have been hearing the songs for a couple of days – it is an exciting debut by Nivas Prasanna – perhaps the best soundtrack from a GenY MD I have heard in a long time. Deserves a review 🙂
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sridhar270
March 7, 2014
SPOILERS AHEAD
Just to clarify, is the Big Reveal the one about the Professor? Or the one at the very end of the movie?
To me, that was a more unexpected surprise, even though I was thinking aloud about the Purushotam friend of the Prof.
Of course, given the lack of other characters, the true mastermind has to be someone new (who might be revealed in Thegidi 2 (if it exists)). Or of course, the only other option, Vetri’s father. 😛
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Girish Balakrishnan
March 7, 2014
Ravi K: The location of the Kamalakannan accident is a lane situated diagonally opposite the Taj Connemara Hotel that brings you right up to Tarapore Towers. Runs behind the TNEB office, also captured on the scene, which helped me identify it. Identifying places in Madras from the movies has always been an interesting exercise and this one was no different!
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brangan
March 8, 2014
sridhar270: I meant the revelation about who the Mystery Man was.
Girish Balakrishnan: Oh I agree. I also love watching older films for then-versus-now images of Mount Road or Marina Beach or (in the case of “Azhagiya Mithilai Nagarinile…”) the drive past Central Station 🙂
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dinakaranonline
March 8, 2014
Agree with your review but second half was bit of downer as mystery solves immediately once things start unfolding. I found Janani Iyer getting back with Ashok quite suddenly without much explanation provided. I loved how humour portion was neatly integrated into movie. Good watch.
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Kiruba
March 9, 2014
BR: What did you think of Vettri’s reaction confirming the news item in The Hindu with the same in Thanthi 😉
Or was it one of the maalai newspapers? (in which case it is okay?)
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Nagabhushan
March 9, 2014
Have you seen “Drishyam”? Couldn’t find your review.
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Bhavadas
March 9, 2014
I agree with dinakaranonline. Didn’t find this one a suspense thriller. Below average movie.
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Arun
March 10, 2014
Spoilers Ahead
Watching Thegidi, it seemed I was watching our own version of Enemy of the State and Doomsday Conspiracy. But Thegidi seems much more superior to those.Certain aspects like spoon feeding has been omitted. But in later portions, some portions seemed underdeveloped… like why the police officer trusts the hero or how the modus operandi worked. You are provided with some snippets of the main leader towards the end.And you are provided with a scene where a briefcase is exchanged hands.Often there is a contrived moment like how the leader of the operation gets caught suddenly. Ideally should have been a hide and seek game but gets solved in one shot here.
I cannot compare this with Myskin’s films. Myskin’s films have a X factor around them despite screenplay issues(Yudham Sei).
But this film forced me to think a bit about surveillance and how it can affect people negatively. At first, I first thought it was a stylish Hollywood aping spy film but towards the end it had a unique character of its own.Hats off to the director for trying something novel.
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Aravindan
March 10, 2014
*SPOILERS*
Wanted to comment when this post went up but was a bit taken aback that you liked the film. Just wanted to watch general reactions here and on Twitter and very disappointed I didn’t like this film as much as others.
The suspense was handled so badly – when your story line and suspense is so thin, it is all so tightly knit that stating just the basic facts itself spoils the suspense.. When Vetri meets professor after he gets the job – there is a passing shot of “someone” (the quotes here is the background cue for that shot) sitting in a room showing only his back to us. From then on, I was impatiently waiting for the film to end. And part two? Please.
Liked only the non thriller parts – mostly because of the two lovely songs. The “friend” (Sriman redux) was such a relief as I was hoping he would launch into Santhanam mode but he didn’t. He actually said and did everything a Santhanam would say and do, but it was much better. I smiled when he made a passing and explicit reference “namma kavuNdamaNi solRA mAdhiri..” very casually when I was worried he himself would drop such punches any time.
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neaba
March 13, 2014
loved the review as usual , ,i felt the additional 20 minutes was not needed and the professor explanation could have been much better than being dramatic.The dramatic was impressive as it was normal and subtle.
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random error
March 24, 2014
SPOILERS AHead
The detective in the film(protogonist) made me feel he is a commonly-intelligent normal guy, are they really like this in real world, or watching crime-thriller hollywood flicks made me feel like that
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Ram
April 3, 2015
Sorry – I could not get past “Major Sundarrajan-isation” 🙂 LOL!!!
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knittins
August 25, 2015
Very late to this thread, but better late than never…
Is the cop supposed to be Vallaba? They show shots of him from behind, and it does look like the same guy. It is possible that he is the kingpin, and his identity is known only to the Professor, and not to Shailesh and the other dude. And also explains why he sends Vetri to meet the Prof in the final scene instead of coming face-to-face with him?
Do I need to see a doctor or something?
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knittins
August 25, 2015
Addendum to above: Also might explain why the cop is keen that Vetri waits for him without barging into Shailesh’s house – so that he could perhaps hide/destroy the evidence before Vetri finds it?
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