Spoilers ahead…
The title of Manikandan’s new film – Kutrame Thandanai (Crime is Punishment) – may appear to knock on Dostoevsky’s door, but the film owes more to Alfred Hitchcock and Rear Window. At least for a while. The opening scenes are set in a crowded tenement complex, and we observe the goings on from the vantage of Ravi’s (Vidharth) flat, just as we followed James Stewart’s point of view. As in the older film, a neighbour ends up murdered. And the protagonist is limited by a condition. In Stewart’s case, it was a foot-fracture. Ravi suffers from tunnel vision. He can only see what’s directly ahead, which appears as a small circle in a sea of black. It’s like a freeze-frame of an iris shot.
But unlike the Stewart character, Ravi barely manages a living. He’s a collection agent who goes after overdue credit-card payments. But the bigger difference is that Rear Window concerned itself with the murder and apprehending the perpetrator, while Kutrame Thandanai is after something more… existential. No, nothing as crass as Ravi being haunted by his actions (though Nasser does play something of a conscience-keeper, dropping aphorisms like “Edhu thevayo adhaan dharmam”), but there’s the sense of an inner rumbling, a practical man-of-today’s grappling with the impulse to do the right thing – not in the cosmic sense, but simply for himself. Ravi needs money for an eye surgery. He’s seen people coming and going into the victim’s house. (Pause for a second to savour the irony: a near-blind man is the sole eyewitness.) And he seizes the opportunity for extortion. It’s tunnel vision of another kind. Ravi has eyes only for his own problems.
The set up is terrific. Manikandan is a careful, thoughtful filmmaker who never oversells a moment. The scene where Ravi reveals that he’s had this condition from childhood, that he thought this is how everyone sees, is so ripe for emotional manipulation – but it remains just information, something we need to know about the character. (Vidharth is superb; he brings to life a beaten man who doesn’t really complain, but can’t help wishing fate had been kinder.) The film charts Ravi’s journey, and Manikandan makes us see everything through the tunnel of Ravi’s vision. At first I wondered why we learn so little about the Pooja Devariya character. She’s Ravi’s colleague. She has a brother who hits her up for booze money. And then? But that’s all Ravi sees. What Ravi doesn’t know, we don’t know either. (Which is why a voiceover-like confession by the Rahman character, the victim’s boss, sounds odd. It comes off like a hasty device to tide the audience over a plot point.)
Devariya is excellent, as are Marimuthu (as a cop, again!) and Guru Somasundaram, who nails the smarminess of a lawyer’s assistant. (Just listening to him sheepishly tell Ravi who he is made me laugh.) Aishwarya Rajesh plays the victim, an ethereal presence with refreshingly earthbound values. She’s unapologetic about her choices – just like Ravi. Their “crimes” result in punishments, but without the moralistic finger-wagging we’ve come to expect from Tamil cinema. Manikandan’s touch is feather-light. He’s not saying, “Look, this is what happens if you do these things.” He’s just saying, with a shrug of the shoulders, “Shit happens sometimes.”
And yet. I can’t put my finger on it, but the magic of Kaaka Muttai is missing. It’s probably unfair to compare the films, as they’re so different and a shades-of-grey protagonist is certainly tougher to warm up to than two adorably twinkly-eyed children – but things don’t come together as organically here. After a point, the writing is strained. The last few minutes are crammed with needless twists. Okay, let me rephrase that. These “sensational” revelations – one about the victim, one about Ravi’s condition – belong in a different movie.
But there’s at least one similarity between the films – their music, too, belongs in a different movie. It’s wonderful to have Ilayaraja writing for the guitar again, and these understated passages beautifully capture the ebb and flow of Ravi’s inner world. But elsewhere, the music is too dramatic. The story is steeped in matter-of-fact philosophy. The score keeps saying, “This is a nail-biting murder mystery.” Manikandan’s sensibility is starker than the scores for Kutrame Thandanai and Kaaka Muttai suggest. The music sentimentalises these films – perhaps intentionally, to make them more “audience-friendly.” But I can’t shake off the feeling that the truest way to experience this director’s vision is to watch his films on mute.
KEY:
- kutrame thandanai = crime is punishment
- Kaaka Muttai = see here
- Rear Window = see here
- “Edhu thevayo adhaan dharmam” = What we need, that’s dharma.
An edited version of this piece can be found here. Copyright ©2016 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
magizhchi
September 2, 2016
I agree. This film would’ve been so much better without the background score. The music felt like it belonged in one of those dramatic Tamil TV serials. Otherwise, the film was beautifully made.
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Manikandan
September 2, 2016
Product of our times”, clichéd usage comes in handy while reflecting on Movie Kutrame Thandanai, Crime is the punishment. Simple Jataka tale understated. There is huge amount of restraint shown by the director before spelling out the Moral of the Story. This restraint shows the need of our times to dress the obvious with many decorations. A thing broad as a daylight is refuted as unseen people put on their grey coats.
What is the need for audience to travel along with characters on a moral journey to arrive at a Jataka equation they already knew ? I am aware of this what’s next, audience are tempted to ask, symptomatic of delusional grey gang. Nudge is in the movie title itself to reflect on our narrowing vision. Another minimalistic beauty from Director Manikandan graced by his highness Ilayaraja.
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wonderwallboy
September 3, 2016
As usual brilliant review BR. I wanted to add that everybody in this film who commits crime suffer some kind of punishment. Pooja gave those numbers and she lost her job. The three men in aishwarya’s life got punished one way or other. Even Nasser is facing some punishment I can’t tell bt his son doesn’t care abt him. Loved that part abt this movie.
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Destination Infinity
September 3, 2016
I want to watch this movie.
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Siva
September 4, 2016
Another masterpiece from Manikandan. Apt title. All crimes in the movie being punished. Such a beautifully subtle film with pin point screenplay by Manikandan. Makes me now wait eagerly for Manikandan -Vijay Sethupathi -Ritika Singh combo Aandavan kattalai on September 23.
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Rakesh
September 4, 2016
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ramvaradan
September 4, 2016
I liked the movie, but not the title …! What crime did the girl commit… if the title alludes to she was being punished!? Its catchy to be one, but the lets not play karmic justice here, please. Or am I being naive in my understanding?
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dagalti (@dagalti)
September 5, 2016
// that the truest way to experience this director’s vision is to watch his films on mute//
நூத்துல ஒரு வார்த்தை.
Haven’t seen the movie but I am glad you wrote the above line as I would like to agree with it as a generalization.
In fact, I wonder why you reviewers mention BGM so much in reviews in the first place.
You certainly do not mention, say, cinematography as much. The usual defence – if such an omission is to be defended at all – is that if you did not notice it, then it had serviced the movie appropriately and was thus a job well done. Any calling out to attention – unless the visual style is very much what the movie is about (Agni Natchathram) is generally a disservice.
Shouldn’t the same standard apply to BGM?
I don’t for a minute, mean to say, BGM has minimal aesthetic contribution or anything of that sort. Who doesn’t sit back and savour a well-done score when revisiting films.
Just that I find it curious that it occupies so much of the mindspace of the reviewer that other departments don’t.
And I see this ‘disproportionate’ attention for BGM percolating down. So many people seem to be talking about it, right after a watching a film. Certainly more than was the case, say a decade back.
http://www.tubechop.com/watch/8319024
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venky
September 5, 2016
Perhaps, for the the first time, I was pleasantly surprised to see an Osho’s book- I can’t recollect the title – One love, One Death or something like that- in a tamil movie. I can’t recollect any movie where Osho has been ever referenced. You see the book for a second while he pulls out the phone from the drawer which shows us the memory of the relationship he once shared with the girl.
I too felt the movie would have been better served with the humdrum sounds of the city, rather than the BGM which over-emphasizes what we want to feel for that moment. Using a loud BGM to make this movie “audience friendly” reminded me of my school days when I used to ramble on philosophy along with the subject to my heart’s content in my examination answer sheet and just when I began to panic towards the end, wondering if I would get ever marks for interspersing my personal rambling with the answer, I would go about marking the text book points in colour sketch pen. The BGM sounded like that last-ditch effort in my answer sheet.
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magizhchi
September 5, 2016
Doesn’t ‘Kutrame Thandanai’ mean ‘The Crime is the Punishment’, and not ‘Every crime will be punished’? And if the film’s intention was to highlight that the very act of committing a crime is the punishment, the screen play was weak.
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Aditya (Gradwolf)
September 6, 2016
@dagalti:
And I see this ‘disproportionate’ attention for BGM percolating down. So many people seem to be talking about it, right after a watching a film. Certainly more than was the case, say a decade back.
That and your tubechop applies to most things, not just BGM, now that everyone is a reviewer. (ennaiyun dhan).
But I find it difficult to separate it or discount it because what we hear is very much part of the experience. We can debate about whether a BGM is required or about why not try to watch a film on mute. But when it is there, it is there. It affects you and so you have to talk about it. And I also don’t agree that we don’t talk as much about cinematography (or anything else for that matter comparatively). It may seem that way because it is a bit difficult to give credit (or brickbats) to one individual there in many cases – there is a lot involving staging, how long a shot is held and things like that – a director may come in or an “intruder” like Kamal, who we know scribbles these on his scripts. But BGM is probably talked about because it interferes with your experience in a more brutal way, and more so when what you watch and what you hear doesn’t find harmony – in your head. And we assume – correctly or incorrectly – it is one person’s job (you of course remember the rein in discussion a year ago after my views on this very film :p ).
And this statement of yours too – So many people seem to be talking about it, right after a watching a film. Certainly more than was the case, say a decade back. – doesn’t apply to just one single thing. It applies to many things now. We talk about politics of films like never before. We talk about sexism and misogyny in films like never before. BGM is not something that is just singled out like you suggest.
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Jupe
September 6, 2016
Coming on the heels of Kaakka Muttai and Kirumi, I had great expectations of KD and am glad I wasn’t let down. Its such a relief to see new-age directors focus on simple but effective story-telling and not fall prey to commercial necessities like padding a movie with needless songs/comedy to increase the length & pandering to wider audiences by casting popular but poorer actors. If the audience reaction in the single screen where I watched it is a barometer for wider “B” / “C” centre appeal, the movie is a sure-fire winner amongst classes and masses which gives me so much hope given that this small film was competing with Vedhalam and Sakalakala Vallavan Appatakkar for mindshare.
Btw, BR and some of the readers “might” have been pussy-footing around Isaignani’s contribution but let me be the one to call out “Emperor ain’t wearing clothes”. BGM was a disaster and seemed to be veering between Kanchana and Mouna Ragam territory. It was almost as if IR and Manikandan never met to discuss the re-recording and it was all done through an intermediary who had a score to settle with both of them 🙂
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dagalti (@dagalti)
September 6, 2016
@gradwolf
//now that everyone is a reviewer. //
Jokes apart, I do mean to privilege the critic from the everyman. It is not something to be bashful about at all. And I do so because I find this whole hyper-awareness about BGM both recent and (thus I posit) not organic in the articulation of the received experience.
I allege that the said articulation is probably a mere aspiration to sound like the critic. From there I burden the critic with my own lay predilection of what ought to, and what ought not to find emphasis in his articulation 🙂
To your point about music being a department which has – excuse me, I couldn’t let this pass – a single-throat-to-choke: that in hardly ever a reason to direct our attention to something.
The other point you mention about music being an inherently interfering when it doesn’t work, is something I get.
What I don’t is being able to appreciate it when it works. Even that I only don’t see how that is something that registers right off the bat. If the scene works and you have attention to spare to evaluate the score at that very point – that is a skill I am quite suspicious of.
That too, perhaps not for the critic.
The poor fellow has long lost his innocence and sees pixels and sounds and processes, almost simultaneously when he experiences the moments. And he has the unenviable job of having to make a reasonable connection with the reader using words. Week after week. Dud after dud (Hope you guys get more than a watch when you retire).
But I am suspicious of the general viewer who too now claims to be able to appreciate the score at that very first instance. There’s something odd going on here, which I don’t understand, so I perforce have to trash.
// We talk about sexism and misogyny in films like never before. BGM is not something that is just singled out like you suggest.//
Hmm well, yes and no.
It is one thing to say people’s reaction to content, their very sensibilities may have changed over time. I would not credit (!) reviews with that.
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hikicha
September 6, 2016
I thought Ravi’s condition revealed in the end belongs entirely to the movie .
Ravi lacks remorse or even any ‘good will’ feeling. Even his help of the blind lady is driven by the fact that he sees himself in her with a fast forward in time ( the same music comes in when he comes across the birds in the cage 2 times)
With this setup, the only time he breaks down is when the final truth about his vision is revealed. That is the Punishment for him, for the crimes he committed .
I think the movie deserves one more watch 🙂
PS : BTW , I still couldn’t guess who was the real killer. By the description of the murder, it looks like it was done by Ravi ( as voice over says something about how it was done).
-Ramki
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hikicha
September 6, 2016
BTW ,
“The scene where Ravi reveals that he’s had this condition from childhood, that he thought this is how everyone sees, is so ripe for emotional manipulation – but it remains just information, something we need to know about the character”
I think that was lie – as he knows this much before and he went to the doctor only after his love ditched him for that handicap.
-Ramki
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brangan
September 6, 2016
hikicha: I think that was lie – as he knows this much before…
He may have learnt about this only a few years ago. Till he met the girl, he may have thought everyone sees like this… Not terribly implausible.
Jupe: The understated guitar bits didn’t work for you? I thought they were beautifully in sync with Ravi’s inner roiling. I was wishing that the entire score had been that way… Also, I wonder what it will take for Raja to hire a new sound guy. As magizhchi said, this was sounding like a TV serial in places. And at a time all the young guys are using the synth so vibrantly (at least sound-wise, if not ‘compositionally’), this sound is unforgivable.
dagalti: Actually, I feel it’s quite easy to “parallel process” what instruments are being used in the BGM, and when you’re writing the review, you can think back and make a connection about the music and the scene. What’s really difficult is to ‘parse’ the music more meaningfully (during the first watch).
I wrote about this here:
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Aadhy
September 6, 2016
“But the score for Onaayum Aattukuttiyum is a little more difficult to pin down because it’s in the traditional symphonic mould – and as any teacher of western classical music will tell you, you need to listen, really listen, to a piece four or five times before knowing what it’s about and how it achieves its emotive effects.”
Haven’t watched KT yet, but just read the Onayum Aatukuttiyum piece and found out that the above lines could explain why I found OA’s score to be dissonant with the mood in a lot of places. OA could have been such a mood masterpiece had IR played down a bit. The staccato symphonic swells had a “Listen to me” kind of an air. While watching a movie, the score needs to subconsciously (and effortlessly) push me into the world that’s unfolding in front of my eyes, just like lighting and texture of a shot. After such an immersive experience, later when I think exclusively about what worked, I can remember, even if just vaguely, musical cues and shots that really sucked me in. Then when the soundtrack is released and I listen to it, every visual accompanying the pieces is reconstructed vividly inside the mind. But this kind of a score that makes me notice it right DURING the viewing is a disservice to the movie itself, IMO. It was such a marvelous standalone soundtrack, but a bit too broad for the movie that was a lot more intricate. By broad I mean. not broad as in generic, but broadband-ish in the spectrum of emotions conveyed. As someone above said, there definitely seems to be a clash between the sensibilities of these new age directors and IR.
I now fear it has happened all over again in KT. Watching it this week.
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Madan
September 6, 2016
What’s funny is in the review for OAK, I had said that something like background score ought to be discussed esp in a case like that film where there was so much hype about munnani isai. Now if you, BR, do that, they ask why do you write so much about BGM. 😛 I am reminded of the famous Hercule Poirot line whenever he takes up a case, “Do you really want the truth and nothing but the truth?”
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RohaN
September 6, 2016
Re: Ilayaraaja background score. Agree that it was horrendously bad as a soundtrack to this film. I feel the same way about the Hey Ram background scoring but I get dirty looks when I say that to friends.
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Kid
September 7, 2016
Aditya(gradwolf): Could I know what you mean when you say “ennaiyun dhan” (I don’t follow Tamil…though from whatever I have picked up from films, I am assuming “dhan” means “too/also”). Thanks. I am asking because I wanted to wanted to reply to that particular statement of yours.
Dagalti: Very thoughtful comment. Thank you. I do have my views on this, but your comment has made me think about cinema in general as well. Again, thanks much.
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Aditya (Gradwolf)
September 7, 2016
Kid: It just means “me too” or “including myself” – as one of those blogger turned self-important reviewer 😉
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Aditya (Gradwolf)
September 13, 2016
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Janet
September 17, 2016
Your review used with exactly same words in mytamiltv.com
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r5arun
September 24, 2016
I have not watched the film yet, as it did not release in my town. But I jumped reading you describing Nasser saying, “Edhu thevaiyo, adhuve dharmam”. He says the exact lines in Kabali as well. That was the only moment that Kabali excited me – a Rajini film shining a light to Aaranya Kaandam (whose credits start and end with this quote) which stands out by how often it invokes Rajinikanth!
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r5arun
September 24, 2016
I love Every Frame a Painting channel. He is probably the Baradwaj Rangan of Hollywood.
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sridharraman
October 2, 2016
Finally caught this movie on HeroTalkies. Quite good.
*** BEGIN SPOILER ***
When you talk about the “twist” with respect to the victim, is it the fact that she and Ravi were a couple in the past? Or is it implied that Ravi was the one who killed her, possibly in a fit of rage?
Just as Nasser’s voice-over begins, there’s a shot of Ravi crying, but I wasn’t sure what he was crying for – was it on finding out that there was no cure for his eye problem? Or was it repenting the murder he had committed?
Will be interesting to get some clarity.
*** END SPOILER ***
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blurb
November 7, 2016
Bitch stepped out so I killed her. I’ll also come off as the martyr. AND lead a happy life later.
Idhellam oru padam..
Reminded me of Manmadhan a little.
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blurb
November 7, 2016
Hey I’m surprised brangan didnt slap a SPOILER ALERT on that one 🙂
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