There are different types of films that stand the test of time. It could either tell us about the era it released — the themes that get made into films, the cinematic language of that period. Take Balachander’s body of work, for example. The veteran filmmaker’s films socio-economic themes reinforce how different ‘mainstream’ was back in the 1970s and 80s. Or they were made ‘ahead of their time’ when the sensibilities of the dominant audience were different. These films find acclaim much after its theatrical run. A film is also remembered for the nostalgic value it holds or by its time-encompassing relevance. And Subramaniyapuram, which released ten years ago on this day, is a rare film that scores high on all counts. Continue reading “The timelessness of Subramaniyapuram”
Subramaniyapuram is a landmark film for several reasons. It gave us a fresh new perspective that dripped with raw emotion. The film also introduced us to the multi-faceted Sasikumar-Samuthirakani duo. For the uninitiated, Subramaniyapuram also inspired Anurag Kashyap to make Gangs of Wasseypur. “It’s ten years of the amazing film that inspired me to GOW #10yearsofsubramaniyapuram,” Kashyap tweeted on Wednesday. Continue reading “10 years of Subramaniyapuram: It is a personal milestone and a target as well, says director Sasikumar”
Ten years back, Subramaniyapuram was all set to release. The film was helmed by a debutant director named M. Sasikumar with a set of some unknown, bearded faces. There was a struggle to get screens — all they got were noon shows and smaller screens. But once the film hit the theatres, there was no stopping them. It was one of the rare films that got a screen on Satyam cinemas a week after its release. “Initially we hadn’t gotten a screen at Satyam. But we had our 100th-day function here,” reminisces Sasikumar. After a roaring success, Subramaniyapuram made Sasikumar a name to watch out for. Continue reading “I will never write stories for myself: Actor-director Sasikumar”
The fact that I really liked about Asuravadham was that the film, for the most part, ‘shows and not tells.’ There is some solid writing from director Maruthupandian. When we first see Samayan (A convincing and effective Vasumithra), he is swayed by shadows. The film takes no time to establish who the ‘Asura’ is and the chase starts off almost immediately. When Samayan gets his first death threat, you might think he panics easily. But as the film rolls by, you see that he has reason to. It is interesting that the main objective of both Saravanan (Sasikumar) and Samayan is not to just kill each other. Saravanan wants to taunt Samayan, to see him suffer and the latter wants to know the identity of his tormentor. The demon here is one with too many skeletons in the closet; so much so he isn’t able to identify which deed of his has come back to bite him in the rear.