Saani Kaayidham is a Tamil film in the works. Arun Matheswaran will direct the film, which will star Selvaraghavan and Keerthy Suresh as lead characters.
Saani Kaayidham, starring Keerthy Suresh and Selvaraghavan, launched on Amazon Prime Video on May 6th and is currently streaming. Unfortunately, the whole movie of Saani Kaayidham was leaked online barely hours after its OTT release. The film’s pirated copies are becoming widespread on the internet, which is reducing the film’s OTT viewership.
Saani Kaayidham Trailer
The second installment of filmmaker Arun Matheswaran’s “revenge trilogy” is gruesome and unsettling. It features a few auteur touches, just like the director’s last picture, but there are a few flaws.
Saani Kaayidham Review:
In this brutal, yet concentrated vengeance movie, Keerthy Suresh and Selvaraghavan are fantastic. Arun Matheswaran’s films have a unique negative tone that he achieves via the use of monochromatic imagery to portray misery and pain. In both Rocky and Saani Kaayidham, Arun employs black and white cinematography exclusively at intervals, notably for the protagonists’ flashbacks. The negative effect of Bergman’s black-and-white films is widely mentioned.
However, Arun’s pessimism stems from a sense of impotence. In other words, the monochromatic is meant to emphasize the characters’ quietness and the lack of color in their life. This, of course, is due to a narrative choice made with a definite goal in mind: to tease us with a flashback.
In the flashback, there are at least two very magnificent views that are reminiscent of Bergman’s choreography. The first is a long view of an abandoned cabin and a youngster who appears to be forsaken. A (deserted?) mother and her daughter are in focus in the second photo, while the kid fades into the distance as a shadow figure. My mouth dropped open. Yamini Yagnamurthy, the cinematographer, performs an excellent job; her work is quite formal. She starts with three shots: a wide, a medium, and a close-up. This is the type of composition that you’d see in old movies. Yamini is particularly good at filming situations of sexual exploitation, but more on that later.
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Without a question, Arun Matheswaran has a remarkable talent. He sees the film as a tool for telling epics rather than merely stories. As a result, he prefers to make epics rather than flicks. Saani Kaayidham, like his fantastic debut Rocky, is organized like a heavy piece of lyrical prose, with six episodes divided by a prologue and an epilogue.
Rocky by Arun was a short examination of the concept of land, with a protagonist with Sri Lankan roots. With caste-based violence, politics in Saani Kaayidham is direct and closer to reality. Saani Kaayidham is a statement to ascend above the social order, much like Rocky was about a man establishing his rightful position in a foreign nation. Both films are about powerless people trying to get to the top.
Most directors would approach vengeance as a genre through the lens of cause and consequence. As a result, people would be satisfied with just three major plot points. Perhaps four. But these enormous moments are what Arun’s films are all about. These major events aren’t “major” in the traditional sense, as in a Vetri Maaran film. These are large in terms of ideas, choices, and the size at which blood is painted on the frames. Arun Matheswaran’s films, in other words, do not build up to violence. Even at the conceptual level, they are structured to start and finish in bloodshed.
Arun’s unusual conviction is what distinguishes him as a dedicated filmmaker. That kind of dedication is becoming increasingly unusual these days, as films increasingly become corporately controlled and directors cater to market tastes without need. Having said that, this writer believes Arun should put his stylized violence practice to greater use. He must aim his aggression toward the audience rather than relying on it for a “shock” effect. He has to focus his violence on creating memorable scenes.
In Rocky, this was a significant issue for me. In Saani Kaayidham, this is a major issue. Full disclosure: I’m all for extreme movies as long as it makes me uncomfortable. The violence in Arun’s movies is too simple, exploitative, and fun. In the present version of Saani Kaayidham, several sequences have been sanitized, and profane words have been muted. What good is it to release such films on digital platforms? What use do these heinous assertions about “creative freedom” on OTT platforms serve?
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Saani Kaayidham is based on Ponni’s long-running horrific sexual assault (kudos to Keerthy Suresh for consenting to undertake this). It’s quite unsettling and terrifying. Despite this, the scene avoids sensationalism and ends up being provocative. Arun and Yamini deserve credit for documenting the attack with minimal information. Yes, the sequence is brutal. Unlike our commercial filmmakers, though, Arun takes care not to exploit the attack. At the same time, Arun takes great care while writing the antagonists. They’re horrible not because of what they do, but because of how they think. Someone makes a hand love gesture at Ponni in one scenario. This was more distressing than the last scenario.
This is what distinguishes Arun as a significant voice: he understands how the hierarchy works and how men think.
This is not to suggest that Saani Kaayidham is without merit. According to the film, the events take place in 1989. However, the characters’ language and vocabulary are in today’s Tamil. Although violence is graphic, it is not realistic. That’s why, after a while, when Ponni and Sangaiah (a fantastic Selvaraghavan) go all out, we lose interest in what we’re seeing. Because violence is stylized, this occurs. The film occasionally gives the impression that it was made for these “huge” moments rather than the other way around.
When it comes to violence, there is an uproar scene in which Ponni and Sangaiah (who are half brothers and sisters) are killing someone with their hands covered in blood as Pasamalar’s ‘Malarthum Malaratha’ plays in the background. It sounds like a scream.
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Keerthy Suresh’s eyes have never been so intense. On the other side, Selvaraghavan is a fantastic option. He has two outstanding scenes in which you completely believe in his innocence. However, there are a few flaws. Without going into too many specifics, Ponni’s final reaction is not how she would react. They were never emotional, these two individuals!
Saani Kaayidham has a few auteurist flourishes. A curse is fulfilled. The mistreated half-brother grows into a vigilant defender. When Ponni receives her final act, Mahabharatham plays on the radio, as if to symbolize Panchali’s sabatham. We have an explosive climax at a theatre, similar to Inglourious Basterds. Kaayidham is dripping with blood. A lovely story about a thousand eyes and a vision-challenged youngster exists. I’m already a fan.
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