Kadaisi Vivasayi Synopsis
Kadaisi Vivasayi – The only farmer in a community where farming has been abandoned gets charged with a minor offense, which leads to his incarceration. The exquisite play Kadaisi Vivasayi is about farming and spirituality.
Critic’s Rating: 3.5/5
Kadaisi Vivasayi Review
The first few moments of M Manikandan’s Kadaisi Vivasayi unfold in a low-key way. We observe Maayaandi (Nallandi, who tragically is no longer with us) getting up and going about his regular activities. He lets the hen out of the coop, feeds the bulls, and brings them to his property. We are then introduced to the other residents of this village, including a man (Muniswaran) who is rejected by the woman he loves because she has heard that his family is insane; a bald man (Kalimuthu) who is desperate to regrow his hair; a 22-year-old dwarf woman who wishes to marry; and a bald man (Kalimuthu) who is desperate to regrow his hair.
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Ramayya (Vijay Sethupathi), a Murugan devotee who is said to have gone insane after the loss of his loved one and is now a wanderer; Kaalaipandiyan, a police policeman who is regularly confused for an EB man or an auto driver…
Gradually, a semblance of a story emerges. The villagers decide to have a festival in honor of their local deity after a lightning strike kills an ancient tree in the town. They’ll need rice harvested in the village to make an offering. Maayaandi seems to be the only individual in the entire area who is still farming.
He agrees to cultivate rice, but in the most strange of circumstances, he is condemned to jail for no fault of his own. Can this farmer, who has lived a sustainable lifestyle for years, survive behind bars? What is the status of the village’s festival plans?
In recent years, there has been a slew of Tamil films advocating for farming and farmers, but unlike other films, where the idea came off as virtual signaling, the purpose in Kadaisi Vivasayi felt genuine. Manikandan, as in his Kaaka Muttai and Aandavan Kattalai, presents his message in a soft way, engulfing us instead with good people whose lives we learn to care about.
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His Maayaandi is someone who considers farming to be a way of life; in fact, it is the only way of life he has ever known. He has managed to remain unaffected by the changes that have occurred in the world around him. When he is handed seeds that would produce seedless tomatoes, he is appalled at the thought of someone inventing such a thing! His hearing loss is a subtle way of expressing his personality as someone who hears what he needs to hear.
In its own gentle way, the film pokes fun at the law’s sluggishness, realtors’ avarice, the 100-day employment plan, and unbridled quarrying, eliciting a giggle here and there.
The film, however, isn’t only interested in becoming a parody. It aspires to be a lighthearted drama about ordinary people living ordinary lives. Even the officers who detain Maayaandi on fabricated accusations aren’t entirely awful; they’re petty, but not malevolent. And, unlike the other filmi judges we’ve seen so far, this one (Raichal Rebecca Philip) is empathetic but pragmatic.
This is a spiritual (but not religious) video on how our gods came to be and what they represent. Following Karnan, this is another video that shows how the animals and plants that surround us are an integral part of our existence and define us.
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It’s difficult to recall another film that made us cry at the sight of withered vegetation or dead birds. The cinematography (by Manikandan himself) is understated but stunning, conveying a strong sense of place. The sync sound fills the scenes with so much atmosphere that the fantastic sound design carries us right into the lives of the characters. There are moments when we feel as if we are just watching life unfold right in front of our eyes.
Despite all of the film’s cinematic pleasures, something appears to be lacking in Kadaisi Vivasayi that prevents it from being a genuinely excellent picture.
Nallandi’s dialogue delivery has a deadpan aspect to it that makes us doubt if he is truly concerned about his situation. We experience times of emptiness among the warmth. The tempo is also off. There are certain sequences with Ramayya that run on far longer than they should, and people that appear throwaway (like that of Yogi Babu, who plays a man who has sold off his land and bought an elephant and makes money through it). Perhaps this is why, despite the individual sequences’ power, the film never comes together as a whole.
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