The first phase of Paava Kadhaigal is Thangam, which is helmed by Sudha Kongara. This story, set in the ’80s revolves round the life of Sathaar (Kalidas Jayaram), a transgender. He is consistently bullied by the villagers and shunned by his personal household. His greatest pal Saravanan (Shanthanu Bhagyaraj) is his solely confidant. Thangam depicts the place Sathaar’s life takes him.
Kalidas Jayaram, who performs Sathaar, delivers one of the best performances of each Paava Kadhaigal and Tamil cinema in current instances. Shanthanu Bhagyaraj and Bhavani Sre, on the different hand, remind us how extremely underrated they are, with their mature performances.
Director Sudha Kongara has dealt with this delicate matter, which mainstream cinema is nonetheless reluctant to narrate, with absolute dignity and sincerity.
Love Panna Uttranum
This Vignesh Shivan directorial, which has a contact of black humour, offers with the caste system and has an inter-caste relationship angle. Aadhi Lakshmi and Jyothi Lakshmi (Anjali) are twin sisters, who are in love with folks whom their household would not approve of. Whereas one of them succumbs to the strain, the different will get to select her freedom.
Anjali has convincingly performed the twin sisters, who are as totally different as chalk and cheese. Kalki Koechlin, who performs Penelope, is a revelation on the Tamil cinema display. The occasional bits of humour, and attention-grabbing characters make Love Panna Uttranum, a comparatively simple watch regardless of having some darkish moments.
This story, which revolves round how a couple’s life modifications after their daughter falls prey to a heinous crime, is directed by Gautham Menon. The director himself seems in the lead function, alongside with Simran in Vaan Magal, which offers with the subjects of honour and disgrace.
Gautham Menon has handled the climax of this phase in his well-known model, which makes it constructive and totally different from the different tales of Paava Kadhaigal. The efficiency of the total star forged (the casting is on level) has a contact of underplay, however it goes overboard at sure factors thus decreasing the total impression. However, Vaan Magal is undoubtedly a hard-hitting take on the false sense of disgrace.
Vetrimaaran depicts the brutal face of castism and discrimination with his phase Oor Iravu. The phase narrates the story of a pregnant girl (Sai Pallavi) who is accepted again by her estranged father (Prakash Raj), who brings her to their village dwelling for a child bathe. Prakash Raj and Sai Pallavi’s performances are unarguably the largest highlights of the phase.
Oor Iravu portrays the ugliness of the caste system with absolute honesty, which makes it the most uncomfortable watch amongst the 4 movies. However, at the similar time, the narrative is developed in a extremely predictable approach, with out any large surprises. It is commendable how the director selected to narrate the dilemma of a guilt-ridden father fairly than that includes him as a brutal castist, thus making him extra humane.
The technical features of Paava Kadhaigal are merely top-notch. The soul-stirring music by Justin Prabhakaran, Karthik, and R Sivathmika has elevated the total impression of all the segments and performed a main function in creating the haunting temper.
The good visualisations by Jomon T John, Theni Eswar, and Ganesh Rajavelu have made the anthology a charming watch. The manufacturing design, make-up, and costume departments too deserve particular applause.
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