Production: M.K. Thamizharasu
Direction: Pandiraj
Star-casts: Arulnidhi, Sunaina, Jayaprakash, Kishore, Ganja Karuppu and others
Music: Taj Noor
Cinematography: Mahesh Muthusamy
Last week’s release ‘Baana Kaathadi’ introduced a new actor Atharva showcasing his potentials in a film that was a cliched romantic tale. On the pars, this Friday’s ‘Vamsam’ is based on a hackneyed plot of nativity film that revolves around clashes between few lineages in the village. Pandiraj debuted with an innovative conceptualization in ‘Pasanga’ and this time hasn’t got anything special to offer.
Centered in the backdrops of a distant village in Tamil Nadu, the film delineates about 11 different lineages in the place. Specifically, it revolves around three characters Anbarasu (Arulnidhi), Malar (Sunaina) and an elder person (Pasanga, Nadodigal fame Jayaprakash) belonging to various lineages. For the next couple of hours, the film touches the lines of conflicts, enmities and settling of scores between these families.
Director Pandiraj made a promising start with ‘Pasanga’ that was a wholesome entertainer with fun, frolic and a good message. On contrary, ‘’Vamsam’ spheres into a usual arenas of romance, fun and hostilities. The first half is completely entertaining as the screenplay is very racy and keeps us occupied for 90mins. But the second half turns to be little sluggish as Pandiraj pulls the threadbare narration of a long flashback and predictable climax with an interesting twist.
Arulnidhi takes off with a better start by doing justice to his role. The new actor seems to have taken extra care over projecting himself best on his character.
If he can choose the best scripts in mere future and exceptional roles, he can go ahead adding more feathers to his cap. Sunaina deserves praises as she gets under the skin of her characterization. It’s better and appreciable if she can choose such meaty roles. Jayaprakash spells an overpowering performance as a baddie while Kishore as usual wins the praises. Ganja Karuppu’s comedy tracks are enjoyable.
On the technical parts, Taj Noor’s musical score sounds more loud and vitriolic; especially the background doesn’t match the visuals. Mahesh Muthusamy’s cinematography is bright and top-notching. Editing trivializes the visual enhancements as there are some discontinuities in transition.
Usage of cell phones over the top of trees, project of festivals and describing the qualities of culture and Asin – the cow cupid engrosses the audiences. If Pandiraj had tried to invent something new with the screenplay during second half, the film would have been far better. The filmmaker could have limited himself from establishing his overdosed brilliancies of presenting more infotainment on village, different lineages, newfangled murdering and its pre-n-post dramas.
What works: First half, Star-casts, Cinematography, Direction
What doesn’t work: Second half, too much details, music, editing and predictable screenplay
Verdict: Watch it once
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The brouhaha associated with Vamsam has been on the high for two reasons. Primarily, it is due to director Pandiraj who had earned well deserved recognition in his very first venture Pasanga and hence his audiences are eagerly looking forward to his second project. Secondarily, the scion of the first family of Tamil Nadu, M K Arulnidhi enters the world of glitterati as hero and naturally the curiosity levels are at an all time high to assess the young man. Besides these two factors, the voluble promos in the media have also spiced up the proceedings.
Vamsam
At the outset, in Vamsam, Pandiraj has attempted to record the life styles, the culture, traditions of a community called Devar in the interior Tamil Nadu. There are 11 sects belonging to this community who are well known for a particular trait; one for rendering unequivocal justice, one for revenge, one for adventure sports etc.
Kishore belongs to the tribe which excels in rekla, silambam and other such games and always comes up trumps in any activity that he is involved in. Jayaprakash on the other hand belongs to the sect which avenges any form of humiliation. Not withstanding Kishore’s triumphs, he kills him mixing poison in his liquor. Jayaprakash’s intentions are to completely erase the clan of Kishore. However Kishore’s wife, who was pregnant during the time of her husband’s death, decides to raise her offspring away from the habits of her husband which brought him his untimely end. Fortunately for her, Jayaprakash spares her son.
Arulnidhi, son of Kishore is a very timid boy, a post graduate in Botany who minds his business. Unable to manage a cow (Asin), he sells it to Sunaina’s family but Asin runs back to Arulnidhi’s house. This leads to interesting interactions between the couple which ultimately blossom into love. Asin plays the messenger of love between the couple and the reason for their frequent meetings.
Meanwhile, Sunaina’s father who belongs to the clan of giving out justices, hands out a verdict in favor of Jayaprakash’s servant who was ill treated by him. Irked by the disgrace Jayaprakash kills him. Upset by this, Sunaina throws a pail of dung over Jayaprakash’s face in open street which is the pinnacle of ignominy for a person in the community. This triggers the series of revenge episodes in a relay fashion and where it all leads and ends form the rest of Vamsam.
In the department of performances, a deglamorized Sunaina takes the cake revealing that she can deliver any type of role. Although Arulnidhi fits the role of a docile, educated boy, he has a long way to go. The sequences where the couple in love talk in botanical terms is something new to Tamil cinema in recent times and would be enjoyable for Botany students. Ganja Karuppu and Arulnidhi take care of comedy department which are enjoyable. Kishore delivers a neatly crafted performance and so is Jayaprakash.
The screen play does tend to get wobbly at times and meanders here and there making it to difficult to connect with the film. Although there are incidents of killing, they have not been depicted grotesquely. The Thiruvizha scenes stand out in their native grandeur and the camerawork by Mahesh Muthusamy is laudable. The explanation about killing during Thiruvizha times is something new.
Music director Taj Noor; an erstwhile assistant of A R Rahman, shows potential especially in the pada pada pattampoochi number. He is efficient and sure to go places with the right kind of opportunity.
Pandiraj is successful in showcasing the life of a community in its various facets which could be interesting to some. He has fused realism and cinematic elements in the right proportion and has sliced his way through the path less trodden with considerable aplomb this time also.
Verdict – Illustrious lineage!
pls dnt make thevar oriented movie sir . if u r making like this …. Dnt irridate them. i think nw u r undrstd my thoughts…. 4 examble paruthiveeran its a good movie..music also nt good in ur movie ………. pls change ur think ……. by mayandi thevan……… all are angry with you. So u dnt make like this again sir . bcoz v r like dht much my caste……all d best 4 ur future movies …………