The latter falls for the former after a cliched rescue scene from a villain gang. Sivakumar stalks Shruti, in the name of pursuit, but eventually realises his problem and apologises to her. The saving grace is the self-awareness of this film while it treads tricky territories. Had either of them asked some obvious questions in crucial moments, there might not have been any conflict in the first place. Typically, such stories are fraught with obstacles, but here, the major obstacle seems to be their insufferable ignorance. On the paper, it is a serious story about a grandson's journey to reclaim the lost glory of his grandfather, once a renowned silk saree weaver. But where Meesaya Murukku and Natpe Thunai worked, SS doesn’t. Sivakumar here is an underdog, no surprises there, and looking macroscopically, the tale is also about his rise to prominence. When the relatable protagonist finally rises against the odds, the victory, in his previous successful films, have been celebrated by the audience as their own. These films are usually filled with YouTube stars. He is usually a college student of the middle-class, a person whose love for Tamil and humanity is often spoken about. The characters keep hopping from one emotion to another, but all it left me feeling was numbness.Īnyone who has followed the exponential rise of Hiphop Tamizha Adhi may be aware of the checklists in his films. The director duo seem to have found this idea to be their success formula, given how they keep repeating this over and over again through this film. What begins as a sentimental scene in SS turns into forced comedy and then turns into action, before eventually returning to the original emotional point at which it began. Half an hour into the film, I truly understood what Sadha in Anniyan must have felt like, seeing romantic Remo transform into a psychotic killer without warning. However, the tonal shifts of Sivakumarin Sabadham( SS), in its pursuit of being a complete 'masala film', leave us confused.Ĭast: Hiphop Tamizha Aadhi, Madhuri, Prankster Rahul, Adithya Kathir, Elango Kumanan And of course, some of them, to be fair, have been entertaining too. This has resulted in horror films having comedy, children's films having item numbers, and love stories filled with social messages. They seem to believe that it’s a film that should have something of everything. Tamil cinema or Indian filmmakers, in general perhaps, suffer from their misunderstanding of what constitutes a 'wholesome entertainer'.

Forced vengeance movie