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by : Behindwoods review board
Arulnidhi, Sunaina, Ganja Karuppu
M K Thamizharasu
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.
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
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
Verdict – Illustrious lineage!
K Thamizharasu, Ganja
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