Vishnuvardhan, a flamboyant and stylish filmmaker of the time in kollywood. The impact of his previous movies Pattiyal and arindum ariyaamalum created the hype to count days to think of what might be in the cells of this maker. I dint enjoy much of his "Billa", though it had taken as a masterpiece on gloss, style and protagonist's extreme glorification(கரிகிட்டா சொன்னா, மாஸ் மாமே!), lags in adaptation of screenplay, or the extra elements needed for upgraded version, and expected much fresher than its older version.
Sarvam is all about unexpected things happens in our life and how we fix up our destiny ahead with it, nice thought or plot. Story tries to prove us that we are a victim of circumstances, but i dint get that feel.. Actually, Movie starts with two plots, one is Revenge and another one is Responsibility, out of miserability. Then incitement comes when miserable meets miserable, ends up as Miserable Vs Miserable. Both Eshwar(JD.Chakravarthy) and Karthik(Arya) knows the trauma of loss. One disastrous thinks that he must bring the same disaster for the cause into what he is now, but another thinks no one will get the pain like his own. Eshwar looks as an euphemistic approacher earlier, besides his face and words shows the violence in silent way. However, I felt very funny wherever Eshwar shouts at to show his inner cruelty, there is no extreme psychopath or mentally imbalanced state in his characterization. He wants to balance/level the traumatic feel with Naushad(Indrajith), who is the cause for his son's accidental death, by killing Naushads' son Iman. Karthik, incidentally involved in the story, is in the responsibility for the heart beat of Iman...the twist of fate at end of first half (inciting point of two stories) is awesome. Arya's logic or philosophy or preach at trisha's death is aweful, i accept that he is denying to belive, but the words he delivered is flimsy. 1st half in chennai, 2nd half done in Munnar(clue greeting card in the movie shows moonar), cinematography in first half stills you, second half chills..but as a thriller script, both halves failed to thrills. Its really a challenging aspect that if you wanna take a thriller movie without cruelty aesthetics or kinda brutal elements. Though the maker attained the intense he wants to show on Arya and Trisha's love in first half of the movie, each and every scene in first half denies to move at least a bit ahead. Actually the script writer forgets some of the ground rules of scripting, as entertainment is never be a romance or witty dialogues, but it is how you make interact the audience with your narration, i mean involvement. I'm really clueless how this ace director forgot this.
Dialogues makes LOL through first half of the movie and this is the real armor for romantic sequence, but in de facto, sword is what needed to win with armour. However the way Arya tries to woo trisha provokes the laughter and claps with audience despite the repetition and verbosity feel. However i like that that sarcasm about Rajini kanth, demo with cell phones on how Trisha made car accident and "எனக்கு அதெல்லாம் தெரியாது, im a small boy" dialogue.
Small boy, Iman, oops, steals the show as well as our heart solely. His reactions are like words out of vairamuthu's pen...poetic! or a freelance poetic!(sometimes freelance poems surprises unexpectedly). And there is well enough room for Montage song with this small boy to show his naughtyness and interaction with Arya, instead of two unwanted songs.
Moreover, though it has nice story with better execution, weaker screenplay has been the cause for the negative payoff of the movie.
What hurts me is, Vishuvardhan too fell on filmy film making(சினிமாத்தனமான சினிமா). In his Previous movies he balanced filmy things brilliantly, however in sarvam, சர்வ பாடல்கலும் சினிமாத்தனமே...ஏன் சர்வமும் சில இடங்களில் சினிமாத்தனமே...unlike his perfectly crafted glorification of protagonist on his previous movies, poison infected Arya was being chased through one day and two nights...and at last the way Arya comes from burial is..is..முடியல...என்ன கொடுமை சார் இது! And in all filmy movies, safeguard protects the need in person at the neck of the moments only, i don't know who will change this contextual rule. By the way in Tamil movies, we can't expect Sigmund Freuds as psychiatrists, can expect psychopath(Pradaap pothan) kinda psychiatrists only. However he too done well and Where he says இளையராஜா as எல்லைராஜா is another silent ஹீ ஹீ..
Apart from this, in technical aspects like cinematography, costume, art, dialogues, editing, casting are really on great standard, particularly cinematography and costume is awesome.
சுட்டல் சூரியனை song is the real crest for editing, where in initial பல்லவி, single guitar string vibration in between நிக்கலான்டா and அடிச்சா வச்சகுறி words and its visualization placement is awesome.
And Computer Graphics is exceptionally well, yet i believe it wouldn't payoff..Futile!
Yuvanshankar did some fantastic music score in his previous movies, i have great respect for his score on Paruthiveeran movie(brilliantly reflected the ethinicity culture of the movie), altough in another time his score failed to synchronize the mood of "puthupettai" for its film-culture(but appropriate one for filmy culture!). Here in sarvam, background score is not bad, still in many nuances i felt he missed the real environmental track, may be he doesn't belive on those things besides he could reduce the noise a bit, so then he get an opportunity to add environmental track, on this issue there were many scenes Neerav shah made as beauty as he can, on the other hand yuvan drags that beauties to complete blunder one and first half is full of Illayaraja's melody and spanish guitar with heavy metal, is talkative. In songs yuvan did equally good, if not neerav shah has that ability to safeguard with his camera. சில இரவுகள், கனவுகள், சுவடுகள், நினைவுகள் நீதானே பாடல் இன்னும் என் நினைவுகளில்..., the flute in back drop throughout "அடடா வா அசத்தலாம் i wanna more with you" song is really அசத்தல், wanna watch more, and "மேகம் கருக்குது, மழை வரப்பார்க்குது, வீசியகடிக்குது காத்து, இளங்காத்து" lines insertion in சுட்டல் சூரியனை is touching and usage of water drops sound in காற்றுக்குளே melody also very nice, but Yuvan sir, please stop singing, otherwise i ll cry, there are choice of singers avidly waiting, why you கஷ்டபடிங்?! Though that first songs in both halves are inappropriate for story/scenes, however watching them makes me inarticulate...such a sophisticated make.
So, this time miserable vs miserable thriller goes miserable, coz' of its screenplay(like most thriller movies).
Atlast we all know Vishnuvardan is like a phoenix, after a flop in Kurumbu, he started from substratum through A.ariyamalum and pattiyal, so same way he ll back again with another real ace...can can...However i really love his films for his make and versatile, the range of scripts or ground is what makes him as one of the celebrity filmmaker in our film industry.
Film making is an art, not an absolute spontaneous one. Its one of the well organised pre-planned art. Which has enough room to re-think and re-imagine. Though it involves lot of human work, as our population, India's creating worlds large number of movies in a year, but a very few movies are in world standard. Out of all industries, the technical think tank in movie making is in the level of appreciable. The package is well, but products taste is awful. Operation success, patient dead! what might be the reason for this flawed culture/period reflective creations? actually movies are one or only art which reflects the life exactly in that periods, people, style, fashion, cultural and habitual nuances, etc..Does our movies do this? Not necessarily it should reflect so-so's, but it has the responsibility to replicate those things and also there are much more hidden entertainments in the mirror of peoples currents life. There we're lagging still. The omnipresence of movie art in traditional and contemporary society is surely a hallmark in any period. Movies, literature, music, travel is always gives an on-going experience for me, it's a kinda existentialism, coz' it has its own aesthetics in itself. But no movie has this existentialism in current celluloid scenario. Here, i like to mention the meaning of OSHO, it has a strange meaning(courtesy:saravanan), like we have the word 'experience', do we have any word for experiencer? that is called OSHO in Sanskrit. So each and every audience should be an osho, an experiencer.Moreover, movies should be a life, an on-going experience. Present movies are like monkey jumping, each and every sequence/scenes are quite chunky, there is no continuity, in one scene the characters are speaking in some remote village, then the next scene they're singing and dancing in Swiss. This is a simple example, i can say lots of nuances like this.
