mazhalai
A rejoint le févr. 2011
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Note de mazhalai
In his very first film Kalavani, director Sarkunam proved that he is a film maker with a potential. And in Vaagai Sooda Vaa, he continues to reiterate this fact as he narrates his tale adhering to a rural milieu set in 1966.
Vaagai Sooda Vaa is a tribute to teachers and tells the story of young man who is trained to teach and waiting for a government job which in those days was a highly revered commodity. The incidents that unfold when he comes to a village involved in making bricks and the shape that his dreams take on, become the base on which Sarkunam builds his story.
Vaagai Sooda Vaa works big time due to the brilliant detailing of Sarkunam and team, art director Seenu, cinematographer Om Prakash and music director Ghibran.
Sarkunam's research is evident in the numerous articles of 1966 from the transistor, its announcements, the alum used during shaving to the bar soap being cut by thread. And he has also brought out the traditions of people living in that period through the 'oppari' and the customs during a death ceremony. Sarkunam's eye for perfection is palpable when Vimal walks with a limp after he is attacked although his limp does not form part of the core of the sequence at all.
Credible characters and a fairly good screenplay are the positive components of VSV. In the performance department, debutante Iniya is a worthy find and cruises through emotions. The scene where she breaks into a pompous jig in front of Vimal's hut and where she expresses her disappointment on knowing Vimal's intentions speak about the girl's potential. Of course, her body language in a few instances is contemporary which could have been avoided.
Vaagai Sooda Vaa is a tribute to teachers and tells the story of young man who is trained to teach and waiting for a government job which in those days was a highly revered commodity. The incidents that unfold when he comes to a village involved in making bricks and the shape that his dreams take on, become the base on which Sarkunam builds his story.
Vaagai Sooda Vaa works big time due to the brilliant detailing of Sarkunam and team, art director Seenu, cinematographer Om Prakash and music director Ghibran.
Sarkunam's research is evident in the numerous articles of 1966 from the transistor, its announcements, the alum used during shaving to the bar soap being cut by thread. And he has also brought out the traditions of people living in that period through the 'oppari' and the customs during a death ceremony. Sarkunam's eye for perfection is palpable when Vimal walks with a limp after he is attacked although his limp does not form part of the core of the sequence at all.
Credible characters and a fairly good screenplay are the positive components of VSV. In the performance department, debutante Iniya is a worthy find and cruises through emotions. The scene where she breaks into a pompous jig in front of Vimal's hut and where she expresses her disappointment on knowing Vimal's intentions speak about the girl's potential. Of course, her body language in a few instances is contemporary which could have been avoided.