(Saranya Ponvannan, by now, can probably play these mothers without even being told what her lines are.) There are scenes that target multiple audiences at once, like the one where SK gets drunk (cue, young males) and his mother (cue, women) quotes the on-screen warning, “Liquor drinking is injurious to health.” We’ve heard of scripts ending up in the Oscar library.
(“ Ponnungaloda full time velaiye pasangala azha vekkaradhu dhaan.”) For family audiences, we get the scene where SK, as the nurse named Remo, is overcome by emotion when he witnesses childbirth. The lines targeted at their whistles keep coming. Then we have his core audience of young men. When word got out that I was a film writer, the first thing the kids asked was whether I knew Sivakarthikeyan anna. Some years back, I was doing a story about a school for tribals in the Coimbatore area. Remo isn’t the product of a screenplay so much as a four-quadrant marketing exercise. He references Maan Karate, Edhir Neechal, Varuthapadatha Vaalibar Sangam. He doesn’t just put himself up there with Rajinikanth, Ajith and Vijay. Who are these people? How did they know SK needed their services? Why am I asking these questions in a Sivakarthikeyan movie? Remo is less about convincing us that a man can become a woman than reminding us Sivakarthikeyan has become a star. What we get is a foreign crew that materialises out of nowhere, gives SK his makeover, and leaves. We await the scene where SK frantically hunts for help in the makeup department. A small-time actor (SK, played by Sivakarthikeyan) discovers that he has a shot at a part in a KS Ravikumar film, but only if he transforms himself into a female nurse.
In other words, I had problems with Bakkiyaraj’s writing that glorified an act that lacked decency and courage. I had a problem with the way the hero justified his twisted deception in the name of love. He even dresses like a nurse to achieve his goal.
The hero was willing to go to any length to trick the girl into falling in love with him.
The 2016 romantic comedy with Sivakarthikeyan in the lead followed a man’s attempts to lure the girl of his dreams. There are a few Zack Snyder-esque cinematic moments, especially in the climactic action sequence.īakkiyaraj Kannan’s Sulthan is a massive improvement on his first movie, Remo. Bakkiyaraj composes scenes that allow him to take full advantage of the cinematic experience of showing 100-strong men dance in a battle formation. The film also tracks the inner journey of the protagonist who learns that he can’t make an omelette without cracking a few eggs.Įvery scene in the movie works both emotionally and logically. They don’t raise a finger even when Sulthan pushes them around. The seasoned criminals who make the entire city shiver are powerless in front of Sulthan. Director Bakkiyaraj Kannan’s solidity expands on the belief that men are naturally good. The film’s high production values and strong emotional beats makes it an engrossing watch.