I was especially taken by his need, earlier on, to explain himself to her, whom he doesn’t even know, simply because she caught him in a compromising position and he cannot bear the thought that she now has the wrong impression about him. The meet-cute is more thought-out and more convincing than the ones we see in most romantic films, and the short conversations Vettri and Madhu share are beautifully written. He knows he cannot afford to be seen with her, and the sign is a reminder of what people like him do, “shadowing and surveillance.” We needed more such moments of the sinister lurking in the everyday.īut I was surprised by how well this romantic track is handled. He sees a sign on a door nearby that the area is under video surveillance. He’s happy that the girl he likes so much seems to like him back, but a second later, he freezes. In the best scene, Madhu (Janani Iyer, perfectly cast) leans on Vettri and curls her fingers around his. This is one of those paranoia thrillers where the protagonist finds himself deeper and deeper in a conspiracy, and the only major issue I had is that this paranoia isn’t played up enough. (“Chain smoker.” “Short temper.”) These aren’t translated either. And when Vettri begins tailing people, he takes pictures of them and pins them on a board, affixing post-it notes with key characteristics. The story is about Vettri (Ashok Selvan), who, after an MA in Criminology, joins a detective agency for a job that involves - as his employer puts it - “shadowing and surveillance.” I waited a couple of beats for the inevitable translation, but it never came.

But in its own way, the film is a success. Thegidi is another such film, small and tight and contained, more invested in pursuing an organic vision than in being all things to all people. It made no attempt to “reach out.” It stayed true to its premise, its characters, its milieu. Kalyana Samayal Saadham didn’t make that mistake. And maybe I’ll throw in some fancy songs as well.” These decisions end up wrecking these films. And maybe I’ll explain some portions, put them in context, for those who aren’t likely to have encountered these situations. So maybe if there’s a track with that popular comedian, more people will watch it. In these films, we don’t sense the fear that’s so evident in the urban upper-class films, where we can practically hear the director wipe away cold sweat and think: “Okay, this movie is about a very small section of the Tamil Nadu audience. The best Tamil films, these days, are usually those that are set in the smaller towns and villages, and that’s because they don’t have to make too many compromises in the storytelling.

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