Yen Peyar Anandhan TamilRockers begins with designer-critic Madhan’s note, which matches the foreword in the books. At some point in the movie, a character compares a good movie to a good book, so it’s closely tied to that perspective. It can also be seen as Sridhar Venkatesan mentally prepares his audience for the future. We have a kind of preface with beggars and a national flag. The melodramatic tone of this passage actually worries us about what will happen to us.

And then we find out it’s a Cannes worthy short film from lead actor Sathya. He will make his first film, which he describes at the press conference as a “big-budget business project”. But the day he was shot, he was kidnapped! Who is holding him hostage and what do they want?

Yen Peyar Anandhan Movie Story Line

Yen Peyar Anandhan TamilRockers has tried to tell us from the beginning that he doesn’t want to be a normal Tamil movie. In any case, this film is ambitious. We worried for a while about what was going on. The last cutscene forces us to guess who the character is and where he is going. But what this creeping, the seemingly deliberate story doesn’t bother the characters. Neither writing nor writing is enough. Rather than being organic, we uploaded the information to us. The character is not fully developed. Take the case of Sathya’s wife, Savithri (Athulya Ravi). He is a very functional character. We never felt the bond the couple shared.

As for the kidnappers. We have enough clues to realize that this hijacking has something to do with the movie. The walls where they hid were covered with movie posters. There is an old TV showing Raththa when. One of the kidnappers was named Marlon Brando and continued to imitate the popular Tamil actor. Others wear masks that look like plague masks. They asked Sathya why he wanted to make films, and they showed him his own short films, gave him comments and lectures on what cinema is. And all players are strong. Obviously, the movie is an experimental movie that is both good and bad. On the one hand, there is a genuine desire to be different. On the other hand, we experience a lot of idiosyncrasies, which is especially difficult because of the recordings on stage.

Santhosh Prataph and Athulya Ravi in Yen Peyar Anandhan

Fortunately, storytelling became smoother as it shifted to a familiar structure in the second half. While the battle for the kidnappers may seem new, we know that they are essentially ordinary civilians. We even have some big comebacks that are the foundation of vengeful movies. As with Seethakaathi, cinema is seen as the last refuge of a dying art. If this is the drama of the movie, it’s Koothu.

However, the film’s ideology seems rather narrow. The film conveys the message that cinema is not just entertainment, but a value system. It’s definitely a high ideal, but are we committed to it in the movie? Should all movies just reflect life? What’s wrong with the movie being a fun vacation? One of the kidnappers once complained that many other movie industries make good movies, but we are Bengali (read Satyajit Ray), the usual Malayalam and Marathi movies, the industry is not Tamil cinematographic. It seems the contradictory testimony comes from someone with posters of Kaaka Muttai, Visaaranai, AARA Kandam, Aadukalam, and Kuttrame Thandanai on their walls, criticizing him only for talking about protagonist Akira Kurosawa and Majid in the previous scenes. Majidi had spoken when he was away. Meet MP Thyagaraja Bhagavathar!

While we don’t have to believe in the ideals of the film, the seriousness of this kind of work makes us see a little better.