Tamil cinema is one of India’s most prolific and increasingly significant film industries. Although less represented as ‘regional’ cinema, its directors have rapidly emerged as key players in the 21^st century Indian cinema. Unlike Bollywood, Tamil film narratives offer a richly detailed study of the smaller social milieu. One thing I admire about Tamil cinema is the elaborate portrayal of ethnolinguistic traditions. It may not have produced as many artistic works as Malayalam or Bengali cinema, but its filmmakers have often transcended rigid boundaries of mainstream Indian cinema.

Since 2000, content-driven Tamil cinema has reaped more success than some of the easily forgettable, star-based vehicles. The new crop of directors are more nuanced in constructing visual form. If its limited business scope is broadened, and the so-called star-actors choose sensible projects, more rewarding years will await the industry.

1. Hey Ram (2000)

Kamal Haasan’s controversial historical fiction Hey Ram explored one of the taboo subjects in Indian cinema. The violence of partition. At the time of its release, the visual imagery was too complex for an average Tamil/Indian movie viewer. Today, the film is considered one of our most brave and unique works. Hey Ram tells Saketh Ram’s story, an archaeologist caught in Kolkata’s pre-partition communal violence. The collective madness of the nation deeply traumatizes Ram’s psyche. He chooses a path of fanaticism. And his personal journey takes us closer to the dark, bloody chapters of Indian independence.

Haasan designed the tale with multiple, profound layers, that suggest how religious intolerance invokes generations of hatred and violence. Indeed, it’s a very relevant film for today’s India, where insensitive politicians with power shout words like ‘Hindu nationalism.’

2. Alaipayuthey (2000)

Mani Ratnam’s Alaipayuthey is a simple and thin love story. But, as usual, the renowned director executes it with a heart and tangible emotions. The film starts off like just another feel-good romance between an urban boy and a girl. However, it sensitively spans their love from the early blossoming to the near-wilting phase. The film’s strong point is Madhavan and Shalini’s charming performances. AR Rahman’s intoxicating music is yet another reason to watch it. The only drawback is its ending, which brings upon a contrived crisis to redeem the couple’s love.

3. Kannathil Mutthamittal (2002)

On her ninth birthday, Amudha finds out she is adopted. Her biological mother was a Sri Lankan Tamil refugee, who returned to her people in Sri Lanka. On Amudha’s insistence, the adopted parents make a trip to the escalating war zones of Sri Lanka. Unlike, Ratnam’s previous issue-based films, Amudha’s central conflict is intricately realized. The humane perspective organically flows unlike the contrived nature in Bombay or Roja. Moreover, the themes of displacement addressed in the film were about as universal as could be.

4. Anbe Sivam (2003)

Kamal took on the themes of globalization, religious fatalism, and economic disparity in this brilliant re-working of Planes, Trains, and Automobiles (1987). Anbe Sivam is a buddy road film involving a trade-union activist Nalla Sivam and an upper-class ad-executive Anbarasu (Madhavan). Circumstances force these polar opposite figures to travel together from Bhubaneswar to Chennai. Although they disagree on everything, a brotherhood is forged through their shared humanity. Kamal Haasan’s script, apart from the formulaic flashback, shines with witty as well as thought-provoking word-plays. In the era of clashing lifestyles, religious and cultural views, the film’s laudable message is simple enough to not forget: ‘Love is God.’

5. Pithamagan (2003)

An oppressed hero’s melodramatic tale, Pithamagan is certainly not for the faint-hearted. But director Bala’s heroes don’t just face oppression in the hands of an evil individual. They are first burdened by their place in the society. In Pithamagan, the heroes are a reclusive, quick-tempered cremator Chittan (Vikram) and a charming conman Sakthi (Suriya). Nevertheless, it’s not about the tragedy of being poor. Much of the film focuses on the engaging friendship between Chittan, who grew up in a graveyard with zero social skills and Sakthi, who has a positive outlook on everything. Despite pacing problems and minor flaws, Pithamagan largely works due to Suriya and Vikram’s fantastic performances. Bala also found the perfect balance between gruesome and humane elements, which went slightly missing in his later works.

6. Virumandi (2004)

Virumandi, among actor Kamal Haasan’s wide range of cinematic endeavors, occupies a noteworthy position. The versatile actor, in his second directorial attempt, used non-linear narrative structure to explore the truth behind brutal feudal killings. Kamal infuses three subtexts in the tale – caste-based violence, conflicts for resourceful land, and a message against capital punishment. Except the extended sequences of violence towards the end, the film was perfectly executed. Moreover, the subtle directorial touches and the attention to detail (especially in the opening ‘Jallikattu’ scene) set benchmarks for rural-based narratives.

7. Kaadhal (2004)

Balaji Sakthivel’s Kaadhal has an over familiar love story plot. Rich girl, poor boy, a conservative family and the elopement. While most films conclude with the elopement phase, Kaadhal explores the aftermath. What ensues when the dewy-eyed lovers are met with reality? The film is set in Tamil cinema’s favorite backdrop (Madurai).

Sakthivel finds a perfect realistic tone for a love story, occasionally strewn with fantasies. The film strips away all the glamorous elements involved in the adolescent tale of love. It mostly focuses on their mutual attraction, curiosity, and fear as they step out into the big (bad) world. Bharath, Sandhya, and the actor who plays the girl’s uncle are all a treat to watch. The climax portions still create a huge visceral impact, considering the increasing reports of honor killings.

8. Pudhupettai (2006)

Tamil cinema’s so-called anti-hero always has a reason for his anti-social behavior. It’s usually emphasized in a melodramatic flashback. Selva Raghavan’s anti-hero in Pudhupettai, however, doesn’t have any neatly packaged reasons or redeeming factors. The harsh violence faced by Kokki Kumar (brilliantly played by Dhanush) in his adulthood is hinted as a reason. But for the most part, Kumar engages in dark deeds and savagery, because he has a desire for it. And surprisingly his selfishness is not harshly punished. Pudhupettai is partly a rites of passage film, where an innocent youngster transforms into a blood-thirsty gangster. It’s also a hard-hitting observation of the unbreakable chain between crime and high-end politics. Apart from Kumar’s characterization, the film’s biggest strength is Selva Raghavan’s raw, unflinching staging.

9. Paruthiveeran (2007)

Ameer Sultan’s Paruthiveeran excellently de-constructs one of Tamil cinema’s oft-repeated and cliched backdrop: village. Unlike in Bharathiraja’s well-made melodramas, Paruthiveeran’s characters are diffused with shades of grey. Their volatile and tender human nature keep us surprised till the end. Director Ameer never shies away from showing how archaic authority like caste wields more power in rural areas than police authority. His narrative revolves around a ne’er-do-well, foolhardy protagonist, whose biggest ambition in life is to commit a crime worthy enough to take him to Madras prison. Apart from the commendable performances, Yuvan Shankar Raja’s music is the biggest strength to the film. Paruthiveeran was infamously popular for its brutal ending that left us pondering and disturbed to the core.

10. Kanchivaram (2008)

Priyadarshan’s Kanchivaram is a brilliant social drama around an exploited silk weaver. Truthful observations, huge ironies, and a strong political commentary string the narrative. But Priyadarshan’s matured direction doesn’t let symbolism or commentaries slow down the narrative. Prakash Raj offers a subdued performance as the central character Vengadam, a silk weaver torn between his political and personal ideologies. The director focuses on the characters’ internal struggles, letting inner pain reflect through their eyes and gestures. He shows melodramas can be rightly done, without resorting to loud dialogues and glycerine. The only minor drawback is the worn out flashback narrative structure.

11. Subramaniapuram (2008)

Sasikumar’s film is set in the 1980s Madurai and revolves around a group of uneducated, jobless friends, idling around a local politician’s house. The first half gradually sets up the action, sprinkling the narrative with typical romance and comedy elements. Director Sasikumar has a great eye for detail. He finely diffuses the feel for the time and place (an accurate vision of the 1980s). Subramaniapuram is essentially a tale of revenge and betrayal. It shifts gears in the second half and the recurring violent episodes have a strong visceral power. The four guys’ predicament realistically depicts how politics and power at grass-root levels work. The cast was full of newcomers and lesser-known actors, all of who delivered excellent performances.

12. Anjathe (2008)

Mysskin’s Anjathe is yet another rare feature in Tamil/Indian mainstream cinema. At over three hours, this crime/thriller, tinged with melodrama, centres around two best friends and the conflict that divides them. It’s a standard police vs criminal story, but what sets it apart is its unique directorial touch. We meet our protagonist in an action sequence, as usual. But the director opens it with a still frame gazing at the expanse of the sky, with characters wandering in and out of the frame. A vile act is just suggested through a sequence entirely filmed a little above ground level. The whole sequence involving the hero trying to save the assaulted man is one of the best scenes in Tamil cinema.

At times, the director’s touches become overly self-indulgent. The climax portions, for instance. Nevertheless, it’s a thoroughly engrossing and uncompromising thriller.

13. Pasanga (2009)

It’s very rare to see an honest, natural depiction of childhood in Tamil cinema. We got some authentic smaller segments in films like Autograph and Azhagi. But full-fledged, less hammy Tamil films involving children are rare. Pandiraj’s Pasanga is one such film. The film revolves around two smart six graders’ rivalries and idiosyncratic behaviors. Director Pandiraj doesn’t approach childhood as a simple period of innocence. He vividly realizes their inner world, capturing everything from desires to fears. Even the parallel track of the grown-ups romance stays true to the emotions. The writing and the character traits of each child are thoroughly enjoyable. The last half an hour becomes a drag, but overall, the film leaves an impact due to its life-affirming content.

14. Aaranya Kaandam (2010)

Thyagarajan Kumararaj’s directorial debut, with its choicest of expletives and gory violence, is a Tarantino-esque tale of criminal gang feud. It’s set in the concrete jungles of North Chennai, controlled by an impotent and bespectacled don (Jackie Shroff).

The gang’s smug existence is cut through by an assortment of rivalries. There’s nothing original about the plot. But Kumararaja’s witty dialogues, quirky characterizations, and unflinching direction render a brilliant experience. Despite Jackie Shroff’s fine performance as the brutal gangster, Guru Somasundaram and the boy Vasanth steal the show.

Aaranya Kaandam won the Grand Jury award at South Asian International Film Festival. Unfortunately, it had to fight an year-long battle with the censor board, eventually turning out a big commercial failure.

15. Aadukalam (2011)

Vetrimaran’s Aadukalam, although revolving around rooster fight rivalry, is actually a wonderful study about the darker side of pride. It showcases how those dark emotions can easily disengage human relationships, leading to deadly consequences. The narrative set in Madurai commences with its focus on the rivalry between Pettaikaran and police inspector Rathinasamy in the local cock-fighting sport. Dhanush plays the protagonist Karrupu, the loyal assistant to Pettaikaran. But series of decisions made by Karuppu create an invisible rivalry with his guru Pettaikaran. The narrative has quite a few regular Tamil cinema elements (forced romance, for example). However, director/writer Vetrimaran excels in flawlessly exploring how people do awful things, in the name of honor. Dhanush and Jayabalan’s performances are nothing short of astounding.

16. Mouna Guru (2011)

Santha Kumar’s directorial debut revolves around a quiet, socially awkward college student named Karunakaran (Arulnidhi). His life falls apart after a chance encounter with corrupted policemen. Mouna Guru stand apart from the standard crime thrillers because of its intricately detailed narrative. Like old French thrillers, Santha Kumar doesn’t employ jump cuts or quirky editing methods to incite tension. He fills the time frame with harrowing details, making us anticipate what’s going to go wrong next. The ‘fake encounter’ scene set in the Andhra Pradesh-Tamil Nadu forest reserves is one of the most well-written scenes in Tamil cinema. Every interaction either propels the narrative or develops the characters. There are no needless diversions. I overlooked some of the clunky tonal changes because of the overall intense experience.

17. Onaayum Aattukuttiyum (2013)

Mysskin, with his unusual camera angels (inspired by East Asian filmmakers) and philosophical musings, is one of the most interesting Tamil filmmakers of our time. With the ludicrous superhero attempt in Mugamoodi, the director returned to his unconventional narrative style.

Onaayum Aatukuttiyum is a character and sequence-driven film, not a regular plot-driven structure. The threadbare story revolves around the chase between contract killer Wolf and his enemies. An innocent medical college student (lamb) is ensnared into the conflict. The predestined roles of hunter and hunted gradually change in the narrative’s course. From the soaring musical score to the intense camerawork, every element of the film affirms the director’s clear-eyed vision. The only flaw is the subpar performances.

18. Soodhu Kavvum (2013)

Nalan Kumarasamy’s debut feature Soodhu Kavvum is a well-written black comedy. Similar to Guy Ritchie’s Lock, Stock, and Two Smoking Barrels, and Snatch, the film mixes together off-the-wall characters with darkly comic circumstances. From unemployment to rampant corruption, Soodhu Kavvum touches upon heavy themes, without ever replacing its manic energy for spewing out loud messages. From the amateur criminal Das to the psychotic policeman, Kumarasamy has cooked up idiosyncratic characters and coherently places them in the narrative. The film’s laugh-out-loud sequences largely work due to brilliant performances, led by Vijay Sethupathi. Some of the comic moments and twists in the second half don’t work too well. But the film never fails to entertain.

19. Kaaka Muttai (2015)

Manikandan’s directorial debut is a lesson for filmmakers. In how impactful social issue films can be made without loud, vociferous messages. The film revolves around a pair of mischievous young brothers. They live in Chennai’s shantytown with their hard-working mother and a caring grandmother. When their favorite hangout is taken over by a pizza franchise, the Rs 20-a-day earning boys become obsessed with the Rs 300-pizza. Director Manikandan observes, rather than imposes, when presenting family dynamics. The boy’s simple quest elegantly touches upon themes, from desire and personal identity to globalization and poverty. Despite few pacing problems (in the second half), Kaaka Muttai remains a brilliant portrayal of our nation’s vast class differences.

20. Visaranai (2016)

Vetrimaran’s Visaranai tells the horrible turn of fate for four downtrodden, homeless Tamil laborers. It draws from autodriver-turned-writer Chandrakumar’s memoir Lock Up. The film is a thrilling examination of the predicament of those reduced to pawns by the apathetic bureaucracy.

Its first half explores how authority works on grass-roots level, while the second half looks at the devious nature of authority exercised in the wider arena of politics. The police interrogations effuse a raw realism.

The prestigious Venice Film Festival screened the film in 2015. And Amnesty International, Italy, bestowed it with the ‘Cinema for Human Rights’ award.

Which of these are your favorites? Let’s talk in the comments below. You can also connect with us on facebook or twitter.

MOVIE RECCOS, MOVIE REVIEWS, REGIONAL CINEMA

March 23, 2017