Director : R. S. Durai Senthilkumar Cast: Sivakarthikeyan, Prabhu, Sri Divya, Agilan Elamkovan


If this film had come out five years back, people would’ve still pushed it aside as ‘yet another clichéd dumb film’. It is doubtful whether a film would turn out to be this blunt even if someone makes a movie with a ludicrous attitude, wanting to deliberately make the most miserable film ever.


If you watch closely the television serials being shown everyday you can notice something- mostly there is no serious content or production quality- all they want is to fill in the half-an-hour slot they have got for the day. That is how exactly this film looks. After the crew had decided on a story (or a concept) and that the protagonist is Sivakarthikeyan, they could’ve at least considered writing a screenplay before going on with shooting the film!

Every scene begins with the characters taking their places in the frame and then continues till they speak on and on and on until the scene ends. The next scene-another location-characters take position-deliver never ending dialogues-and that is how the movie goes on. Now how is that for a 160-minute long film? Editor Vivek Harshan only makes things worse- the scenes never seem to end nor do the consecutive scenes have any relation.

In fact, you can well be satisfied with only hearing the audio of the film- there is nothing in the visuals for you to understand. There is a shot showing 5 men getting into a car, and then someone says “mmm.. get into the car”. Had it been “mmm.. get into this green car”, we could’ve directly gone for airing the film in FMs as a radio drama. There is more. There is a scene when Prabhu tells his sub-ordinates they should take the accused to the commissioner’s custody. The next shot, Prabhu & co get the accused into a police van and then suddenly there is a voice over- “get going driver! Commissioner will be waiting…”- one wonders whether directors think the entire Tamil audience has short-term memory loss.

Other departments:
Minus its cinematography, Kaaki Sattai fails to even satisfy basic aspects in all other departments. If you have a good knowledge of technology and the tracks used by Anirudh in his previous films, that is enough for you to fill in the background score for ‘Kaaki Sattai’. Or the better way, take 80% of the BGM tracks from Velaiyilla Pattathaari- there is not much difference.
The comical dialogues are in the style of jokes published in magazines like ‘Kumudham’ and ‘Kungumam’ two or three decades back. Once in a while, Sivakarthikeyan also lectures about the differences between boys and girls in love, and instructions for girls to follow. It is almost three or four eternities since the film has started, all knots have been connected and just when you feel relieved next it is the climax and it would all be over, Sivakarthikeyan’s dialogue shocks you- “It’s just a beginning, innum nee paaka vendiyadhu neraya iruku…”- Two or three more eternities later, you come out of the cinema hall expecting to encounter a futuristic, scientifically advanced world.

Vijayakanth’s ‘Narasimma’, Vijaya.T.Rajendar’s ‘Veerasami’, Power star’s ‘Lathika’ are films that are made fun of for their amateur and funnily exaggerated portrayals. ‘Kaaki Sattai’ is just another equally absurd film of the same style- it would be interesting to see if it will escape such trolling. If it does, one can confirm that when it comes to Tamil audience’ opinion about films, it is only influenced by the hero, heroine, director and producer of the film. ‘Kaaki Sattai’ is no different from every other Telugu masala film that we ridicule.

It looks like it is the ultra-slow-motion effects with apt background music, that give a ‘creative’ cover to otherwise average films. The day the audience realizes this, very ordinary films shielded by this technique will be exposed. In a film of duration of around 160 minutes only a few comical moments and very few thrilling sequences are engaging, that would all add to an aggregate of 15 minutes. Throughout the film, Sivakarthikeyan tries to imitate Rajnikanth and Vijay; the villain imitates Raghuvaran; Sridivya imitates Saroja Devi; if only the director had not chosen to imitate Perarasu!

(Doubt- The dialogue, “With hard work and dedication almost anyone can succeed”, is repeated, every 15 minutes in the film. Is it meant to celebrate Sivakarthikeyan’s success or to make fun of it?)

This film is for…
It is definitely not for audience expecting a good, engaging entertainer. Of course, it is not for you if you expect something different either. We don’t know whether the filmmakers thought it would turn out funny if Sivakarthikeyan is portrayed as a fiery police inspector- they have tried to play it safe by portraying him as a constable, but not sacrificing the punch dialogues, fiery one-to-one conversations and action sequences you might encounter in every other cop film of a leading hero. The film might well be a safe rehearsal for all the action, police films Siva is set to act in future. If you want to contribute a hundred and twenty bucks for the noble cause, this film is for you!

Few questions and answers:
Q: Can’t you enjoy this as a commercial entertainer, sparing the logic?
A: A commercial film may compromise in realistic approach or logic. If it ends up compromising the basic qualities of a ‘film’, you cannot call it a commercial film, not even a ‘film’. Please, do take a paper and pen. Write down numbers from 1 to 10. Fill in the aspects you think to have been enjoyable in the film. See if you can go past no.4
Q: Which number has your list of positives reached?
A: Two.
1. The Harahara Mahadev comedy.
2. The interval.

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About Author

Mahesh Raghavan

Mahesh Raghavan is a film buff and independent short filmmaker from Chennai. His interest for films of all genres and languages has grown over the years. One film a day is his thumb rule.

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