Seethakaathi Movie Review
Vijay Sethupathi ,Archana ,J. Mahendran ,Mouli ,Rajkumar ,Bagavathi Perumal ,Karuna ,Ramya Nambeesan ,Gayathrie ,Parvathy Nair etc.
Directer – Balaji Tharaneetharan,Music by * Govind Vasantha ,Cinematography – Saraskanth T. K. Editer -. Govindaraj ,Production Company – Passion Studios, P R O – Suresh Chandra etc.
The wholeheartedness stage drama artist usher out the soul, subsequently his body ashes out, that his fellow ship observing his performances in others personify. Ayya Aadhimoolam who is a devoted stage artist and gives his best only in front of the audience and not had wished to act on big screen. Initially, Vijay Sethupathi appears in the historical get up and with lengthy dialogues, which made to observe his body language and delivering of dialogues.
The director Balaji Tharaneetharan trust on comedy track and believed with Vijay Sethupathi’s continues succe ss gives strive towards the film, Vijay Sethupathi has a tricky formula by choosing the right script, but in his 25th film he had applied inventiveness, he has appeared on screen for a few minutes, but his character speaks out thr oughout the film. Now the trend is being changed in Tamil industry, it seems, horror films slowly following the dis tinct strategies, in the film “2. O” a death spirit takes revenge by using technological aspects, this film “See tha ka athi” a soul fulfilling his wishes after the body vanished. Anyway, the directors are updating themselves to come out of the old vogues.
The film exposes on the tragedy of stage dramas, which is being slowly disappeared that the young guy who gives soul by his acting, Ayya Aadhimoolam (Vijay Sethupathi), dragged out the audience with his performa nc e. Unfortu nately stage drama looses value and a famed film director approaches him to act in his movie, Aa dh imoolam reject the offer that he had an ambition, that his acting should be observed lively by the vie we rs. Aad himoolam’s grandson is being affected by a disease that they need a huge amount to recover from the cancer dis ease. The old man Ayya’s daughter trust in him that her father sure saves her son, that the dedicated man last br eath was on a stage performance.
Parasuraman, who is drama organiser observing a brilliant performance on each artist that he concluded Ayya is still alive by the acting of each performer. A director was observed Saravanan’s acting on stage and comes for ward towards Parasuraman and requesting Saravanan to act in his film.Parasuraman asking director to check out Sarav anan’s performance in a second attempt, unfortunately there was no soul in the acting. Now all were concluded th at Ayya is performing in Saravanan’s body.By this, Ayya started to work after his death, that he ea rn for his family and even for others.In the opening Vijay Sethupathi comes in Aurangzeb get up later gives more eccentric on stage that goes into slow phase, after that comedy plays a vital role. The director didn’t believe in love songs and actions that is the great strength of the film.Exaggeration of Ayya eccentric is too much.
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A character in Balaji Tharaneetharan’s moving tragicomedy Seethakaathi calls theater the ‘father of cinema’ . Given Tamil theater’s contributions to Tamil cinema, the film is a long overdue tribute to the art form and its m any passionate proponents. But what makes Seethakaathi doubly special is not its story, which traces the twil ight years of a man who lived (and died) on stage. It’s the ingenious manner in which the film uses techniques of ‘pure’ cinema to take us closer to the stage.The film opens with a ‘long take’ as Ayya Aadhimoolam performs the role of Aurangzeb in a play. Vijay Sethupathi, in his 25th film, is most ‘dramatic’ in this performance, as the play tracks the fall of the Mughal ruler. As the take, around 10 minutes long, finally settles on a spot where the aud ience sits in the auditorium, the camera pans to show us how empty it is. Like Aurangzeb, Ayya too remains one of the last emperors of his kind.
I looked to my left, disturbed by the sound of my neighbour snoring. He didn’t seem to agree with the film’s ‘play-like’ long take. Call it cruel irony, but it’s the exact point Seethakaathi trying to make. We’ve forgotten to app reciate theater, even if it is within the four walls of cinema.Ayya and his team try to fill the auditorium, to bring back the glory days. His manager suggests placing an ad in a newspaper. And when the ad appears (in black and white), it is surrounded by film ads in shades of every colour one can imagine.Ayya’s passion to his craft hasn’t really translated to wealth. When his daughter comes home with her son in dire need of a surgery, Ayya is all but helpless. He cannot raise the money he needs through his play and the great actor falls, defeated by the same stage that gave birth to him.The true artiste, though, never dies. His soul (or “aura” as Shankar would call it) lives on, still hungry from his need to continue acting. But it is cinema that feeds him now. Ayya transfers both his tal ent and passion to the big screen, becoming a part of just ‘good cinema’.
He lives vicariously through other film actors but that’s until they rob the art forms of the ethics he brings to them.Now, it cannot be accidental that Seethakaathi’s director has chosen to show us the shoot of two ‘close ups’ to reveal the difference between cinema and the stage. This most cinematic of shots is also one of the far thest from stage acting. The shoot of a close-up also looks the most manipulative and artless. Close ups separate the actor’s face from his surroundings to leave him most vulnerable and that’s the case we witness when two actors choose to rebel against Ayya’s ethics. These scenes are hilarious, not just because of the slapstick nature in which they’ve been written. They also show how these actors struggle to perform this most basic piece of ac ting, even when every stage actor is trained to speak for hours without ever having the luxury of a ‘one more’ re-take.
Seethakathi also draws several other parallels between theater and cinema. Ayya’s green room is a reflection of past theatrical glory in dark dingy colours and blinking lights. In cinema, though, actors use fancy novelty vans filled with mirrors, lights and many other luxuries. For Ayya and his group, acting is limited to when they’re on stage; they remain simple and grounded when they’re off the spot lights.The film actors, though struggling on camera, remain great actors off it being able to remember long accusations and lies without any trouble. Even the crowds of the two art forms have been critiqued.
And when the film culminates to become a (Miracle on 32nd Street – like) courtroom drama (is there another genre in theater that’s as popular?) the dialogue-heavy course that follows seems very much intentional. The medium maybe cinema, but Seethakaathi is a film that ‘stages’ scenes in the way the word was originally us ed. One wishes the tone had remained more subtle even as Seethakaathi moves from its theater setting to that of cinema. Certain scenes “too” seem to repeat themselves far too many times just to drive home the point. But these are tiny glitches in a film that uses the soul of a stage play to paint a moving tribute to a dying art form. Aided well by Govind Vasantha’s non-intrusive music and a team of great actors, Seethakaathi doesn’t just qu estion the state of the business of our cinema, but also the state of its art.
This IS MY Personal Review So Please Go And Watch The Movie InTheaters Only
Written By- T.H.PRASAD -B4U-Ratting-3/5