Making a few changes in the line and treatment of the original of the same name for it to be suitable to the modern milieu, young director Sneha Britto tries to re-create the magic in the second Sattam Oru Iruttarai (U/A. ) The earlier film turned out to be a milestone in the careers of director S.A. Chandrasekaran and actor Vijayakanth because of the freshness in the plot and the unique thought process woven into the story. But later films from SAC himself and from other makers of the era followed and over the years the theme has been beaten to pulp. The theory that the law in our country is obsolete and can be interpreted to help criminals is a valid point SAC made decades ago.
The pleasing personality of Thaman Kumar, who looks more like a honed version of Dhanush, is a draw. The lacuna lies in his footwork, which isn’t exactly laudable. That he bears the burden of a part played very successfully by Vijayakanth, and by Rajnikanth in the Hindi version ( Andha Kanoon), is by itself a big challenge. A solid role for Reemma Sen, and but for her erroneous lip movement in the mouthing of dialogue (strange that she hasn’t perfected it even after working in so many films in Tamil!) her performance wins notice. After Ko, it’s another noteworthy part for Piaa — hope our makers don’t decide that she’s only cut out for tragic cameos!
In Bindhumalini’s case, after a subdued but powerful role in Kazhugu, it’s a glam show all the way in SOI — the actor sure has the looks and figure to pull it off. Vijay Antony isn’t quite in form in SOI. The last song (‘Soin ’) and the jig thrust in the midst of crucial happenings are patience testers that grate on the ear. However the soothing montage numbers make a difference. Rajkumar’s cinematography is a plus in these sequences. The new film begins with the disadvantage of a three-decade old story that has been made and re-made in many languages. Britto’s re-creation holds your interest only to a certain extent.
Protracted flashbacks, songs that interrupt the flow and loosen the grip on the viewer, and dated sets affect the narration. The length of the college culturals shown as a flashback, for example, tires you. And the friends’ attempt at comedy is pathetic. The villains are mere caricatures in SOI. Thirty years ago it was accepted for its novelty. Here, they look ridiculous. Suresh’s theatrics from the opening scene when he walks out of the house where he has murdered the inmates and pauses outside to look so ominously and obviously at the gun in his hand, to his walking out into the traffic to get killed by speeding vehicles is a case in point.
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He could have easily perched himself on one side of the road — you see many avenues of escape en route! Silly, is all you can say. Revenge as a genre in cinema has come to stay ever since the 1970s. Many directors play around it as the winning rate of the subject is high.
But a fresh attempt of the same story in the same language, particularly in these days of information explosion when you can get to see the original at the click of a mouse or remote is redundant. Sneha Britto’s potential will come to the fore only when she works on a subject that’s her own. As far as SOI goes it’s a case of old wine in a bottle that isn’t all that new. Sattam Oru Iruttarai Genre: Revenge Director: Sneha Britto Cast: Thaman Kumar, Reemma Sen, Piaa, Bindumalini Storyline: The girl he’s ardently in love with is killed by the villains, and the hero isn’t going to let them go unpunished. Bottomline: The room could have been illuminated better.
Contents. Cast. as Vijay.
Aziz Chowdry as Bhairavan. as Rekha. Vasumathi as Sheela. as George. Nithin as Ranga Chari. G. Srinivasan as D.
Amjath Kumar as Peter. S.R. Veeraraghavan. Kallapatti Singaram. Shankar as Beggar. Baby shakila as Younger Sheela.
Non provisional licenses for drivers under 21 are what color texas. Master Anil Kumar as Younger Vijay Production The film borrows its title from a dialogue spoken in (1949): ' Sattam oru iruttarai, aathil vakeelin vadham oru vilakku. Aanal adhu ezhaikku ettadha vilakku', which translates to, 'The law is a dark room where the lawyer's argument is a lamp. But it is inaccessible to the poor'. Chandrasekhar revealed that the script of the film was rejected by 20 producers. Producer Chidambaram chose Vijayakanth for the lead character after he was impressed by his performance in Neerottam. Selection of actor arose stiff opposition from some quarters protesting against giving the hero chance to Vijayakanth in the film. Despite these objections, the producer stood firm in his decision and made Vijayakanth the lead actor in the film.
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Soundtrack The music was composed. And Lyrics written by Poonguyilan and Gnani.
The audio was released under the label Saregama. Thanimayile -,. Pagalil Oru - Shobha Chandrasekhar.
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Sattam Oru Iruttarai - Remakes. It was remade in in 1983 as, starring, and also acted in a cameo role.
It was remade in in 1981 as, starring, and. It was remade in as, directed by starring, and also acted in a cameo role. It was remade in as, (1982) starring.
It was remade by S.A.C.' S granddaughter Sneha Britto as in 2012 starring Daran and. Legacy The film's success established Vijayakanth as a star in Tamil cinema. The success also inspired similar themes about law system which were mostly directed by Chandrasekhar and his disciple. References.
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Vaidhegi Kaathirunthaal At a time when he was the pucca action hero, Vijayakanth agreed to play a soft role in this one opposite Revathi. The film, directed by R Sundarrajan, made Vijayakanth the king of B and C centres. It was in this film that comedian Goundamani played the role of 'All in All Azhagu Raja', a role for which he is still talked about.
Sundararajan revealed a few years ago that the initial producers of the film were actually against Vijayakanth playing the lead, but he backed the actor strongly and went ahead and made the film financed by another producer.