…from posting this before the trip log is completed. I had been postponing on writing some other thoughts since I wanted to complete this trip thing. But “Anjadhae” just pulled me over. This recent flick of Mysskin and co had been the talk of the town for quite sometime and I saw it last saturday. I seriously don’t know how to put it, but I am very much impressed and I felt a sense of satisfaction of having seen a sensible movie. The movie, in fact it is the BGM, the camera angles and narration that is still in my head.
As such, the story is a normal story of friendship, love, deception that happens between two friends . What stands out tall is the way the whole story being narrated and the way the director involved the audiences in the plot. A lot of scenes have been picturized carefully with different camera angles. The scene where the villain crawls in the bed room to peak through the bottom of the door when the heroine gets her clothes changed is just a sample. When one of the allies (one who is handicapped) of the villain is shot by the police is another scene worth the mention. The police would stop his son from reaching his dad while this person’s leg trembles and looks at his son with a feeling that he is leaving behind his son and family. The other scene where a girl is dropped of a car after getting the ransom from her father, the father walks down in shock, the camera moves at a low angle from a distance captures the hero running parallel in the frame to reach out to the girl.
When kuruvi (common friend for the two friends) takes the bullet that was aimed at the hero, he falls down and holds the bush with one hand and his other amputated hand trembles he innoncently asks why his friend shot him. Just before the interval when Kripa comes to Sathya’s house and claims that he would take revenge for what Sathya has done to him, the camera pans out a low angle at slow motion in frame where the family is standing as a group in bright yellow lighting with Kripa walking tall, wow it was a instant wall paper composed in front of my eyes.
There are many such scenes throughout the film and the reason why I would be watching the movie again is for the BGM (Back Ground Music). Every scene that stays in the audience’s mind has a brilliant BGM which would have had a great impact on the audience. For me (for that matter any one else), it has always been Ilayaraja when it comes to BGM. Frankly admitting, Sundar C Babu has done a great job after IR especially with the violins. IR has used violins extensively which gives the life to a frame in the movie. The same has been thought through and implemented in this film. And just like IR, the back ground score has silence in some scenes which adds to the impact that the scene would create. In fact the BGM of the movie is the one that impressed me first and is pushing me to watch the movie again. There are scenes where the police is searching the villains, the villians escaping from the police and the audience wondering how the next frame is going to be. The BGM has three different music going in parallel capturing the mood of all three perspectives involved.
While the movie fulfills you from different angles, with only couple of songs that don’t bore you too much, a big let down is the characterization of the investigating officer who looks dumb in the screen. When he seriously looks at the map, discusses with his fellow officers and says “That’s right, we have to head north”, the theatre was full of laughter. He is portrayed like a next gen officer and says ” a.k.a Dhaya” it sounded like this person’s akka (sis) is Dhaya. On a similar note the heroine’s role is wasted but compensated by the mottai whose face is not show in the entire film and same with kuruvi’s wife who always covers up her face with her saree. As a whole I could sense a great team work with the director leading from the front, not on the masala lines, not too much of heroism and shouting (which is the trend in action films) and a film worth watching more than once.