Thiagarajan Kumararaja – Super Deluxe Movie Review – Vijay Sethupathi – Samantha

Thiagarajan Kumararaja-Super Deluxe Movie Review-Samantha_Fahad-Faasil_Vijay-Sethupathi_Ramya krishnan
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Cast : Vijay Sethupathi, Samantha Akkineni, Fahadh Faasil, Ramya Krishnan, Mysskin
Direction : Thiagarajan Kumararaja
Story : Thiagarajan Kumararaja
Screenplay : Mysskin, Nalan Kumarasamy, Neelan K. Sekar, Thiagarajan Kumararaja
Music & BGM : Yuvan Shankar Raja
Cinematography : P. S. Vinod, Nirav Shah
Editing : Sathyaraj Natarajan
Production : Kino Fist, East West Dream Works Entertainment, Alchemy Vision Workz
Genre : Dark Comedy
Running time : 176 minutes

SuperDeluxe certified as A runtime - 2hr 56mins Releasing on 29th March - Vijay Sethupathi - Samantha

Super Deluxe Movie Core:

At its heart, Super Deluxe is around five stories that are joined together, making it difficult to think about who composed what
He utilizes five different episodes including protagonists who committed sin (in the public eye’s perspective) to reveals you the mystery behind hidden secrets of life.

Super Deluxe Movie Analysis:

The Movie opens with a dose of Vaembu (Samantha) lying close to somebody on a bed. The camera slowly moves around the room, pulling you towards the path it traveling. Before long you understand that it’s not the camera, yet the executive Thiagarajan Kumararaja who has taunt you into his reality. Furthermore, this is world has unconventional characters like Arputham (Mysskin), who trusts that he is god’s correct hand since he was the special case who survived in Tsunami when millions passed on. Shilpa (Vijay sethupathi) a transgender who came to see his son and wife. Kumararaja doesn’t stop there. His contemplations are out-of-the-world (actually), shocking, and exceptional.

There are 4 parallel plots occurring in the meantime, including the life of Shilpa (Vijay Sethupathi), Leela (Ramya Krishnan) and Arputham (Mysskin), Vaembu (Samantha) and Mugil (Fahadh Faasil), and another including 4 boys. The best part about the composing is that these plot-lines don’t converge at a certain point. One sub-plot turns into an impacting factor in another, yet from that point forward, finally they go separate ways. The manner in which the occasions unfurl is fascinating and makes the motion picture all the more engrossing. The trademark characteristics Nalan Kumarasamy and Mysskin’s composing is seen at a great deal of spots. A ton of funny parts have a place with Nalan’s ‘insane’ world. Who else can compose a scene where a man passes on while engaging in sexual relations? Then again, towards the end, there a succession including Mysskin, set in a tram, with green lighting. What more do we have to make sense of this has been composed by Mysskin himself?

Super Deluxe is one more proof that Vijay Sethupathi is an acting beast, the scene where he savagely reviles Baghavathy Perumal is splendid! Samantha, gives us a fragile living creature and blood character, an intricate lady who feels in a split second genuine and she shines! Ramya Krishnan’s peak discussion in the hospital with Mysskin and her child is sufficient to demonstrate her acting ability. Apart from the main actors, Master Aswanth & Bhagavathi Perumal, have done their job well and scored in their plots. On the opposite, the second half could have been bit more crisp and not draggy, due to the 3 hours runtime.

PS Vinod and Nirav Shah’s visuals have a regularly enduring impact on us. The insightful use of edge inside casing shots through entryways, windows, and rear ways makes a feeling of being caught, and this has been utilized for every single real character. The shrewd utilization of vintage tracks of Maestro Ilaiyaraaja by placing some of wonderful songs like Maasi Masam, Anthyilla Vaanam, Vanitha Mani falls on point. Yuvan Shankar Raja ensures we feel the warmth and soul of the scenes through his splendid foundation scores and well-suited hushes. The dividers on every one of the houses and a police headquarters, the make-move vase on one of the condos, the outskirts of sarees, the outfits of the characters, are generally blue in shading. While this should make a steady vibe, the characters are for the most part temperamental. This incompatibility has been viably used to lift our artistic experience.

The characters here are performers, yet in addition the TV sets. Thiagarajan Kumararaja demonstrates his adoration for Vadivelu in a larger number of scenes than one. At the point when Vaembu admits something vital to Mugil, a TV set out of sight goes “Innum Aaramikkave Illa, Adhukkulla Alarra!” (I didn’t begin, however you’re now going ballistic?) Or take the scene where the couple is examining separation, and we hear Vadivelu state “Indha Kota thaandi neeyum vara koodadhu, naanum vara maaten,”

In a CD shop, there are notices of Gangs Of Wasseypur, Badlapur, Kill Bill, Sympathy for Mr. Vengeance and other activity films. In another area, the dividers of movies are loaded up with blurbs of ‘Outsider’ and ‘Vaazhvin Ragasiyam’, which become vital later.

Thiagarajan Kumararaja demonstrates that he knows the mode of film to a great extent. He flawlessly describes four stories, each managing ideas like sexual maltreatment, pornography film industry, tormenting, marriage, abuse of power, religion, nationalism, and lastly what life is. All these are conveyed with loads of humor, and the film also strengthen the fact that you don’t need to continuously feed audience with witty remark to bring laugh.

Verdict: 3.75/5

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