Karuppan [2017 : Tamil : Drama : 2h20m]
Written & Directed by R. Panneerselvam
Banner : Sri Suriya movies
Starring : Tanya, Pasupathi, Vijay Sethupathi, Bobby Simha
The brightest flame casts the darkest shadow - A Clash of Kings by George R.R. Martin
There are two major high points - social occasion & animal types - documented in the film Karuppan :
One, cattle in our society - A bull as a pride, in sports, provision of medical attention & the death ceremony carried out identic to funeral traditions of the specific region.
These social occasions are covered within the story and not used as a bonus point for the film post Marina Protest. Karuppan is the name of the protagonist as well as of the bull he domesticates. Even though not seen together often, they both share similar qualities. The young man roams around the village without any aim. He is a savage in the civilised society. Karuppan is tamed by his wife Anbuselvi. Their relationship - Karuppan and his bull as well as Anbu and the beast - is about disciplining and how difficult it is to cope up with the interconnections that adaptation invites.
Two, registering the fawn coloured Chippiparai dog breed. This special sighthound breed of dog that originated from Madurai district in Tamil Nadu is a descendant of Kanni, an endangered dog breed also from Tamil Nadu. Their origins can be traced to Saluki, the Persian greyhound, the oldest dog breed on earth. Hope we all realise that every single specie is important and our primary duty is to safe gaurd them irrespective to their origins. Chippiparai dogs can be seen on screen during the introduction of Sharath Lohitashwa.
Karuppan sincerely brings out the fragrance of our land. Hats off Panneerselvam.
Very few directors respect specific location and time while narrating the story. Karrupan starts with Jallikattu and ends during the Jallikattu of the following year. The story spans across an year detailing the events happening in Karuppan's life including 'devil-may-care' attitude, marriage, fatherhood, agriculture; before leading to a spectacular end to the story. The film also does not speak of revenge or any other rise and fall events. Firstly, Karuppan never falls to risen. He is just in the process of gradual adaptation. Karuppan-the film, shows how a young man shifts himself while taking up a duty thrusted by love.
Reputed heroes, who are known for their attitude, display their distinctive quality through a conventional act. Rajini often talks about relationships. Kamal enlarges his perspectives in search of God. Ajith clarifies his views about friendship. Vijay Sethupathi often registers a single thought trying to distinguish between good and evil. He keeps on exploring the real purpose of their existence in his films. In several occasions, he asks through his films, what really is good? And what is that which is addressed as evil? The energetic mind of Karuppan asks him constantly 'What would good do if evil didn't exist'?
Kathir assists Karuppan to find the answer. Kathir is like the ignored, yet the faithful shadow. Karuppan's life brightens up and the shadow Kathir glows darker just under his feet. Kathir does not leave the side of Karuppan, and operates silently from the corners where no one, including Karuppan, would look for the evil.
The tale is about how the devil twists the life of a beast.
Kathir and the Mama character played by Thavasi are distant relatives to Parattai and Koothu from 16 Vaithinile. The film also contains a fabulous ode to the cult scene from Kamal starrer Satya.
Karuppan is a jumble of both 16 Vaithinile and Virumandi. It rolls out as the dusted film cans from the eighties. And I don't have any clue why directors make Bobby Simha talk out his mind. After Iraivi, Bobby decides to narrate his intentions (the revelation falls flat). Vijay Sethupathi seems to give adequate importance stunts. The action is performed cleverly, even though it closes in with Sasikumar/Samuthrakani film works (of course, minus the blood). The final dual is spectacular. Hats off Bobby Simha.
Karuppan - Rural Feast.
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