Sakthi, realising that Chithan is being used as accessory in crimes that he cannot comprehend, prevents Chithan from going back to working in the ganja fields. Chithan gets out but commits a crime when he obeys his master's instruction to burn the body of a murder victim. Sakthi serves his term and then butts heads with the ganja producer named to get Chithan out of jail. Chithan starts to reciprocate to Sakthi's kindness with the only way he knows: by being as loyal as a dog. He meets Chithan in prison and starts protecting him out of sympathy and pity. Sakthi gets sent to jail thanks to Manju's detective work. He gets into trouble when he cons a woman named Manju into losing all her personal effects in a game of dice. Chithan is caught during a drug raid and is arrested. She sees his ability to be loyal and enrolls him into the service of her employer, a large scale ganja producer. He is rescued by Gomathi, a petty ganja seller. He ventures into a town in search of food and gets into trouble as he does not understand the concept of money. He growls like a puppy, runs like a one legged man, but seems to understand loyalty and is (despite his circumstance) a social animal. Chithan grows up among corpses with minimal human contact and is perhaps autistic. Her child, Chithan, is found and raised by the caretaker of the graveyard. It was also dubbed and released in Hindi in 2020 with the same title by B4U Movies.Īn anonymous woman dies while giving birth in a graveyard. The film was also remade in Kannada as Anatharu (2007). Owing to the success, the film was dubbed into Telugu and released as Siva Putrudu ( transl. Upon release, the film met with critical acclaim and Vikram won the National Film Award for Best Actor for his role as Chithan. The film plot is based on Jayakanthan's Nandhavanathil Oru Andi, the story of an undertaker. The film's score and soundtrack are composed by Ilayaraaja. Muthukumar, dance has been choreographed by Brindha, editing by Suresh Urs, fights by Stun Siva and art direction by A. Durai, the film has cinematography by Balasubramaniem, lyrics are by Vaali, Pazhani Bharathi and Na. The film stars Vikram, Suriya, Sangeetha and Laila in main roles. Rakshasa) is a 2003 Indian Tamil-language action drama film written and directed by Bala. Ilayaraja's background score is sensitive and creates the perfect mood for the film.īala, on the whole, has shown that courage and conviction can indeed win.Pithamagan ( transl. She has grabbed with two hands the opportunity that has come her way. Laila is bubbly and cuddly while Sangeetha (often seen in two-bit roles) is a revelation. The bondingīetween Surya and Vikram is elaborated in a touching manner. With almost no dialogues for him in the film, he has to bank on his histrionics, and he comes out with flying colours. Surya is first rate with his vivaciousness and aggreable chutzpah. The characters in the film are very life-like and the artistes have infused The narration is linear and almost a throwback Sivaputrudu tries to tell a tale involving four people. The film is that there is no effort to pad up the surroundings with nifty settings or galmourised It is a tale that is infested with the smell of the soil in our long-neglected villages. There is also confluence of Surya-Laila love and the longing of Sangeetha for Vikram. The film primarily revolves around the strange friendship and the innate bonding that Vikram and Then there is Lalia, the waif-like polytechnic student and the deglamourised Sangeetha as the pawn-chewing, ganja-selling woman.
Siva putrudu movie review plus#
Surya is boisterous, crooked, impish, gregarious, garrulous and plus some more. A lovable charlatan (a roadside quack, a fast-buck-making salesman on train, a no-nonsense bookie on the streets) he is the exact opposite of Vikram's withdrawn character. Sensationalise but merely an attempt to understand the character of Vikram who is the reclusive undertaker.Īs a counterpoint to the inward looking Vikram is the character of Surya. When he shows the graveyard in the first scene (something of a taboo in India) it is not an effort to It is a theme that does not readily lend itself to film-making in India - the superstition-riddled industry frowns upon such sensitive and serious subjects.īut Director Bala, who is seen as something of a maverick in Tamil after his brooding but weighty Sethu (Seshu in Telugu) and Nanda (Nanda in Telugu), has shown that he has the strength and nous to handle such themes. It is a morbidly disturbing film about the sequestered and secluded life of an undertaker.