Two and one. "I don't make scandalous pictures." I'm just telling stories that no one has dared to tell before. In human relationships, there is always love and desire, the main thing is that the body or mind will prevail. If Hollywood and even recent Bollywood projects like Love, Sex and Deception look at different kinds of relationships, why don’t we try? Sami
A hooligan from filmmaking and an outlaw director, from the relationship of a woman with the brother of a deceased husband and a debauchery who paid for a fatal illness to the forbidden connection of a young wife with his father-in-law, Sami stubbornly builds his way into the cinema with each picture. Exposing the ugly wounds of a hypocritical society, he is doomed to universal condemnation and is ostracized, however, the scandalous director manages to find actors willing to work with him, and continues to do what the target audience cannot love and accept.
Lovers are not judged. Perhaps so, but who loved and who betrayed? You can understand men and women, but should you? Where is the boundary that two have crossed, each driven by his own motive? And what is this damned love that everyone is in a hurry to cover up for their weakness? Do you love youth and beauty or maturity and experience? Apparently, himself unwittingly, excites the calm surface of the quiet pool - raises all these and other questions with his ribbon, but he does not consider it necessary to give answers.
The authors of numerous reviews emphasize: this movie is not for the whole family, it too frankly shows that it would be desirable to be silent, therefore, the sentence is not subject to appeal – in the third picture the seal of failure at the box office. And for Anaka (it is unusual to call Amala Paul differently, although, however, it is not necessary to relearn) it is preferable to convince everyone and herself that her second film in the Tamili film industry, Maina, is a real, as befits, loud, successful debut. Consolation for leading actors could be the recognition of critics (however, to have a track record of one or two abstruse pictures in our time is not so bad), but Sami manages not to fall into the context of critics. And if his work is united by the author's handwriting, then he can be traced only in a special tendency to scandalous topics and ... changing the style in accordance with the theme of the action.
In the "Animal" according to the historicity of events (they develop in the 80s of the last century), it is possible to note the general rubbing and fading of the village landscapes, and not without the competent use of natural light and carefully built frames (perhaps this is more the merit of the operator). Muffled colors, but moderately loud tape. 'Sindhu Samaveli' ("Valley of Vice" as you can call a movie in Russian) unprecedented volume and too bright for the chosen theme picture can lead perception to bewilderment. Or is it the viewer's fault? The dramas of Bala and Amir Sultan are inevitably associated with a faded color scheme, with scorched fields and rare bright spots of colored clothes. The drama of the events of "Animal" such an approach did not reduce. In Sami’s third work there are scenes of battles, explosions, greenery, ocean and electric light, and on the other hand the effect of a shaking camera and a delicate depiction of conflicting feelings. They treat masala, but sprinkle it with a flavoring identical to the deep thought.
Strong acting is still able to block the brightness and turn the movie into a real tragedy. Those who admit that the film belongs entirely to Amal are right. To some extent, Harish and Gajini are almost close to her level, but still want to leave in the center of the story of the Fall of a woman, although she was not the first to bite an apple (you can not even call yourself orthodox: he has his own special view of sin and betrayal). With Harish, Amalah makes a great couple, but Muthathal Sandai has the fastest rhythm and the most crazy video I’ve ever heard and seen. I like the composition, only during the viewing there was a feeling that everyone is rushing around headlong somewhere, and if you continue to sit quietly in the chair, you risk missing something important and being completely alone. The comedy on the tragedy hits Ganja Karuppa in the image of the holy father. It seems that the unfortunate saint he never played anywhere else. All the better.
The theme for Indian cinema is more than bold. The author of one of the reviews states that Sindhu Samaveli should have been shot in French, Italian or any other language. However, in European and world cinema in general, this topic is more or less well worked out, so the film would be superfluous in another language. It is gratifying to see the Indian interpretation of the tragedy of treason, but the picture of outstanding and flawless is not easy to consider. Some techniques caused bewilderment, and, therefore, their use was not fully justified by the plot, and the notorious brightness makes the film too sweet and significantly reduces the strength of emotional impact. Sami is experimenting with both theme and production, experimenting for the sake of an experiment. It is interesting to watch, it is pleasant to watch the actors play, but the tape cannot claim universal signification and breakthrough. Her Majesty Commerce rules the ball.