Aaranya Kaandam

<p>Singaperumal ( ) is an aged gangster, who on a girl named Subbu ( ), but is unable to perform and vents his frustration by slapping her. Later, his right-hand man Pasupathy ( ) tells him that a large stash of worth (US$240,000), has entered the city. The man bringing the stash wants to sell it for (US$59,000). Pasupathy sees the profit, the long-term benefit (to control the cocaine market with such an ample supply), and the recognition if they are able to pull off such a deal. The drawback is that the stash belongs to their arch-rival Gajendran (Boxer Arumugam). Singaperumal knows that Gajendran is a vicious and unpredictable adversary and that the venture is risky, so he decides to pass. Pasupathy suggests that Singaperumal is getting old and asks him to loan him (US$59,000) so he can do the job himself. Pasupathy is prepared to face the risks, and in return for the loan, he offers Singaperumal a cut of the profits. Singaperumal agrees to the loan, but instead asks Pasupathy to first get the stash and then think of the profit distribution. Kaalayan ( ) is a destitute farmer, living with his young, street-smart son Kodukapuli ( Master Vasanth) in the slums and earns a meagre living staging ; coincidentally, Singaperumal loves to watch these cockfights. One evening, a man arrives in a bunk with Kaalayan for the night. The man is actually the cocaine courier, who routinely transports various stashes of drugs in and out of the city and collects a relatively small fee (US$120) for each trip. That evening, after a long bout of drinking, he reveals that he has learnt the actual value of the stash and now intends to sell it himself. Seeing Subbu in tears, Singaperumal asks one of his men Sappai ( ) to take her out and comfort her . Sappai takes her to the beach and tries to console her. Pasupathy and the men meet with the tipster and drive off to retrieve the stash. En route in the car, one of the men receives a call from Singaperumal, who orders him to bump off Pasupathy as soon as the stash is acquired. Pasupathy overhears this and gets into a with others. In a desperate ploy, he deliberately provokes a cop at a checkpoint, getting arrested and then later making an escape. The men kidnap his wife Kasthuri and use her as bait to lure Pasupathy. Singaperumal orders them to bring Kasthuri to him. Meanwhile, Subbu hates being a plaything for Singaperumal and wants to live life on her own terms. She tries to persuade Sappai to think for himself and realise that Singaperumal is using them. Sappai, however, is too fearful and weak to oppose Singaperumal. Subbu and Sappai become unlikely friends, and Subbu continues to hope for a way out. Subbu is somewhat educated and learns whatever she can about the world outside Singaperumal. Meanwhile, Kaalayan stages his cockfight the following day, but this time, his prize rooster gets killed. He is now in serious financial trouble. Kodukapuli senses this and immediately goes to see if their visitor, still unconscious, has any money. They find out that the man had alcohol poisoning and died. Kaalayan and Kodukapuli find the cocaine stash and the phone number of a prospective buyer (Singaperumal and Pasupathy). On the other hand, Singaperumal is worried as his stash has not arrived, nor has he got word that Pasupathy is dead. He gets an angry call from Gajapathy (Gajendran’s brother and right-hand man): if Pasupathy seizes Gajapathy’s stuff, Gajendran will unleash a gang war. The cunning Singaperumal tells Gajapathy that Pasupathy has gone rogue and Gajapathy is free to take out Pasupathy. Singaperumal figures this will benefit him in two ways: he will get the stash, and Pasupathy will be killed by Gajendran. Gajendran sends his thugs after Pasupathy, who is on the run. Now that Singaperumal has become his enemy, Pasupathy figures that Gajendran could possibly become an ally. Kaalayan calls Singaperumal to meet and make a deal for the stash. While waiting for him, Singaperumal’s thugs arrive and kidnap Kaalayan. After continuous torture, Kaalayan is unable to reveal anything as Kodukapuli has the stash. Kodukapuli ends up accidentally calling Pasupathy’s number and offers to trade the stash for his father. Pasupathy joins Kodukapuli and offers the same deal to Singaperumal: the stash in return for Kaalayan and Kasthuri. Pasupathi places a call to Gajendran and offers to reveal the location of the stash. Gajendran and his gang arrive at the location to make the exchange with Pasupathy. Singaperumal’s thugs also arrive. Pasupathy pretends to offer the stash to Gajapathy, but instead slits his throat right in front of Gajendran. An enraged Gajendran and his gang chase Pasupathy. Pasupathy leads them around the block where Singaperumal’s gang lie waiting. Both gangs, mistaking Pasupathy’s loyalties, charge at each other and start a . Pasupathy gets out of the fray and watches as Singaperumal’s key generals and Gajendran hack each other to bits. Pasupathy’s plan to decimate the two strong factions has succeeded, and he returns to finish off Singaperumal. Back in his room, Singaperumal discovers that the bag with the loan money is missing. He rushes to the conclusion that Sappai took it. When Sappai returns (having been sent by Subbu to fetch fruits), Singaperumal beats him up severely. After being beaten up, Sappai shoots Singaperumal dead. All of a sudden, Subbu emerges from the shadows, and is proud of Sappai, but she shoots him dead. When Pasupathy arrives, he finds the two men dead and Subbu in tears. Having always been sympathetic to Subbu’s suffering with Singaperumal, he says she is free to go. Pasupathy assumes command of the remaining thugs of Singaperumal’s gang, and his wife Kasthuri is also unharmed. He later gets the stash and pays Kodukapuli a fair commission. It is finally revealed that Subbu had planned the entire chain of events. She sent Sappai with the money bag to provoke Singaperumal’s temper. She retrieves the bag and quietly leaves the city to begin a new life. She remarks that the men basically mistrusted, misused, and slaughtered each other. In her view, Sappai too was not really an innocent victim. She says that Sappai is also a man, but all men are (the word ‘ ‘ has varied meanings, but in this context, it means insignificant to the point of being ). The film ends with her line: . In August 2007, following the success of his film (2007), speculation over ‘s next production venture arose. While initial reports suggested that he would produce , starring and , Charan opted to produce a film titled , to be directed by a newcomer and starring newcomers. However, despite announcing the project, it was called off later that year and Charan started producing the film in May 2008. In late 2008, while was in stage, reports surfaced that Charan and Kumararaja were going to revive the project, with noted actor being roped in for a leading role, making his debut in . Director was revealed to be a former student, and popular advertisement film-maker, who has also directed several short films, including the short film , which was awarded the first prize at the one-minute film competition . Kumararaja had previously written the dialogues for the 2007 as well. He got the opportunity to work with Charan, when , the director duo of , had suggested him to approach Charan, who listened to the storyline and immediately agreed to produce the film, “in a matter of time” as Kumararaja cites. The film was formally launched on 18 December 2008 at the Kodandapani Studios in . The script was written by himself, which he had finished in 2006. He cites that he wanted to make a “racy film” and wrote the climax part first, which would be the “raciest part of a film”. He then wrote “multiple storylines with three climaxes” as he felt that one climax was “not enough for a feature film”, which eventually turned out to be a “leisurely paced film, taking its own time to unfold” and not a racy film as intended. He cited that, while writing the script, he was sure that it was meant for a matured audience and not for children, “primarily because of the content”.Thiagarajan Kumararaja went on to add that there were “no hero and no villain introduction scenes, there are no love scenes, no sentimental scenes” but nonetheless considered his film a and not an . When announcing the film had already roped in , debuting in the , , of fame along with from the based theatre group . Shroff was said to play the role of a “hoodlum”, who was chosen after Kumararaja had approached several other Tamil actors, who declined the offer, fearing of their “image”. According to the director, the role required a senior person, and Shroff had fit the role “completely”. Speaking of his role, Shroff remarked that he had done things in the film that he hadn’t dared to do in the past 30 years of his career, quoting “I am literally a monster in the film. Actually, I am more like a coconut – hard on the outside, but a veritable softie inside”. plays a “lover boy”, whose role, he claimed would be totally different from his earlier roles. Ravi Krishna was Kumararaja’s first choice for the character as he had written it with keeping Ravi Krishna in mind. enacts the role of a gangster named Pasupathy. Kumararaja finalised Guru Somasundaram for the character of Kaalayan, after he had seen him performing the titular character in Koothu-P-Pattarai’s play . Kumararaja had stated that the voice modulation and pattern of the Kaalaiyan character were based on Somasundaram’s performance in the play Chandrahari, which eventually resulted in casting him in the film. Somasundaram cited that the dialogues were also written “keeping the artist in mind”. , a popular based model, who had appeared in television advertisements and won many , was selected for the role of the lead female character. Her role was, however, written for , keeping her in mind, who couldn’t accept the offer as she had given her dates to magnum opus . The details about the crew members were also published, when the film was announced in early December. was chosen as the cinematographer, who had earlier shot films like and , while Videsh was announced as the art director, ‘Super’ Subbarayan as the stunt master and Kalyan and as choreographers. was appointed as the costume designer. However, during the making of the film ‘Super’ Subbarayan was replaced by his son Dilip Subbarayan. is named after one of the chapters from the epic meaning “Jungle Chapter”. It is supposedly the first film in Tamil cinema and influenced by films like and . Thiagarajan Kumararaja said that his inspiration behind making a gangster film was revealed to be as well as the thought of “how someone becomes a gangster and continues to be one”, clarifying that was not a biography or history of a gangster but “a page out of the life of a gangster”. was signed as the music director, who was working on a again after the likes of , and . Kumararaja divulged that he actually hadn’t anyone in mind, but joined with Yuvan Shankar, following producer Charan’s recommendation, who shared a “good working relationship” with the composer. Initially a was also planned to be composed, with being roped in to pen lyrics, however Charan disclosed later that the film would feature no songs at all, becoming Yuvan Shankar Raja’s second film project after without a soundtrack. Charan told that the background music of this film will be released on CD’s which eventually proved false. The song “Moodupanikkul” from (2014) was originally composed for this film. The film was first screened on 30 October 2010 at the South Asian International Film Festival in . The film was incomplete at that time, with works pending, and a low-quality version without colour correction and without a film score was projected at the festival. Despite the drawbacks, the film gained positive feedbacks and went on to win the Grand Jury prize for Best Film. “Once you create a believable fictional universe, you suck the audiences into that world and they tag along for the ride. Halfway through, their suspension of disbelief meets with an abrupt halt, when you include a real-world element like a ‘bleep’. Every effort that the filmmakers have put into the film just goes down the drain. After completion, the film was screened to the regional in Chennai, who declined to clear it. The committee had demanded 52 and several consequential sub-cuts, particularly due to and excessive violence, before permitting a theatrical release. Kumararaja, who admitted that he had expected difficulties in the , disapproved of the board’s demands as he wanted to present the film uncompromisingly to the audiences. He claimed that the usage of “bad language” was “part of developing the characters” in his story, while he also disagreed with out the “objectionable” words since he felt “it throws audiences off the film’s narrative”. Producer Charan voiced the same opinion, citing that he had made the film for a “mature audience”, took the film to the Central Tribunal at . opened to strong critical acclaim. lauded the director and the producer for making a “strikingly different film that is raw, realistic and is just like watching angry men up close”, further adding that “picturizing crude realities of life so real needs amazing guts”. The leading actors, particularly Jackie Shroff and Sampath, were appreciated for their performances, being labelled as “perfect”, while film score and cinematography were praised as well, citing that “Yuvan Shankar Raja deserves all accolades for a fantastic re-recording” and that “Vinod’s lens captures the darker sides of city life well”. s Pavithra Srinivasan gave the film 3 out of 5, claiming that film “bypasses gangster clichés”. The reviewer also spoke in high terms of the cast and crew, pointing out Guru Somasundaram’s performance whose “gleeful cackles at the rooster fight, pathetic rumblings to his son and wide-eyed act in the Lodge are wonderful to behold” and Yuvan Shankar Raja’s score, described as “easily [one of] the movie’s biggest strengths”. s reviewer appreciated Kumararaja for “taking the road less travelled”, but criticised the extensive violence in the film, terming it the “most violent and bloody film ever to get through Chennai regional censors”. In regard to the performances of the cast, he cited that the best performance came from Sampath, who “just smirks throughout the film”, while claiming that Yasmin was “fantastic in her début role”. ‘s critic described the film as a “gangster movie which stands out with its realistic portrayal and no-nonsense treatment”, further adding that “good performances, effective dialogues, slick editing and amazing camera-work help the movie stand out from the crowd”. A reviewer from wrote that the film was made “near-perfect” featuring “some stunning performances, sharp dialogues and excellent camera work and music”. Jackie Shroff and P. S. Vinod, in particular, won high praise from the critic, who wrote that the former “proves his class” and “shines in the don’s role”, while they had done a “terrific job and should be considered a major factor for the film’s success at the box-office”. N. Venkateswaran from rated the film 4.5 out of 5 (the highest rating for any Tamil film to that point), while critic Gautaman Bhaskaran gave 3.5 out of 5. Baradwaj Rangan commended the film, citing that “with most mainstream films, especially in Tamil, you know some fifteen minutes in if they’re working for you (or not) […] But there are a few that leave you hanging until almost the end […], and then, gradually, things begin to cohere and reshape your entire thus-far experience, and you slap your forehead and smile and say, ! This is one of those films.” appeared on many top ten or top five lists of the best films of 2011.</p>