Super Deluxe

<p>Jyothi and her son Rasukutty are awaiting the return of Rasukutty’s father, Manickam, who abandoned the family seven years ago. To their shock, Manickam arrives from Mumbai as a , Shilpa. Rasukutty wants to introduce Shilpa to his friends at school. On the way, a bigoted cop detains Shilpa, and she is forced into a corrupt police officer named Berlin. Shilpa faces further harassment and humiliation from people at her son’s school. Distraught, Shilpa buys a ticket to return to Mumbai, where she lives as a . On the way home from school, Shilpa loses Rasukutty. Desperate to find her son, she goes to the police and meets Berlin, pleading with him to help her. After refusing to entertain Berlin for any sexual favours, she grapples with Berlin and places a death curse on him before escaping. Shilpa is saddened and finally decides to go home and finds Rasukutty there. Rasukutty reveals he discovered Shilpa’s intention of abandoning them again upon seeing the train ticket to Mumbai in her purse, leading to an emotional confrontation where Shilpa realises that Rasukutty and Jyothi are ready to accept her as she is, and they go on to live together. Five teens (Gaaji, Soori, Mohan, Vasanth, and Thuyavan) skip school and gather to watch a at Thuyavan’s home, only to find out that the is Soori’s mother, Leela. Soori breaks the TV in a fit of rage and runs away, crying. Thuyavan, afraid of his father finding out about the broken TV, enlists Gaaji and Vasanth into getting enough money for a new TV by the evening. They accept a job from a local gangster but fail to complete their assigned task. They then try to rob a North Indian pawnbroker’s house, but fail to. Attempting to steal from him again, they are confronted by a girl with magical powers who reveals herself to be an alien. She duplicates Gaaji, keeping the clone with herself for companionship. The friends get money from her to buy a new TV. They toss out the damaged TV through the broken roof of a unused building and set off to a cinema hall to watch a porn film. Reaching home, an enraged Soori runs towards Leela with a screwdriver, intending to kill her after finding out she acted in a porn film. He trips and falls on the staircase and inadvertently stabs himself in the . A distraught Leela takes him to the hospital, and his father Arputham (formerly known as Dhanasekaran) is informed about the accident. Arputham is a survivor of the who believes that God saved him in the form of a Jesus statue which he held on to when the tsunami struck. He converted to after this experience but is currently having a crisis of faith. Arputham forcibly takes Soori from Leela and subjects Soori to at his chapel while locking her out. Leela then gets her son admitted to a hospital with the help of a local counselor after she unsuccessfully pleads with her husband, but she now struggles to arrange for medical expenses. It is then revealed that Arputham’s crisis of faith was triggered by a conversation with Shilpa earlier, when Shilpa, having lost Rasukutty, confesses her guilt to him over unknowingly escorting and delivering two children to a criminal gang, where the children were mutilated to make them more effective beggars, fearing that her has caught up with her and that her son might end up with a similar fate. Arputham states there can be no forgiveness for a person like her and tells her that she would be better off dead. Before leaving him, Shilpa tells Arputham that she tried to drown herself during the 2004 tsunami but survived by holding onto a rock, but didn’t attribute any divinity to it, unlike Arputham. Arputham breaks the Jesus statue out of rage and desperation and finds long-forgotten diamonds inside it, which he uses to pay for Soori’s medical expenses. Leela asks him whether he would still have faith if he had been saved by clinging on to a instead of Jesus. He reflects on that question while Soori reconciles with Leela. Vaembu, who was forced into an unhappy arranged marriage, has sex with her ex-boyfriend while her husband Mugil is away, but her ex-boyfriend suddenly dies during the act. Mugil returns home to find the corpse. While devastated to discover that his wife had been cheating on him, he decides to dispose of the body as he doesn’t want this incident to be exposed, fearful of the societal stigma attached to having an unfaithful wife. Eventually, Vaembu and Mugil manage to smuggle the corpse out of town and attempt to plant the corpse in a car on the railway track to stage the death as an accident. But they are caught by the corrupt police officer Berlin, who blackmails the couple in return for sexual favours from Vaembu. As he advances towards the unwilling and distraught Vaembu, intending to have sex with her, the broken TV thrown by the boys (from the rooftop) falls on his head and kills him (bringing to fruition Shilpa’s curse). The couple gets rid of both the corpses and reconciles. The friends from the TV story are finally watching a porn film at the theatre, in which a doctor begins by speaking philosophically about the mysteries of life and patterns through the universe, with everything being interconnected in ways as yet unknown to us. He then says he will reveal some of those secrets and winks. The nurse nearby blinks and starts to take her clothes off, as the porn film title shows its name (“The Secret of Life”). Following the release of (2011), which opened to critical acclaim, the film’s director officially announced his next film after a gap of five years, in October 2016. The untitled film had and (in his second Tamil project after Velaikkaran) featuring in the lead roles, with announced as the lead actress in early November. The same month, was announced as the and , who worked with Kumararaja in , was chosen as the . , who worked in the same month as an assistant to was chosen as the , and Vijay Adhinathan was the . Kumararaja co-produced the film along with East West Dream Work Entertainment and Alchemy Vision Works. Initially, the film was titled (Amoral tales), but following a series of schedule changes during the filming process, the new title was announced. “The story begins on a high note from the very first scene. Nobody can guess where the story is headed to. Instead of the word ‘puzzle’, it’s more like connecting the dots”. In an interview with , Kumararaja said the film does not belong to any single genre, because “One may burst into laughter while the other might be in a state of shock for the same scene.” Kumararaja worked with four directors: , and Neelan K. Sekar to work on the screenplay and also unsuccessfully approached , and as he wanted the storyline to be “interesting”. Each writer had planned different segments and different characters in the storyline, which overlap each other in the end. He declined the film as an anthology, but considered it a “fresh attempt in narrative storytelling”. He preferred to write the script using the Kino Fist technique – the manipulation of narrative by jumbling up the sequence of frames through shooting and editing – by Soviet filmmaker . Kumararaja wrote, “One story, then another, and then I cut from one scene to the next”, to bring in a non-linear narrative. ‘s character in the film was initially suspected to be transgender, which was later revealed to be true, with the character named as Shilpa. was earlier announced as a second female lead after and had also shot her portions for the film, but due to creative issues she walked out of the project, and was later brought on board. But Nadhiya also exited the project, as she was not satisfied with the script and the director re-approached Ramya Krishnan for the role, which she immediately agreed to. Krishnan played the role of Leela, a porn star in the film (within a film), Mallu Uncut, and she described her role as “most challenging ever in her career”. , who rose to fame with , was roped in to play a pivotal character after she was selected by an audition. Though she did not reveal anything about her role, and her portions being set in , her role was later revealed to be an girl, which was the film’s “surprise factor”. was paired opposite Vijay Sethupathi, which marked their fourth collaboration after (2012), (2017) and (2018). For her role as a married woman, she was instructed to gain weight, but she eventually fell ill during the shoot because of her uncontrolled diet. Thiagarajan later advised Gayathrie to maintain a balanced diet and the team also prepared home-cooked food for her during her shoot. Mysskin, apart from co-writing the screenplay, also played a pivotal role in the segment. His role was initially auditioned to , but he refused the project and later expressed regrets at not being a part in the film after watching the screening of the film. Filming of the first schedule began in October 2016, but it was immediately halted after 15 days of shoot due to implemented by and the actors’ commitments in other projects. In July 2017, it was announced that P. C. Sreeram had opted out of the project, as his schedule was being conflicted with (2018). As a result, , who had worked with Kumararaja in , was roped in to replace Sreeram and handled additional cinematography. Vijay Sethupathi, who had completed the first schedule of , started shooting for his portions in the same month and completed it by October. Mysskin’s segment began filming in January 2018, and was completed before March 2018. Following the Tamil Film Producers Council strike, which ended in April, the makers resumed shooting for the last segment of the film featuring Fahadh Faasil, and the shooting was completed in its entirety after the segment’s completion in June 2018, and post-production subsequently began. Thiagarajan and Mysskin revealed in an interview that there are several sequences in the film that involved 100–150 takes. For a scene featuring Ramya Krishnan, the team took 37 takes, which spanned two days. The team planned to shoot the film in , but the lack of prompted the team to use . As per Kumararaja’s request, the locations had “shapes and textures and a sense of age and limitations in terms of lighting” to give a depth to the images. The shots were entirely filmed indoors, and for a few sequences, exterior shots were used. Kumararaja also had used saturated color gradings instead of vibrant colors to reflect the film’s theme. He gave an example about Mysskin’s segment, which had a marine feel to resemble the track being connected with the . composed the for in his second collaboration with Kumararaja after (2010). Unlike the previous film, which had no songs, Kumararaja planned a having a mix of , , and . But they decided against doing so, and it eventually became Raja’s third film without a soundtrack after and . Instead, the team used yesteryear compositions of , being for the film. A promotional song titled “Ding Dong” was composed, which was included in a promo teaser. Yuvan scored the music for the film’s background, which was critically acclaimed. After being praised for his work in the film, fans insisted to release the as a separate album. Later, the original soundtrack was released on 27 May 2020. Thiagarajan Kumararaja had initially planned to premiere the film at the during May 2018, which could not happen due to production delays. In February 2019, it was revealed that , the distribution arm of YNOT Studios, had acquired the film rights. The official theatrical trailer was released on on 22 February 2019, which had Vijay Sethupathi narrating the entire segments of the storyline through the trailer. and reviewed the trailer as “highly intriguing”. The film’s publicity designer, , created a tribute for the film, which was considered to be his first professional artwork. received an from the without any cuts, unlike , which had 52 cuts. It also had a speculated runtime of 176 minutes. The film was screened in more than 800 theaters across on 29 March 2019. A special premiere was held at the on 28 March in 85 locations distributed by Prime Media. Despite being an adult-rated film, the film was watched by family audiences owing to the fanbase of Vijay Sethupathi across rural and urban audiences. was screened and was conferred the “Equality in Cinema Award” at the 2019 . It was also screened at the , the largest genre film festival in and the . After its theatrical premiere, the film was made available for streaming on . It was dubbed in Telugu under the same title and released directly through the streaming service on 30 July 2021. received critical acclaim. On the website , 83% of 6 critics’ reviews are positive, with an average rating of 8.3/10. in his review for , praised the director on how he had concentrated on both the larger structure of the story and also on the minute details. He stated, “This is an utterly unique film,” and went on to say, “All of this would be little more than postmodern pranks if not for the film’s magnificent . This is not the first film to tell the story of three couples, but where earlier directors treated these stories like intimate domestic drama, makes them something almost infinite, spanning the breadth of human (and other) existence”. Writing for , Srivatsan S. called the film as a spiritual successor to and said, “No other filmmaker has probably romanticized the Tamil cinema universe with pop culture references as much as Kumararaja […] If is what you get from a filmmaker who was in exile, then you don’t mind waiting a few years from now till he comes up with his next eccentric film”. M Suganth, in his review for , gave 4 (out of 5) stars and wrote, “There is black comedy, double entendres, swear words, WTF moments, political and social commentary, romance, sentiment and even a musing on what it means to be life on Earth. There is ambition, genius, and also a beating heart”. Kirubakaran Purushothaman of gave stars (out of 5) and said, “Thiagarajan Kumararaja crafts a path-breaking film that deserves more than one watch to understand the depth in each characterisations”. -based critic Karthik Kumar gave a 5/5 rating and said, ” is built on the premise of morality. It questions what is right and what’s wrong and in the process, makes us understand that what’s right for someone need not necessarily be wrong for others”. He called the performances as “top notch” and considered the film as “Tamil cinema’s most eccentric and boldest attempts in recent years”. of too gave the same rating and said, ” , like , will open new doors of possibility for Tamil cinema. It may well be that the industry, which is already seeing quite a bit of successful experimentation, is stepping into the Deluxe age”. Calling it as “one of the best Tamil film in recent times”, Sreedhar Pillai, in his review for , assigned a score 4 (out of 5), saying, “Thiagarajan Kumararaja delivers a film of substance which also entertains”. Writing for , S. Subakeerthana rated the film 4 stars (out of 5) and called it an “intellectually stimulating experience”. He went on to say, “It’s hard to categorize this film, which has got everything — wholesome entertainment, humor, noir, and a bit of sci-fi. , undoubtedly, is one step higher than — in terms of treatment, writing, and presentation”. Suparna Sharma of wrote, “Super Deluxe presents, then lovingly creates and frames the most masculine of archetypes on one side, and on the other are women, seeming rendered powerless by morality, gender, sexuality, and virtue. And then, slowly, it shows what they all are really made of”. She gave the film 4 out of 5 stars. Udhay Bhatia of said, ” is too pleasurable and fluent from minute to minute, scene to scene to get hung up on the stuff that doesn’t work”. A critic from gave the film 3.75 (out of 5) and said, “Super Deluxe is an unforgettable, not to be missed top-notch cinematic experience that deserves to be celebrated”. gave a review: “Super Deluxe benefits enormously from winning performances by its lead actors”. gave (out of 5) and said, “Thiagarajan Kumararaja proves that he knows the medium of cinema quite well. He beautifully narrates four stories, each dealing with concepts like sexual abuse, porn film industry, bullying, marriage, abuse of power, religion, nationalism, and finally what life is. All these are conveyed with loads of humour, and the film also reinforces the fact that you don’t need to constantly feed the audience with one-liners to evoke laughter”. In contrast Gauthaman Bhaskaran of , gave a mixed review, saying, ” could have been far more exciting had it been pruned by at least 45 minutes”. He further praised Vijay Sethupathi’s performance, giving the film stars (out of 5). Rachel Saltz of said, “Kumararaja’s work is stylish and wry, with an indie-cinephile sensibility. Part of that sensibility is a frankness about sex that’s still unusual in Indian movies, especially commercial ones. Though nothing explicit is shown, all the story lines in have a little sexual motor, and there’s plenty of frank, off-color language, too”. Ranjani Krishnakumar of said, ” is a delicately intelligent commentary on modern life with such powerful writing and artful filmmaking”. However, she added, “The biggest strength of is the characters. Despite the many interesting characters (and excellent actors) that share screen space, we understand and empathise with them[…] Kumararaja packs so much into so little time that we walk away feeling like we know these people, even if we don’t really like all of them”. Joe Leydon of said, “Thiagarajan Kumararaja’s unstable mix of dark comedy, brutal thriller and -ian melodrama is shamelessly excessive but undeniably entertaining”. He further wrote, “There can be no denying that has more than its share of draggy sections where the passage of time and the escalation of humiliation make themselves uncomfortably felt. Ultimately, however, the sheer chutzpah of the film, and the dedicatedly in-sync performance by the cast, are enough to keep audiences appreciatively absorbed”. Sarath Ramesh Kuniyl of said, ” makes you question what man often takes for granted. Be it sexuality, God or relationships. And it doesn’t provide you the answers on a platter. It is for you to find out”. He further called the film as a “comeback of epic proportions for the gifted filmmaker”. Critics Thomas McNulty and Merrick Sinclair of said, ” is a masterfully put together web of storylines. Each plot is unique and interesting in its own way, so the audience is never bored. With expert acting, beautiful cinematography, and a non-stop story, transcends language barriers and is enjoyable by all audiences”. won four awards at the – Best Screenplay, Best Supporting Actress ( ), Best Cinematography ( and ) and Best Music Director ( ). The film received four nominations at the inaugural ceremony of : Best Supporting Actor – Female (Krishnan), Best Child Artist ( ), Best Editor ( ) and Best Art Director (Vijay Adhinathan), and won all of them, including a Jury Special award for Best Actor – Female ( ). The film won five Critics Choice Film Awards: Best Movie of the Year, Best Film, Best Director, Best Actor, Best Writing, and two Edison Awards. At the held on 8 August 2019, the film was nominated at four categories and won two – Best Actor (Vijay Sethupathi) and an Equality in Cinema (Honorary Award). It received a nomination at the for Best Asian Film. At the , held for , the film received an award for for . was listed at many critics’ top ten lists. In addition, ranked and child actor ‘s performances in the list of “100 Greatest Performances of the Decade” The film’s poster, designed by , was listed in by . too listed the poster in and reviewed: “The synchronicity of Super Deluxe’s events is captured in this poster and interestingly it turned out to be an exact representation of all things that appear in the film. There’s a sense of striking appeal to the embossed nature of the poster.”</p>