How K. V. Anand Builds His Films
KV Anand loves pulling surprises from his hat. We have seen him work as a cinematographer with directors such as Priyadarshan and Shankar, and as a maker of ‘brammandamana’ (brand-worthy) films. He has time and again proved that he can play hide-and-seek with the viewers by adding layers to his movies.


Before I talk about his latest Masala Burger, Kavan, I’d like to take you back to 2009, the year in which Ayan released. Just when things had started to settle in the Suriya – Tamannaah starrer, Anand made us squirm in our seats by revealing Jagan’s true identity (a prick who was actually working for the antagonist, played by Akashdeep Saighal). From them on, the thriller concentrated on edge-of-the-seat action choreography to keep our eyes glued to the screens.



He went a step ahead and unveiled the masks of the villains of Ko and Anegan in the climax. Until the final moment, we were pointing fingers at numerous people saying, “Hey, he must be the black sheep! Hey, he must be the killer!”


Anand sits down to pen his films with the duo, Suresh and Balakrishnan (popularly known as Subha). I don’t really know how these three writers brainstorm to come up with screenplays glittered with twists-and-turns. But I can smell the fire from afar. However, I wouldn’t be able to put a pin on the goings-on as the pace, at which the movies go, is hard to race against. 


For Kavan, Vairamuthu’s younger pearl, Kabilan, was roped in as well.  


Kavan is set in the world of television industry. The movie snakes through the workings of talk shows, news-stories, and reality shows. Here, Vijay Sethupathi is a person who respects the ethics of journalism, whereas the people standing on the opposite podium are hungry for TRPs. They’d go to any extent to bring in more viewership – slapping a young reality show contestant so that he cries on-screen, feeding the politicians with lines who appear on talk shows that are beyond their intelligence, etc.



The movie, for that matter, tries to expose the links between what viewers want to see on TV and television channels’ atrocity to achieve the same.


There’s a dialogue in Kavan, which goes somewhat like this, “Unmai ah swarasyama sollalam (truth can be told interestingly).” By having this line in the movie, Kavan justifies the usage of commercial tropes (songs, TR’s comedic rhymes, slow-motion scenes, and the like).


The socio-political film manages to balance a pot of message on its head by dancing to the tune of entertainment. The movie, never once, goes into a hyper-emotional zone despite it having the nature to do so.


In many places, Vijay Sethupathi gets angry because of the harshness surrounding him, but every time that happens, the focus of the scene shifts from seriousness to light-hearted banter. Example: The high-tension interval scene where Sethupathi imagines pushing Akashdeep Saighal from a tall building is, immediately, toned down by giving the former a line which is delivered with a smile. By doing this, Anand ensures that his audiences are served medicine with honey.


Anand’s thrillers also seem to be inspired by Shankar’s comedy-dramas. Shankar populates his entertainers with glamour, action, and humor. Nevertheless, his films carry a message. Similarly, Anand rolls his entertainers with messages, action, humor, and twists. The difference between the two filmmakers is the way in which they handle their films.


Shankar: Less Number Of Twists + More Importance To Comedy + We Know Who The Bad Guy Is From The Beginning.
Anand: Build-Up To The Climax + Classic Tamil Titles + Unusual Casting Choices. 


So, what can we expect from Anand next? A thriller set in the film industry?

Watch Fully Filmy's 2 Minute review here :



Written by - Karthik Keramalu 

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