Selvaraghavan has always remained one among the few directors who has been a genuine master in creating astonishing movies that are rested on or pivoted by his naturally flawed and complicated characters. His movies own great writing, optimal dialogues, scintillating soundtracks and some phenomenal performances.
His films are so gritty and have realistic protagonists and most importantly situations. For instance, a woman always hates her stalker, she doesn’t just like that fall in love. She feels an aversion towards a man like him and that is exactly what happens in 7G Rainbow Colony.
His heroes smell bad, they make indecent gestures, they fart, they get physically obsessed, and they forcefully marry their friend’s sister and what not. These aspects make his films and Selvaraghavan himself one of the most intense filmmakers in the industry.
Though the movie had notable flaws in the area of writing, the movie, the making of it and most importantly the idea and the philosophy behind it made the movie watchable, though it failed miserably in the box office.
The fictional world sans love, and the fantastical situations that splendidly sow the seeds of love for the first time were remarkably one of a kind.
There are only a handful of films that boldly speak of issues that we ourselves hesitate to speak about, Kadhal Konden is one such film.
Sexuality has been a common element in almost all Selva’s films and Kadhal Konden dealt with more universal issues like existential crisis, physical obsession and adolescence.
7G RAINBOW COLONY:
The first emotion a “Selvaraghavan” heroine feels for a “Selvaraghavan” hero is hatred, a sense of aversion and 7G isn’t an exception. Kadhir (Ravikrishna) stalks Anita (Sonia Agarwal), he goes crazy over her beauty, steals her nightwear and does everything a pervert would do.
But his character arc is so extraordinary and the way his character gets transformed towards the end is truly fascinating. He literally becomes an angel in the end and sacrifices his self respect to protect the dignity of his girlfriend.The heroine is also an angelic figure here who fuels this young rouge's reform towards a man with dignity ,purpose and profession.
Aayarathil Oruvan is a modern epic, an irreplaceable and irresistible work of art. The movie was ambitious and was lauded by filmmaking giants like Kamal Haasan and Mani Ratnam.
Though the movie received considerably mixed reviews at the time of its release, it has now become one of those movies for which people constantly demand a sequel. The reception it got when it was screened recently in of the theaters in Chennai stands as a testimony to the fact.
Selvaraghavan, being himself a fan of Ayn Rand and her work “Fountainhead”, created his own version of Howard Roark (Protagonist of Fountainhead) in the form Karthik Swaminathan (Dhanush).
Mayakkam Enna is a wonderful tale of a man following his dreams, presented in a form that is real and powerfully poignant. The movie unravels brutal, disturbing realities of disruptions in dreams and ends in a high note never failing to give the audience a sense of hope amid the haunting.
Only a few movies had showcased the evolution of a gangster with the flesh and blood of the rise remaining real on screen - Pudhupettai is one such film and a review rightly called it the “Goodfellas of Tamil Cinema”. This is one of those films which owns a great and a wide character arc for the protagonist.
The story follows Dhanush from him being a little, school going lad to him becoming a politician in the end. The range of emotions and psychological transformations he goes through, the way his insecurities were portrayed, were all so masterful that the movie remains Selvaraghavan’s best work till date.
When your heart is hunted out in a haunt and rises breathing a relief of fascination and heaviness mixed in proportions uneven and affecting : You know it is a Selvaraghavan film, the work of one of the greatest storytellers in contemporary cinema.
“ My dreams are always nightmares“ – Selvaraghavan
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