Ottha Seruppu Tamil movie review

*ottha seruppu*

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By Venkat Raghavan

I saw this movie over the weekend.  At my friend’s place.  His son recommended we watch it, and when he put this on screen I had no clue what to expect.  The official title is *ottha seruppu size 7.*

The movie is produced, written and directed by Parthiban.  And acted. 

Wait.  That is what he does usually.  Isn’t it? 

*There is no other actor.* 

In the visuals.  Only Parthiban.  In the *entire movie the only human you see* is Parthiban.  There are a few other characters, but they are not shown, you only hear their voices.   The setting for the entire movie is one room in a police station.  A table, a chair (which the character barely occupies) a mobile phone, a walkie talkie radio of police, a camera recording the interrogation, a file, a few papers, a wash basin and a paper kite are the only props.   There is a window which the actor walks to occasionally as he demonstrates more histrionics.

Giving away no spoilers, the 105 minute movie is about interrogation of the murder suspect Parthiban.  He is a poor security guard in an elite city club arrested for murder.  Due to the high profile of victim, Deputy Commissioner and Asst Commissioner are involved in the interrogation in addition to the Inspector.   The scenario; the police want the suspect to detail the murder act and also establish the motive. 

Seeing just one actor on screen could be tedious.  That too a middle aged scruffy looking Parthiban may not be one’s idea of immensely watchable.  Parthiban’s biggest victory here is he sustains your interest throughout, a win for him as a writer, director and actor.    The movie doesn’t lose the grip at any time; the frame at no point moves out of this room, even as the suspect narrates the scene there is no flashback visual, it is _all described verbally_ maintaining the tempo. 

The suspect at the beginning seemingly is pleading innocence, but that is a deception and soon it is clear that he is actually confessing to the murder detailing the modus operandi.  When the police seem satisfied with what they heard, there is a twist which the suspect introduces and the interrogation prolongs.  When that part is done, there is another turn.  To the total annoyance and utter frustration of interrogating officers.  The poor simpleton suspect is not after all stupid.   In one of the earlier scenes, when a cop asks why a gullible guy like him should get involved in a murder crime and get trapped like this, Parthiban asks naively if it is not the cops who are trapped?  When the miffed cop asks him to explain, Parthiban says he feels bad for the cops who are staying overnight interrogating him leaving their families trapped in their jobs.   But we come to realise later what he actually meant. 

It is almost a flawless movie, though the ending may be debatable.   In Tamil we have a few experimental movies being made nowadays, but in the degree of experimentation it would be hard to beat this.   A single sandal (without its pair), utterly insignificant and most dispensable.  One doesn’t give a second look.  But Ottha Seruppu is not.  Give it a watch.

Super Delux movie review

*SUPER DELUXE* 

By Venkat Raghavan

Tamil Movie I saw last night)

*A game changer is several respects.*

-A movie with three subplots.  Three stories that run concurrently seemingly unconnected which for their conclusion and the characters’s redemption *cross each other’s path* 

- The movie which is overtly sexual, where motives, actions and behaviors are lecherous; where dialogues are bold and explicit YET surprisingly has no, absolutely NO woman sexual exposure.  (For a movie that would get anyway a big A certificate, the director uses no glamour!)  

- A movie which is co-written by three great “parallel” filmmakers/directors of our times Mysskin, Nalan Kumarasamy and this movie’s Director Kumararaja! 

- A movie that uses yester years POP for the thematic and background songs.  Disco Dancer, Macarena and many Tamil movie ones.  Of our times. 80s!!!

-A movie that has a “paint” effect to its cinematography.  Most of the movie has low lighting.  The colors accentuate the setting.  For instance, an accidental diviner from Tsunami whose dwelling is blue, the female protagonist whose house is deep yellow and reddish hues etc.  Many shots recede to a narrow angle as we get to see the proceedings from a narrow alley or a corner. A metaphor for metaphysical relationship we have with the world -in that limited, where our perception and actuality vie with each other.  

A movie with no songs or fight scenes but a run time of nearly THREE hours!!   Even otherwise a slow movie, but contrastingly happening on every frame.  

The genre of the movie is hard to say.  There is crime, an understated humor that props from the absurdity of situation, emotions of people that arise from jolting events!   Is it a crime, humor or drama.  Just let us say a dark movie.  

A movie with an incredible casting.  *Vijay Sethupathi, Samantha, Fahad Fazil, Ramya Krishnan,* even if they are not superstars, artists who command huge fee and a standing in the industry.  All of them portraying characters that are negative, dark and vulnerable. 

Imagine Samantha, (the leading heroine in Tamil and Telugu until her marriage recently) playing a promiscuous woman who has an encounter when husband is away! 

I am not giving anymore on the movie as it would take away the surprise elements that are strewn throughout the movie, despite its slowness.   At the end, it is a movie that goes beyond its scope of cinema and tells us to view the whole life differently.  A bit of edification.  

I am sure many of us may not be comfortable in our seats while watching this movie.  It is a “in your face” movie.  

*But this is a milestone movie in Tamil.* I would be surprised if it doesn’t walk away with top honours at the national level.