Thegidi deals with the events that revolves around Vetri, a private detective in the shades of murder mystery. An absolutely brilliant debut by the director, P.Ramesh (winner of Kalaingar TV’ Naalayar Iyarkunar ) and another feather to Ashok Selvan’s cap.
Ashok Selvan has this curious pair of eyes which subtly makes you believe that he is indeed a detective. Initially, his expressions were slightly inapt. Yet, as the film grows, his minimal expression worked way to good for the crux of the film. From Jebin of Pizza 2 :Villa to Vetri, this is an enormous changeover!
Janani Iyer’s screen presence is refreshing as we are gladly excused from the typical “lead lady being the target-attacked-saved by the hero” sequence even though that was the exact scene that I was expecting when Madhu went back to Aparna’s place from Vetri’s. Madhu is vulnerable just as any lead actress’s character would be but she was far more realistic and played her minimal part fairly well without clichés.
Nambi, Vetri’s best friend is a proof that a friend in need is a friend indeed. His character was strong and consistent throughout the film, making you realize that THIS is the type of hero’s friend character that should exist in films. Nonsensical and comical-ish characters of hero’s friends are getting unbearably irritating these days. Kaali played the character with ease. Perfect role for Jayaprakash, a reliable and balanced cop.
Gripping background score and amazingly sweet songs by Nivas K.Prasanna (a debutant as well). He made his presence through music throughout the film flawlessly. Impressive cinematography, credits to Dinesh Krishnan (who had previously worked in Soodhu Kavvum). The run time of the film is relatively short, which makes the film crispier and likeable. Special credits to CV Kumar for producing such unique films and proofing that good film does not requires big cast or enormous publicity. Small film with big success. Thegidi deserves it all. An effective sequel is very much welcomed.
Big plus : Plot and direction, background score, Ashok Selvan. Not forgetting, the absence of typical Tamizh film scenes (Exp : a corrupted police officer, lead lady as fashion technology student, flying-cars after accident/blast, clingy girlfriend who wants to get married at the most inappropriate part of the plot). Believable fight sequence. Relatable issue being concerned.
Improvable : A complete silence at few portions in order to increase the suspense and thrilling factors. Low number of characters brought the cat of out the bag even before the culprit was revealed. The decision of Vetri to not explain the situation to Madhu was pretty much annoying but it was overlooked as Madhu was not directly harmed all through the film or else I could even hear myself screaming “what is the problem with you Vetri, you could have informed her about the problem!”.
On the other note : At a time whereby the society blames the victim for the injustice/mishaps that falls upon him/her, this film portrays that the possibilities of becoming a victim does not entirely depends on whether he/she has provoked the attacker. It could be anyone. Even you or me, without us being aware about any of this. Even more so, one might be indirectly used as a tool or a weapon to hurt/harm another person without their knowledge. Being vigilant is the key.
Love, SJT
Colours and Puzzles 