A person’s formative years determine a person’s core belief system. Often, people have a hard time letting go of this belief system, even when faced with credible opposition. While these perceptions are right or wrong, this belief system is so ingrained in our minds that it is acceptable to readjust our own ethics in order to change our beliefs.
TalekutarThe protagonist Pazani also faces a similar dilemma to his father Mutu, who told him at a very young age that humans have no right to kill any life form, only nature has this power. Years later, we see an adult Pazani (Samuthirakani), still unshakable in his faith, standing with his entire family as they plan to pass thalaikoothal (killing of old people). Director Jayaprakash Radhakrishnan doesn’t hesitate in building the world of Thalaikoothal, and makes generous use of seemingly random visual images that have a poignant callback towards the end. Take for example the oriental garden lizard that appears in various scenes. It was through one such lizard that Mutu imparted Pazzani’s core beliefs. The lizard was later driven away due to superstition. Through one-off scenes, we quickly learn about the lives of Pazhani and his wife Kalai (Vasundhara), their grim equations and more. It’s a neat way of packing important elements in the first few minutes of the movie. There is Pazhani, who is in debt, and his daughter (Baby Vishrutha), who are the only ones who want Muthu to come back from his state. We also get to see young Muthu (Kathir) falling in love with Pechi (Katha Nandi), a washerwoman from a marginalized community. There are tons of other tiny details that are neatly shown as well.
Director: Jayaprakash Radakrishnan
Cast: Samuthirakani, Kathir, Vasundhara, Vayapuri, Katha Nandi and more
Jayaprakash neatly interweaves Muthu’s flashback sequences with his current vegetative state. Muthu’s state, whether in a lucid dream or recalling his memory, leaves us plenty of room to contemplate how the subconscious human psyche works. But more importantly, this dream sequence is both lighthearted and plot-moving. The sequence of each of these scenes serves a purpose, and the cuts help convey the story effectively. The director makes sure that all the knots are tied and that the characters behave the way they do, making sense.
If Pazhani refused to kill his father because of something he learned as a child, Kalai’s anger stemmed from the harassment she faced as a woman in the workplace. The daughter hides the test paper by Muthu’s bed, believing that Kalai will not find it, a subtle gesture that conveys a family dynamic in seconds.But it’s exactly like this example Talekutar An immersive experience. Juxtaposing the man’s finest moments with his final powerless days is both surreal and powerful. Visuals of magical realism are interspersed throughout the film to convey subtle themes such as superstition, fear, and love.
beauty of Talekutar It is that it never takes a stand against this practice. Even though we let the characters choose, the movie makes it clear that it won’t be on any such side. There are questions left unanswered, and I say this in a positive way, because it helps us to savor the art of filmmaking for what it is: different interpretations and individual viewing experiences. Talekutar Let me further reiterate how a story set in the countryside (which might be considered the most backward part of the state) has the freest minds, at least when it comes to representing people.After the well-crafted and humanized portrayal of Pariyan’s father dancing in drag costumes in Pariyerum Perumal, I also found it particularly interesting that Talekutar Brought the character of Muniyandi Kelavi (Vayapuri) wearing a plain cotton saree who is the village saint. The fact that no one asks any questions about the person’s gender or clothing choices has a normalizing effect and helps us focus on core plot points while subconsciously absorbing this progressive idea of people and gender.
If Jayaprakash has to be credited for bringing depth-rich characters and interesting aspects to the storytelling, it’s the technical brilliance that drives the movie (except for a couple of voice-overs in Katha Nandi’s scenes).The sound design and synchronized sound effects of the entire film are carried by the current timeline track, and the chopping and cinematography are interwoven back and forth, adhering to the core emotion Talekutar. While the film does have pacing issues, its oversights sometimes allow you room to immerse yourself in the Talekutarthe team delivered successfully.
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