Saivam

Like Karu Pazhaniappan's Pirivom Santhippom, Saivam is a celebration of the Chettinadu lifestyle. Nirav Shah's camera feasts on the magnificent architecture of the place while Vijay spins a simplistic tale in this backdrop that is both engaging and amusing. The family of Kathiresan (Nasser), a respected man in his village, has come from various parts of the globe for the local festival. Tamizhselvi ( Sara), Kathiresan's granddaughter, is an endearing presence in the family, and she is fond of her pet rooster, Paapa. After a minor accident, the family is told that they might have displeased their god and they believe that all their ill-luck (everyone comes with their own problem that needs to be solved) is because they failed to offer the rooster to the god as a sacrifice. Even as they decide to fulfill their vow, Paapa goes missing leaving the family in a tizzy. Using a one-line that is perfect short film material, Vijay has created a two-hour-long feel-good film, which is part humourous and part sentimental but never delves into melodrama. The actors are the film's asset and they do a fine job; considering that most of them are new faces, they lend freshness to the film. Even though his character is underwritten and passive (he hardly does anything substantial except look worried until the final scene), Nasser makes us empathize with Kathiresan and also lends the gravitas that is needed for the role of a respected head of the family. Then there is the uptight Saravanan, who is essentially the film's punch bag, but Ray Paul doesn't over-do the spoilt brat aspect of the character. Malathi, as the family's maid, is terrific and the manner in which she breaks down with pride and affection after hearing her husband Raja's (a well-cast George) moving speech is exceptional. In all of his films so far, Vijay has struggled with the pacing but here, he is bang on and the slightly laid-back pace of the film fits its setting beautifully. It is no surprise that Saivam is his best — not to mention, his most original — film yet. There is a pre-interval segment where editor Antony niftily cross-cuts between three fights that erupt over the rooster and it is one of the brilliant stretches in the film. The segment where the family members, who individually come to know about Paapa's presence, and try to keep it a secret for Tamizh's sake, is equally good. But the romantic track between the cousins Senthil and Abirami feels tacked on (though the two youngsters, Basha and Twaara are good finds) and also results in an unnecessarily extended climax.