Vasantabalan might believe in communist ideals, but his sets for Kaaviya Thalaivan are extravagant. His colours are vibrant; the reds run deep, the costumes charmingly old world, and the music fascinating.

It’s pure theatrical magic. For a while.

Credits – fashioned in quaint theatre style – roll against a brilliant red curtain set to a vibrant mix of harmonica and trumpets. And then, a beloved old-world motif graces the closing screen – a Raja Ravi Verma oleograph of Saraswathi.

*****

Kaaviya Thalaivan begins with a tribute to yesteryear theatre greats. It mentions Shenkottai Gangadhara Aiyar Kittappa, replete with an old stage photograph of him dressed as Andal; it mentions KB Sundarambal – unrecognizable in the garb of a British soldier – both gender reversed in their theatre finery, and it also briefly pays tribute to Sankaradas Swamigal – an acclaimed Tamil playwright, hailed as the father of modern Tamil theatre. But it doesn’t stop there. Kaaviya Thalaivan brings them to life, marking its characters with a distinct trait or two. Vadivu (Vedhika), whose role is inspired by Sundarambal, is mostly seen in those beautiful sungudis while Thalaivankottai Kaliappa Bhagavathar (Siddharth) is a fiery young idealist, quite similar to Kittappa.

*****

For a premise set in the pre-independence era, Vasantabalan opts for splashes of red in every frame. While some are quite discernible – a vivid red sari, a bullock cart with a blood-red screen or a table cloth in crimson – during others, it takes a practiced eye. A ruby earring, the spoke of a wheel, a bright red twine onto which a bead is strung, or quite simply, a fold of red tucked in between a stack of white dhotis in the almirah. In sharp relief against the muted, sepia-toned background. It’s deliberate, Vasantabalan had revealed in our interview earlier – for a dash of old-world flavor.

But despite the painstaking detailing, vestiges of modern life are evident somehow. It’s probably just the way certain words are pronounced, or quite simply, the absence of those errant lines on the screen. It’s still there all the same; the proof of half a century of progress.

*****

Kaaviya Thalaivan offers a glimpse into the world of old theatre; a berth to observe and live among a drama troupe. It is set in a gurukulam; helmed by an imposing and authoritative guru – Sivadasa Swamy (Nasser) – a contrastingly humane vaathiyar, and their set of boys who have known no other home. It records their lives, especially the kinship between two favourite proteges of Sivadasa Swamy – Kaliappa (Siddharth) and Gomathy Nayagam (Prithviraj) – and their subsequent rivalry.

It also captures the spirit of theatre; Sivadasa Swamy’s school is a place where impromptu dialogue rehearsals are commonplace; nobody bats an eyelid when Vadivambal suddenly emerges in queenly silks and ornaments and utters some fiery lines. They only cheer and applaud in genuine, tearful appreciation.

*****

Vasantabalan invests some time in crafting individual characters – he carves them out with precision – rather than relationships. During an instance, Kaali and Gomathy watch a senior artiste perform the role of Raavanan. As he bursts forth on his demonic exploits – all aggression and spittle – Gomathy and Kaali – in their garb of Rama and Lakshmana – in a fascinating display of the divide between the real and the imaginary – watch from behind the folds of a curtain. Gomathy is clearly in awe of the performance; he desires to be the next rajapart, and there-in lies his inspiration. Kaali, though, on the other hand, looks on dispassionately; indifferent to the proceedings. He remarks, unmoved; Raavanan has to instill fear. Not awe.

Vasantabalan brings us another moment. As the reigning rajapart leaves, Sivadasa Swamy has to choose another from among his proteges. Gomathy, who performs first – as Soorapadhman – shows naked aggression. He bellows every word. Kaali, though, plays it low. His growls don’t rise beyond a timbre, but he’s menacing nevertheless. Gomathy seethes in jealousy. Vasantabalan paints him in red as well.

While Kaali, on the other hand, is milky white.

*****

Post interval, things turn dramatic. As dramatic as a movie inspired by theatre can get. Vadivambal is always tearful and obsequious (wanting to bear Kaali’s child when she was clearly scorned), Kaali distressingly forgiving when it concerns Gomathy, and the latter more vengeful (there are no clear indications of kinship as the movie claims, save a few boyhood anecdotes).

Vasantabalan’s films are no laughing matter, indeed. They are deliberately sober. And this one – quite like his previous ventures – is no different. It just leaves you with a sense of unease.

 *****

 The Kaaviya Thalaivan review is a Silverscreen original article. It was not paid for or commissioned by anyone associated with the movie. Silverscreen.in and its writers do not have an advertising relationship with movies that are reviewed on the site.

SINNDHUJA RAMPRASAD, silverscreen.in

When fantasized notions take precedence over reality, the future may not be pretty. Kaaviya Thalaivan chronicles the lives of two dramatic troupes, led by two heavy headed men, Siddharth and Prithviraj. Certain events lead them to a path of forging their own manacles of their mind, thus giving rise to conflicts and downfalls.

The story is set in the pre-independence era and features the old Tamil drama schools.  Sivadas Swamigal (Nasser) runs a drama school, and two of his pupils are Kaliappa Bhagavathar (Siddharth) and Gomathy Naygam (Prithiviraj). In the meantime, Ganakokilam Vadivambal (Vedhika) joins their troupe. For Gomathy, it is love at first sight, but Vadivambal falls for Kali. On the other hand, Kali is in love with Rangamma (Anaika Soti).

When love, friendship, and romance turns into a story of misapprehension and misrepresentation, jealousy and hatred broods. Just as the bloodiest wars are often civil wars, the most intense conflicts are those that are internal. And here you have a story where reason and emotion constantly fight it out, and the fate of these actors may depend upon which one of these hold sway.

Vasantabalan’s casting and characterization for this movie is high in quality. Some aspects of the script could have had a makeover, but these short coming are adequately made up by Siddharth's excellent performance. Similarly, Prithiviraj as the villain balances things out really well. Vedhika shines in a substantial role. Ace writer Jeyamohan has penned powerful dialogues for most part of it.

Other aspects of the movie were adequate at worst, and unnoticeable (in a good way) at best. Art direction by Santhanam captures the atmosphere quite elegantly. This is backed up brilliantly by Nirav Shah's camera. Make up by Pattanam Rasheed, costumes by Perumal Selvam and Niranjani Agathiyan warrant mention. With them and A.R. Rahman in the music leading the back front, things can hardly go wrong with the technicalities.

This is an excellent movie straight from Balan’s heart although conflict may be painful; the painless solution doesn't exist in most cases. All said and done, the movie is worth a watch.

Anupama Subramanian, deccanchronicle.com