Sinam Tamil Movie Review
Arun Vijay, Pallak Lalwani, Kaali Venkat, RNR Manohar, KSG Venkatesh, Marumalarchi Bharathi & others.
Production House – Movie Slides Pvt Ltd , Producer – R. Vijayakumar , Director – GNR. Kumaravelan , Music – Sha bir Tabare Alam , Director Of Photography – Gopinath , Art Director – Michael BFA , Editor – A Rajamohammed , Asso i ate Cinematography – Soda Suresh , Associate Director – Karthik Sivan , Co – Director – Saravanan Rathina m , Story – Dialogue – R Saravanan , Costume Designer – Aarathi Arun , Lyrics – Karky * Eknath * Priyan * Thamizh anangu , DI & VFX – Knack Studios , DI Colourist – Rajesh Janakiraman , Stills – Jayakumar Vairavan , Stunt – Stun t Silva , Produ ction Advisor – R Raja , PRO – Suresh Chandra, Rekha D’One , Music Label – Muzik247 , Promotions – Ctc Media Boy ,Posters Design – RedDot Pavan etc.
Paari Venkat is a Sub Inspector of Police who is well-known for sincerity. He falls in love with Madhangi. As Paari is an orphan, Madhangi’s family refuses to get them married. Later, they get married, and Madhangi’s family ill-tr eats Paari for marrying her without their consent. Paari and Madhangi has a daughter. When situations turned positive for Paari and created a possibility of uniting with Madhangi’s family, Madhangi’s death turned everyth ing upside down. Her death case was misinterpreted, and Paari loses his temper and locks horns with another cop. In the commotion, he is suspended. Paari decides to find out the culprit behind Madhangi’s murder. Was he successful? Why was Madhangi murdered? Did he join the department again? The rest of the story deals with it.
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Sinam’, meaning rage, refers to Arun Vijay’s emotional state. It is also the same emotion we feel towards the film. It’s infuriating and disheartening when films remind us that most online film discourses about sensitive issues m ay not even reach some creators or may not make a difference in how they would choose to tell their stories. I sa y this because G.N.R Kumaravelan’s Sinam is a perfect example of how not to depict sexual assault and why it is counter-productive to write scenes that attempt to milk the emotions of the audience. Sinam tells the story of a police officer named Pari Venkat (Arun Vijay) who vows to take revenge on the culprits who sexually assaulted and killed his wife Madhangi a.k.a Madhu (Palak Lalwani). Yes, it’s the age-old police revenge saga and it is told in an even more archaic fashion. Arun Vijay certainly seems to love playing cop roles. That he convincingly pulls off the role of a menacing cop every time is his biggest strength. GNR Kumaravelan’s Sinam, in which he plays a cop again, unfolds as both an investigative thriller and a revenge drama.
Sinam’s misfires begin right from the beginning. We first meet sub-inspector Pari at a local pub where he arrests an accused while disobeying the orders of his superior. The classic hero introduction fight happens. Pari even ho lds the side of a goon’s face on a hot Parotta frying pan. In short, Pari is the cop in need of anger management (Th e title ‘Sinam’ means rage in Tamil). Now, in any masala actioner, when you see a hero inflict such violence on a ro wdy, you wouldn’t ring sirens for human rights and question the ethics of a police officer. It’s the unwritten rule of masala cinema that you let those things slide, and here, the goon was definitely obstructing a police officer fr om doing his duty. But Sinam is not one of those masala entertainers where you let such things slide. In retrospe ct, this visual of Pari making meat patties out of goons nags you because this is a film that takes itself quite ser io usly and wants you to believe that Pari is, or at least was, the ultimate symbol of justice.
The film starts off with Paari Venkat (Arun Vijay), a honest SI, reprimanding a goon charged with murder, who he has to take to the court the following day. Meanwhile, we also get to know how Pari met Madhangi (Pallak Lalw ani) and built a beautiful family with their kid Bujji (Baby Desina). Pari, being an orphan, isn’t well received at his in-laws’ place for marrying their daughter without their approval. While an opportunity arises for Pari to reunite with her family, a turn of ill-fated events lead to a tragedy in his life. The latter half of the film explores what rea lly happened and how Pari seeks revenge for his loss.Now, keeping aside this introduction scene, the way the fir st act is set up itself works against any suspense or shock that the conflict would have elicited. The film doesn’t give us anything about the criminal case that Pari was handling in the beginning when he arrests the goon, and w e then extensively see the love story of Pari and Madhu from the first time they met each other.
Generic scenes are stacked one after the other, and given all the information one has in hand, it’s not hard to gu ess what’s about to come from a mile away. Sinam’s initial setting is decent and the tone that the director goes f or really helps us to cope with the flow of the narrative. The emotional drama in the first half works to an ext ent, allowing us to get a glimpse into the protagonist’s life. However, as the film progresses, we are left wanting more engaging sequences. The film, in fact, is not perfect as a thriller as well as it presents a very clichéd conflict and brings in an age-old resolution for the same. The second half of the film is very predictable and the convenie nt in vestigative procedure only makes it an average watch.Madhu dies, unfortunately. The scenes that immedia tely follow her death are like a forewarning of what’s awaiting us in the end because there are repeated attemp ts at thrusting melodrama. The police procedural that begins soon is another misfire on many levels. After a brief sus pension for assaulting his superior, Pari is once again reinstated.
The top cop (RNR Manohar) assigns the case of his wife’s death to Pari, the grief-stricken cop who is visibly emot ionally unstable. “Personal emotional connect is necessary for such a case,” he justifies. Conflict of interest? Who cares as long as this puts the hero cop on the route to getting justice? While any other cop would have started by checking CCTV footage, it’s the third or fourth step in Pari’s investigation. In a scene, Pari writes all the reasons that can cause a murder — like revenge, money, and sex — and circles on revenge. One begins to wonder if he will zero in on each of those reasons and if this will open up a larger world with more mysteries. None of that happ en s. One of the film’s highlights is that GNR Kumaravelan tries to break a particular stereotype in the second half. But even before we can appreciate this attempt, he falls victim to another. The last sequence looks preachy and doesn’t really stir our emotion. Though the idea and the intention of the filmmaker is laudable, many events and sequences are forced and don’t really add anything new.
An unengaging, generic investigation ends with the culprits spilling the truth. Now when the culprits speak abo ut what they did to Madhu, is it necessary to show all of it visually, in the most insensitive fashion possible?One might argue that it’s a creator’s choice about what to show, but for a film that speaks against sexual assault, it al so portrays the male gaze distastefully.Arun Vijay’s performance is one of the key aspects of the film and he has done a brilliant job. He holds the film single-handedly and does well in the emotional scenes, which come in the first half. The stunt sequences are terrific and something to watch out for. Pallak Lalwani, too, has done justice to her character. Though she appears only in the first half of the film, the entire plot revolves around her character. She has a charismatic screen presence and her chemistry with Arun Vijay works to an extent. Sinam is the kind of movie that tires you to the extent you begin to not care to count its flaws. Disguised under the safe cloak of ‘good intentions’, the film is condescending to the audience’s intellect.
It picks low-hanging fruits that appease the basic instincts of the mind and gives its all to exploit it and milk an emotional response. From the perspective of craft, it’s a film that doesn’t move an inch towards novelty, with the writing being ineffective. It’s unfortunate since Arun Vijay, just like in his previous release Tamil Rockerz, a web series, puts all his effort into bringing Pari to life. In fact, Arun looks chiselled and adheres to the standards set for action-hero cops in cinema.The background score by Shabir really helps pull the audience into the film desp ite the flaws. However, the cinematography, by S Gopinath, lacks richness. The cherry on top of all that went do wn in Sinam is the dialogue the hero utters in the end to justify his anger, and why it’s important to instill fear among sexual predators.
. In a day and age where people talk about the possibility of alternate justice or restorative justice, the import ance of teaching sex education to minors, and methods that can prevent rape, this is a reminder nobody asked for. If it’s a reminder of anything, it is that filmmakers should step out of their chambers and understand why th ey want to tell a story, and stop belittling the intellect of the audience. Though the film tries its best to hold the audience, it misses out when it comes to connecting us to the characters. Most importantly, the in investigative sequences in the second half lack depth and aren’t intriguing enough.
This IS MY Personal Review So Please Go And Watch The Movie In Theaters Only
Written By- T.H.PRASAD -B4U-Ratting-3 /5