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Mysskin never ceases to surprise. After tackling an emotional and moving theme in ‘Nandhalala’, he comes up with a taut and engaging crime thriller in ‘Yudham Sei’. It was said to be a continuation of the theme he earlier tackled in ‘Anjathey’, but while the former showed the story of a wayward youth-turned-responsible cop, ‘Yudham Sei’ is for most part a dark rumination on why ordinary, educated people become vigilantes.
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Cheran, in one of his best-written roles, plays a Kitanoesque cop, speaking very little and letting his actions do the talking. Troubled by his own demons, he portrays JK with a brooding sensitivity, rarely captured by cop movies of Kollywood. His scientific approach to crime solving is also new to Tamil cinema, overrun as it is by cops who are always larger than life and use their brawn rather than brain in investigations.
Jayaprakash is in fine form as forensic expert Dr Judas Iscariot, who is always under the influence of alcohol due to the rigours of his job. Especially engaging are the barbs he trades with JK, whom he insists on calling as J Krishnamoorthy, and the scene where he gives his dying declaration.
Lakshmi Ramakrishnan gets the role of a lifetime as Annapoorni, a mother who decides to stand up and avenge her daughter who is violated by a group of perverts, and lives up to it. Lakshmi embodies the anger of a woman who decides to take up cudgels and cleanse society of vermin.
But as with other Mysskin movies, some things remain the same too. The best example is that of a yellow saree-clad actor gyrating to an item number. ‘Kannitheevu Penna’, featuring director Ameer and Neetu Chandra, is aimed at providing relief from the relentless chase, but it is debatable whether it does so.
Also on familiar ground is the reference to the Japanese masters Kitano and Kurosawa. In one scene, JK even mentions to his juniors, Tamizh (Deepa Shah) and Prakash (Shankar), if they have watched ‘Rashomon’, saying that the testimonies of the people they had interviewed was just like a scene out of the movie.
Sathya, Gagin and K (Krishna Kumar) make their debuts as cinemtographer, editor and music composer, and have instantly marked themselves as technicians to look out for. Sathya comes up with some superb work in the scene where Cheran tackles a bunch of goons on a foot-overbridge, and the angles make it one of the highlights of the movie. The violin solos by engineer-turned-composer K add to the mood of the movie, and superbly complement the visuals of Sathya.
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