It’s a film whose fleeting intrigue never truly builds into something bigger. Perhaps composer Santhosh Narayanan spotted this and realised the consequent futility of attempting to build on the shallow horror in the material. Perhaps that’s why in scenes featuring a mother bawling over a lost baby, his music remains curiously detached and blithe—like it were simply killing time by itself.
“He talks of America’s language becoming English instead of German, France becoming a republic from a monarchy, Hitler acquiring dictatorial control over the party… It’s the sort of list you’d expect to see on WhatsApp a week before elections, sent by well-meaning friends. And much like many such noble lists, all the examples cited in this one are entirely wrong.”
“Nag Ashwin couldn’t have made it clearer that Nadigaiyar Thilagam deems Savitri to be an angel descended from above, and a hapless victim of her circumstances. She’s shown to be a munificent spirit who can scarcely come to terms with the dark world she’s inhabiting — one full of ungrateful people and opportunists.”
“It’s a pity because it seemed for a brief while that TSK seemed intent on correcting the weak love angle in Special 26, but then again, despite encouraging early signs, it’s the same old story of the heroine who exists only to pine and worry for the boy. It seems that even Vignesh Shivn is aware of this. He gets her to say, “Adhukku thaane naanga irukkom.” Is he, like Iniyan, trying to attack the system by playing it?”
Vijay, the first of his name, renderer of affected speech, holder of tongue in the cheek, breaker of henchmen’s bones, and dancer of kuthu songs.