Putham Pudhu Kaalai review: Karthik Subbaraj steals the show

Directors: Sudha Kongara, Gautam Vasudev Menon, Suhasini Mani Ratnam, Rajiv Menon and Karthik Subbaraj.

Rating: 3/5.

A common theme for an anthology can be a double-edged sword. Even as you get interesting treatments of one subject, the need to end the short films on a similar note can force filmmakers to opt for easy solutions to the conflicts.

Putham Pudhu Kaalai, the highly anticipated Tamil anthology that dropped on Amazon Prime Video on Friday, falls into the proverbial feel-good category of films. To hope for a new beginning amidst a global pandemic is the central idea.

The shorts are enjoyable but the conclusion of four films seems contrived. This is where Karthik Subbaraj’s Miracle, the final short film, stands out.

The stunningly elegant houses and pleasing cinematography produce a calming effect. The lack of freshness in stories is apparent but the performances and music largely make up for it.

In the first short Ilamai Idho Idho by Sudha Kongara, the crackling chemistry between Kalidas Jayaram and Kalyani Priyadarshini keeps you invested. But once you realise their portions are just a metaphor and this is a film celebrating old age love, you feel let down by the now done-to-death concept.

Talking of sincerity in performances, nobody beats MS Bhaskar in Gautam Vasudev Menon’s Avarum Naanum/Avalum Naanum. Gautam, known for intense yet classy romantic dramas, tries his hand at the generation gap.

Despite an outdated idea, Gautam shows he is adept at depicting relationships, this time between a millennial (Ritu Varma) and her grandfather (Bhaskar). Ritu is nicely restrained while Bhaskar delivers a heart-touching performance. People across generations can find their journeys in this story and that is this short’s biggest plus.

Suhasini’s Coffee, Anyone? is the anthology’s weak link. Apart from its unapologetically melodramatic tone, the film’s characters aren’t well-etched. It tries to be too family-friendly and packs in too much information in a wobbly screenplay.

Rajiv Menon’s Reunion is almost complete. And for once, you sense the presence of a story. Again, the acting is shockingly natural as Andreah Jeremiah and S Gurucharan portray the insecurities and imperfections of two good friends from school. The director gamely revisits his first flick Minasara Kanvu in a scene, which is sure to send AR Rahman fans on a nostalgic trip.

Karthik Subbaraj’s Miracle is rightly placed in the end. It’s a hilarious ride that leaves you with a smile. It has the quirks, thrills, dark humour, and most importantly, the famous Karthik Subbaraj twist. In the story of two thieves, the director turns the anthology’s theme on its head and yet makes sense. In an ensemble of big names, Karthik shows why he is one of the most exciting filmmakers of the Tamil film industry.