Why did Kumararaja not make this critical look of the Ramayana even, slightly apparent? Are great filmmaking artists supposed to hide their anger in a giant exhibition of formal and tonal cinematic metaphors?
Jigarthanda and Iraivi were sprawling stories but there was a sense of a gradual buildup, the sense of the narrative noose being slowly tightened. But Petta looks rushed and even the Karthik Subbaraj flourishes come off like affectations
What makes Seethakaathi special is not its story, which traces the twilight years of a man who lived (and died) on stage. It’s the ingenious manner in which the film uses techniques of ‘pure’ cinema to take us closer to the stage