Kadaisi Vivasayi (2022) tamil movie which is released in Tamil language in theatre near you. Watch Thiruttuvcd Kadaisi Vivasayi Tamil Movie Review, Trailer Online, Teaser, Kadaisi Vivasayist Look, Poster, Audio Songs, Movie Updates and Details, Wiki & IMDB, Kadaisi Vivasayi Movie Release Date, lead Star cast and crew like Hero, Heroine, Movie director, photos & video gallery.

Kadaisi Vivasayi Movie Details

Kadaisi Vivasayi is a 2022 Indian Tamil-language film written and directed by M. Manikandan, who was also the editor. The film stars an eighty-five-year-old farmer named Nallandi, Vijay Sethupathi and Yogi Babu. It is produced by Eros International. The film was released on 11 February 2022. The film received critical acclaim for its making, performances and realistic aspects.

Kadaisi Vivasayi Movie Review

Manikandan flicks appeal to me. Even when dealing with important, even sad, issues, there is a quiet, a serene quality to them. He’s not in a rush, and he’s not forcing disputes or outcomes. Sure, there’s sadness here, but it’s not in what happens to the protagonist, an old farmer named Nallaandi; it’s in how his way of life, which appears to be so beneficial to the mind and body, appears to have been meticulously, systematically eradicated. It’s depressing, yet this film is so vibrant. It’s about living in harmony with peacocks, cows, elephants, and bulls. Kadaisi Vivasayi fills you with gratitude for what surrounds us and concern for what goes inside us.

The film is a love letter to the beautiful life of self-sufficiency. The film does not present farming as a “high notion” that everyone should strive for. It isn’t concerned in having you kneel in adoration of farmers. It’s stating that, just like the oxygen you breathe and the water you drink, which are instincts that help you survive, farming is a necessary survival skill. We’ve been besieged with films that profess to speak out for farmers, movies with macho characters pumping their chests and proclaiming their identity as farmers. These films frequently wind up alienating us from them. I appreciated how this film, a love letter to agriculture, tries to take you under its wing.

Kadaisi Vivasayi exudes a great deal of kindness. As a result, despite the fact that it would have been relatively easy to identify a few characters as “bad,” this picture lacks villains. Consider the police officers who take Nallaandi in for questioning and end up detaining him for days on end. In another movie, these individuals would be villains, and Nallaandi would be a pitiful victim. Manikandan says no to the temptation. He aspires to make everyone more human. That’s why the iconic image of a police officer stripping off his uniform and resting in a bath under the pump set exists. In the case of Nallaandi, it helps that he isn’t prone to self-pity. The old Nallaandi isn’t very interested in looking inwardly; I assume it’s not through choice. His way of life has become instinctive for him, and his deafness has shielded him from the corruption that surrounds him.

There are a lot of ordinary individuals in the picture. Even a man who claims to have slaughtered a peacock is not ‘evil;’ he simply didn’t know any better. Films have traditionally romanticised this naivety—and there may be some usefulness in doing so—but Kadaisi Vivasayi just tries to illustrate. As you’d expect from this filmmaker’s work, there’s also some fantastic everyday hilarity in the film. The simplicity with which Nallaandi stands in the court, oblivious to the activities around him, and exclaims, “Polaama?” is both humorous and heartbreaking. This filmmaker excels at working in these real-world settings.

This film is riddled with ‘Murugar’ references. Locations such as Pazhani and Thiruchendhur are mentioned… The account of Vinayagar defeating Murugar by circling Sivan and Parvathi is told. Peacocks can be found everywhere. But none of this is because the film wants us to start worshiping deities. It’s merely a tribute to Murugar, who is revered as the master of agriculture in many locations. The film is primarily interested in recording traditional traditions that have kept a healthy, sustainable way of life alive. Strange occurrences, such as Ramaiah’s abrupt departure, occur in this story as well, but this is more mysticism than mythology. It’s about how the phenomena of life cannot be simply kept into a box of cognition, and how refusing to do so may fill us with more astonishment and gratitude for what we have.

I thought the casting was excellent, with several of the debutant players delivering thoughts beyond the confines of words. Watch the point where Nallaandi freezes at the sight of the ruined crop… There are no tears or wailing, but it is quite moving and underlines the film’s premise that even a grain of rice is a living thing. Raichal Rabecca Philip, as the kind-hearted magistrate who tries her best to execute her job with a decent conscience while emanating an inherent regality befitting the role, was also a standout for me.

I liked how, in an era where farmer films are many, Kadaisi Vivasaayi simply stands out. This is because it appears to be less concerned in profiting from their unhappiness and more engaged in transmitting true passion for their vocation. In a moving scenario, you observe Nallaandi, who has no problem with his body being bathed in dirt, frantically striving to remove a speck of ink from his fingertips. That single shot is worth several pages of dialogue. That is the filmmaker’s signature.