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

Saani Kaayidham Movie Details

Arun Matheswaran’s Saani Kaayidham is a 2022 Indian Tamil-language crime drama film. Keerthy Suresh and Selvaraghavan appear in the flick. The film was produced by Siddharth Ravipati, and the score and cinematography were handled by Sam C. S. and Yamini Yagnamurthy, respectively.

Saani Kaayidham Release Date

The film was released on Amazon Prime Video on 6 May 2022

Saani Kaayidham OTT Release Date

The film was released on Amazon Prime Video on 6 May 2022

Saani Kaayidham Movie Cast

• Keerthy Suresh as Ponni
• Selvaraghavan as Sangaiyyah
• Kanna Ravi

Saani Kaayidham Movie Review

When Saani Kaayidham begins, you could think you’ve returned to the universe of its director, Arun Matheswaran’s Rocky. A black-and-white scene of a man peering out a window at the sea immediately reminds you of the window of the building where Bharathirajaa’s character ran his gangster enterprise in that film. In this prologue, set in 1989, Paradesapattinam, we observe this man Sangayya (Selvaraghavan) standing by the window while the wails of a tortured woman can be heard in the distance. A woman enters the scene, delivers him a list, and explains that she knows where the persons they are looking for are. They return together to the room where the woman is. Ponni (Keerthy Suresh) requests for kerosene and exits to fetch it from their truck, demanding that he not kill her since she wants to burn to death. We get a glimpse of Sangayya striking a match to light up a beedi and the sound of the woman being lit up in a very brilliant audio-visual match. After completing their task, the two return to the van to continue their mission.

Many of the features that distinguished Arun Matheswaran’s Rocky are encapsulated in this single scene. There’s the black-and-white cinematography, the frame within a frame, the long shots (done by Yamini Yagnamurthy), and, of course, the violence. The story is broken up into chapters and narrated in a non-linear fashion, the wide shots that turn characters almost into specs on screen, the brother-sister sentiment (here, we get not one, but three relationships that underpin this), the niece sentiment, the use of older films and songs, especially Malarndhum Malaradha, the score (by Sam CS), which harkens back to classic westerns, the use of children as symbiotic

Yes, Saani Kaayidham is a revenge story, and structurally, it feels like the desi cousin of Tarantino’s Kill Bill. As in that duology, a woman’s promising life is cut short when a group murders her husband and child and leaves her nearly dead. Ponni, like the Bride in that film, goes for those who ruined her life, taking theirs away one by one in horrible fashion. Fortunately for her, she has an accomplice in the form of Sangayya, her half-brother, who has endured a similar loss at the hands of men as arrogant as the ones who have destroyed her life.

Caste inequality drives this brutal story and adds dimension to it. Ponni’s expectations are destroyed simply because her husband Maari (effective Kanka Ravi) has the fortitude to fight for his people. The fact that she is a cop does not discourage the casteist guys; rather, it motivates them even more, and they chose to subjugate her in the only manner men like them oppress women — by violently raping her (the framing in this image offers us a background that resembles the cross!). The director depicts the abuse inflicted on Ponni and her family before moving on to the gruesome deaths she inflicts on them as retaliation. While this helps provide an emotional underpinning to the grisly killings, the gore here, unlike in Rocky, frequently feels excessive.

Also, because of the film’s structure, we become numb to the violence after a while. As a result, rather than being cathartic, the murders and method (corpses are burned alive, smashed with glass bottles, cut with sickles, slashed with knives, shot at, smashed against a racing vehicle, genitals are burned with acid) come across as cool forms of torture. This is why, when the ultimate killing occurs (which reminds us of the finale of another Tarantino film, Inglourious Basterds, especially with its movie theater location and the way the female protagonist towers above her oppressor), we don’t experience the adrenaline that such a moment should have made us feel. Simply put, the picture fails to deliver an emotional gut blow.

It doesn’t help that the antagonists are all one note, with few distinguishing characteristics aside from the fact that they are all casteists and male chauvinists (in stark contrast to Kill Bill, where each antagonist had a distinct, three-dimensional personality) — one aspect in which the film feels inferior to Rocky, which had the fantastic Bharathirajaa character.

The performances of Keerthi Suresh, who is fantastic as the revenge-obsessed Ponni (the actor uses her lean frame and striking eyes to great effect), and Selvaraghavan, who superbly transforms Sangayya into the film’s beating heart, ultimately keep the film aloft and keep it from devolving into a mindless violent movie.