Anjathey will scare all!

If there was a motion picture that can lay claim to being a consummate product pure cinematic contrivance you would have to think of Anjathey. Born out of a chance relationship between people on either side of law the film churns terror using its’ insecure, idiotic yet ghoulish, deranged people. Pandiaraj wants to feign a harmless character for himself and his business in the eyes of the law keepers, as being a suspect is as bad as being a convict. It all gets tangled and messy when he overdoes the feigning. Daya for his part, unable to tame is lust for woman digs the pit deeper when he voyeurs in the Police Colony and hence the grudge that entails. Anjathey is a rare movie where the cinematography and the scene cuts work in perfect harmony, giving it a very racy feel. But it is also permeated with intense almost static scenes of appall and shock. Such scenes stay long enough at your eyes to work their way very deep into our minds, making the movie affect you long after you are done watching. Anjathey is also a study in subtleties. Even important incidents are risked to being imperceptibly subtle; perhaps knowing the movie will earn repeated runs eventually.

Mysskin raises serious speculations of having rather deep insights into the working of the Police Department. Among other things Anjathey also is a tribute to the life of a cop. The jadedness and stoic it asks of the cops who deal with terrible encounters every day at work. I can’t remember any film which has tried to define and elucidate the philosophy of law keeping as profoundly as Anjathey has. It is also not short of criticisms of what it celebrates.

Narain finds a man stabbed and left to die in the middle of the road and night. The following realization of his of the value his colors is perhaps the most convincing act of transformation is a human’s attitudes. And the deeming of an indisputably angelic flower selling old woman of his character is a scene which will stay with us for a long time and a moment of realization for us all, perhaps. The movie is also unintentionally a remarkable commentary of the vermin of the society, nepotism and corruption. In turning an earnest person, who aspires single mindedly to become a cop, to fall prey to the schemes of the damned Anjathey blurs the line between right and wrong in much the same way as it very strongly portrays the extremes. Anjathey is essentially a film dealing with a sociopath and it achieves it convincingly by the stunning deliverance of Prasanna. With his cross dressing tendancies and sinister composure he disquiets all the same. Camera is for its’ part menaces in Anajthey. One time getting to its’ knees to conceal yet suggest genuinely shocking scenes , next time shuttling back and forth to build tension, other times leaping to the roof to peer at the full view of horror. The background score of the movie is ever looming and ever suggesting dread. You are choked alike by the intensity of the scene and the idea of the music. There is also a song before and as the final plot unfolds.

In the final volley of events Anjathey sheds all its suggestions and intent to tell what it is at its’ heart, a wretched and dooming tale of two friends who were part fated and part plotted to take opposite sides. When the dust settles, your eyes are so moist with woe and horror the vision is still vague.