Kadaisi Vivasayi:

There are movies to be experienced and hard to describe it in words. Like Rashomon, 2001: Space Odyssey, Mad Max: Fury Road, The Killer (by David Fincher). Kadaisi Vivasayi is one of those. Kadaisi Vivasayi is not an action movie like Mad Max: Fury Road. It falls in different side of the spectrum but as a cinema the experience is similar. If you love cinemas that are about life and closer to reality don’t miss this. As Leonard Bernstein said, a work of art does not answer questions, it provokes them; and its essential meaning is in the tension between the contradictory answers. Director Manikandan narrates the story with masterful restraint and moves you to a meditative zone. You get something new in repeated viewings.

Octogenarian Maayandi is the last active farmer in a remote village in Tamil Nadu. The first 20 minutes or so we observe his lifestyle in minute details. He leads a contended life taking care of his farm and livestock. His life is simple, no complications, and aligned to nature. He doesn’t seem to have electrical supply to his home, or he doesn’t need one. He is not a prisoner of any number – like PAN, AADHAR etc. He is not willing to sell his piece of land to a property developer. His peaceful, predictable life takes a wrong turn when he is falsely accused of killing two peahens and one peacock – the national bird of India. The idiocy of the conflict is startling. Law and order and the system is an ass. Director captures it so beautifully in the courtroom scene when the judge informs Maayandi that she has to remand him for 15 days. He replies that he has to water his saplings in his field else they will die. Judge says government will compensate for the loss. Maayandi’s reply is so powerful and thought provoking, it hits you like a hammer. It provokes you and questions our belief there is a price for everything. Raichal Rebecca, who plays the magistrate, conveys her helplessness of being stuck in the system, a cog in the wheel. But she does something moving and wonderful towards the end. There are so many powerful scenes like this we can talk about. All are shown without in-your-face close-ups or fierce dialogues. Maayandi’s quip on seedless tomatoes varieties (ROFLMAO moment 🤣), Maayandi trying to remove the ink stain from his fingers, the farmer who sells his land and buys an elephant to make a living, villagers’ relationship to God, Ramaiah’s relationship with Lord Muruga, the cop taking a dip in the tank or how he lets himself loose at the festival. The whole sequence where Ramaiah lets go off his baggage and attains his freedom leaves you speechless. Liberating and mesmerizing. All the neurons go hyperactive in your brain, you feel a rush. I couldn’t get it out of my head for few days.

Kadaisi Vivasayi stands out from all the farmer movies we have seen – they use the farmers’ misery as a vehicle to sell the superstars. Manikandan is genuine in communicating the relationship between the farmer, his land, and nature. There is no conventional hero or an ominous villain. We don’t even get to know who killed the peahens and the peacock. Director aims higher and his goal is different. Her poses the question – are we fine with losing the knowledge of Maayandi and other artisans (we see a Kuyavan, another octogenarian, who makes objects out of clay)? Their knowledge and talent may seem not required or relevant in our technology driven times idiosyncratic  What happens to Maayandi in the police station in the final 20mts, director doesn’t explain and leaves it to the viewers’ interpretation. Initially I felt director could have closed it giving his view but thinking more I agree with his choice. Nallandi, Vijay Sethupahi, and Raichal are excellent in their roles. Music and Cinematography goes along with director’s vision. A refreshing movie 👌🏼