Early 2010, once his planned film with Kamal Haasan was dropped, Mysskin didn’t want to waste the time and immediately announced ‘Yudham Sei’ for producer Kalpathi Agoram.
When the film was announced there was a buzz saying it is a sequel to ‘Anjathey’. But the producer of ‘Anjathey’ Namichand Jhabak denied and said the similarity in the two films is limited only to the hero playing a cop and nothing beyond. He also said that he has not given the rights to make a sequel to anyone.
The other major stars of ‘Yudham Sei’ are Y. Gee. Mahendra, Lakshmi Ramakrishnan, Jayaprakash, Marimuthu, Yugendran and Shruthi.
Sources say Y Gee Mahendran is playing a role which he has never done before and it would shock and surprise the audience simultaneously. Actress Lakshmi Ramakrishnan is said to have tonsured her head for her ‘once in a lifetime role’ in the film.
Mysskin who introduced Sundar C Babu in 'Anjathey' is introducing another music director Krishna Kumar with ‘Yudham Sei. Krishna Kumar has changed his name to ‘Ke’ for films. Ke has made the music for many short films and documentaries.
Sathya who was an assistant of P C Sriram is handling the camera. Action Prakash is in charge of stunts. ‘Chitthiram Paesudhadi’ Amaran handles Art Direction.
‘Yudham Sei’ is an anticipated film, more so because of the coming together of two classy film makers -Cheran and Mysskin. Rajinikanth who saw an exclusive premiere of ‘Yutham Sei’ recently was very impressed by the film. Rajini felt the film is too good and would definitely work big time with the audiences.
The audio of ‘Yudham Sei’ is being released on January 24 and the film will hit the theatres across the world on February 4.
Movie Reviews:
No wonder superstar Rajinikanth has awarded 100% marks to celebrated director Mysskin's cop movie Yudham Sei (Wage War), produced by Kalpathi S. Agoram under the banner of AGS Entertainment.
Unlike numerous cop movies in the past that normally travel chop-chop like a bullet train from top to bottom with templated suffocating 'mass ingredients' (superman stunts, punch dialogues and 'whatever-else-can-be-added'), Yudham Sei has something very unique: a simple and classic way of unfolding the story at a comparatively slow pace WITHOUT losing the audience's interest. Let's say, as real as normal life! Though the film can be labeled a cop movie or a crime thriller, an interesting thing happens in the second half when the film simply "ignores" its cops and takes the form of an emotional, family thriller by addressing the anguish and dread of every common man living in a vitiated society. It gives a moment of repose for the audience to contemplate on a crucial question posed by its one of the central character Judas (Jayaprakash) at his nearing death: "What will you do to the men who gangraped your only daughter? Won't you tear them apart?" Whatever your answers, by the second half, the film slowly leaves its identity as a cop movie and jumps tracks into a thought-provoking case study of a well-settled family which turns against the whole system. In this sense, Yudham Sei is definitely neither a pukka cop movie nor an emotional family thriller. It's a hybrid. Is it this a new genre? Will it bear fruit at the box office or will it remain bare? Read on...
The film begins in typical Mysskin style. A young woman tries to hire an auto rickshaw at night in pouring rain, but the auto driver refuses to take her. When she starts to walk away, she sees an unconscious girl in the auto rickshaw and inquires about her. Suspicious over the whole situation, she makes a call from her mobile phone, but is attacked by the auto driver. Later, we see random cardboard boxes all over the city containing severed human hands.
Enter JK aka J. Krishnamoorthy (Cheran), a dull CB-CID cop tormented by the death of his parents in an accident and his sister's sudden disappearance. He has been searching for his sister for three months without any result. Now he wants resign and go looking for his missing sister. His superior Chandramouli refuses to accept his resignation and insists that he start investigating the sensational case of abandoned body parts.
JK accepts the case unwillingly and forms a team, comprising sub-inspectors Prakash, Tamil (Dipa Shah) and forensics expert Judas Iscariot (Jayaprakash). While the probe is on, more severed hands are found in public places and young girls begin to disappear around the city. Is there any relation between these two events? How does JK find the links between them and trace the criminals? What is their intention? Answers to these questions form the rest of the film.
The best thing about Cheran as JK? Though he has many action scenes in the film, including an impressive fight using just a nail cutter, he performs them convincingly without turning on a super hero image. His mannerisms are apt as a troubled police officer and definitely, it's a never-seen-before performance by him. Jayaprakash as forensic expert Dr. Judas Iscariot is convincing. Y. Gee. Mahendran as Dr. Purushothaman and Lakshmi Ramakrishnan as Annapoorni, who decide to avenge the death of their daughter, are up to the mark; Lakshmi Ramakrishnan's performance deserves special mention. The film has neither romance nor sentiments nor masala (with the sole exception of a four minute item song by director Ameer and Neetu Chandra).
Coming to the technical parts, Sathya's cinematography and K's (Krishna Kumar) background score are the major highlights. Sathya's camera angles are fantabulous and K gives remarkable support. However, K could have avoided some strange pieces of music here and there!
About the slips, it is difficult to quickly grasp how the suspects are interlinked in the story as they are too many; most of them don't even make a proper screen presence. So one needs to pay keen attention or must watch the movie again to get a clear grasp of the plot. Second, it looks like the film is urging the victims to wage an open war (Yudham Sei) against crime that naturally violates the law and order of the land. However, this is also excusable, since super hits like Unaipol Oruvan already portrayed the same angst by a common man. Third, the dying scenes of Dr. Purushothaman and Annapoorni are not convincing. Fourth, the boy's character is almost untouched. In spite of these petty flaws, Yudham Sei is a pretty and intelligent well-made movie, especially for open-minded moviegoers who can appreciate a good film with a good plot.
Unlike numerous cop movies in the past that normally travel chop-chop like a bullet train from top to bottom with templated suffocating 'mass ingredients' (superman stunts, punch dialogues and 'whatever-else-can-be-added'), Yudham Sei has something very unique: a simple and classic way of unfolding the story at a comparatively slow pace WITHOUT losing the audience's interest. Let's say, as real as normal life! Though the film can be labeled a cop movie or a crime thriller, an interesting thing happens in the second half when the film simply "ignores" its cops and takes the form of an emotional, family thriller by addressing the anguish and dread of every common man living in a vitiated society. It gives a moment of repose for the audience to contemplate on a crucial question posed by its one of the central character Judas (Jayaprakash) at his nearing death: "What will you do to the men who gangraped your only daughter? Won't you tear them apart?" Whatever your answers, by the second half, the film slowly leaves its identity as a cop movie and jumps tracks into a thought-provoking case study of a well-settled family which turns against the whole system. In this sense, Yudham Sei is definitely neither a pukka cop movie nor an emotional family thriller. It's a hybrid. Is it this a new genre? Will it bear fruit at the box office or will it remain bare? Read on...
Enter JK aka J. Krishnamoorthy (Cheran), a dull CB-CID cop tormented by the death of his parents in an accident and his sister's sudden disappearance. He has been searching for his sister for three months without any result. Now he wants resign and go looking for his missing sister. His superior Chandramouli refuses to accept his resignation and insists that he start investigating the sensational case of abandoned body parts.
JK accepts the case unwillingly and forms a team, comprising sub-inspectors Prakash, Tamil (Dipa Shah) and forensics expert Judas Iscariot (Jayaprakash). While the probe is on, more severed hands are found in public places and young girls begin to disappear around the city. Is there any relation between these two events? How does JK find the links between them and trace the criminals? What is their intention? Answers to these questions form the rest of the film.
The best thing about Cheran as JK? Though he has many action scenes in the film, including an impressive fight using just a nail cutter, he performs them convincingly without turning on a super hero image. His mannerisms are apt as a troubled police officer and definitely, it's a never-seen-before performance by him. Jayaprakash as forensic expert Dr. Judas Iscariot is convincing. Y. Gee. Mahendran as Dr. Purushothaman and Lakshmi Ramakrishnan as Annapoorni, who decide to avenge the death of their daughter, are up to the mark; Lakshmi Ramakrishnan's performance deserves special mention. The film has neither romance nor sentiments nor masala (with the sole exception of a four minute item song by director Ameer and Neetu Chandra).
About the slips, it is difficult to quickly grasp how the suspects are interlinked in the story as they are too many; most of them don't even make a proper screen presence. So one needs to pay keen attention or must watch the movie again to get a clear grasp of the plot. Second, it looks like the film is urging the victims to wage an open war (Yudham Sei) against crime that naturally violates the law and order of the land. However, this is also excusable, since super hits like Unaipol Oruvan already portrayed the same angst by a common man. Third, the dying scenes of Dr. Purushothaman and Annapoorni are not convincing. Fourth, the boy's character is almost untouched. In spite of these petty flaws, Yudham Sei is a pretty and intelligent well-made movie, especially for open-minded moviegoers who can appreciate a good film with a good plot.
Courtesy: Galatta
When there is a confluence of creative energies from the likes of Mysskin, Cheran and Ameer, the expectations are bound to soar up to stratospheric levels especially with Mysskin who is fresh from basking in the glory of his recent Nandalala. In this AGS production venture, Mysskin has chosen the crime and detection genre with Cheran as the protagonist steering the cast.
J K (Cheran) is the honest CB-CID officer who is distressed when his sister Charu goes missing suddenly. When he is about to resign his job on her search, his superior hands him a sensational and a high profile assignment that requires untangling a case wherein severed and neatly packed body parts are continuously found in strategic places in the city. This trail takes Cheran to various people and places, and the link to his sister, culminating in many unprecedented twists and turns on the way.
What works for Yudham Sei is its linear narration and effective screen play. There are no unwanted elements in the form of comedy tracks or romantic angles. Mysskin has veered clear off the expected syntax of Tamil films of such genre. He has handled this subject with a few forensic aspects thrown in. The larger part of the film keeps the audience guessing and in suspense. He has also managed to tell his story with little known artists which requires appreciation.
In the performance department, brevity seems to be the key word with Cheran who scores by delivering a subtle portrayal. Jayaprakash gives him good support, although appearing for a short while. Y Gee Mahendra, a tonsured Lakshmi Ramakrishna, Dipa Shah, Selva and Naren form part of the supporting cast and provide the necessary foil.
Under newcomer Kay’s music, Kannitheevu Penna alone finds its place in the film where the much talked about ‘Yellow sari’ clad Neetu Chandra cavorts with Ameer and ‘blink and you miss’ Charu Niveditha. Mysskin tries to duck the complaint of this particular cliché of his by placing a relevant incident at the end of the ditty. Kay’s RR is sometimes perfect, delivering the right kind of mood for the film whereas in a few sequences it stands out obtrusively. Sathyan’s prying camera peeps, thrills, and gives the needed feel.
A genre such as this should have a frenzied pace to keep the viewer on the edge of the seat but Mysskin misses the bus here with a languorous mode of unfolding events. This could work for an emotional drama but a certain amount of pace which is required for thrillers is a casualty in YS. Besides that, the climax scene is the antithesis of all the tone and mood that was set in the entire film with characters behaving in a dramatic and non-Mysskinish manner.
What works for Yudham Sei is its linear narration and effective screen play. There are no unwanted elements in the form of comedy tracks or romantic angles. Mysskin has veered clear off the expected syntax of Tamil films of such genre. He has handled this subject with a few forensic aspects thrown in. The larger part of the film keeps the audience guessing and in suspense. He has also managed to tell his story with little known artists which requires appreciation.
In the performance department, brevity seems to be the key word with Cheran who scores by delivering a subtle portrayal. Jayaprakash gives him good support, although appearing for a short while. Y Gee Mahendra, a tonsured Lakshmi Ramakrishna, Dipa Shah, Selva and Naren form part of the supporting cast and provide the necessary foil.
Under newcomer Kay’s music, Kannitheevu Penna alone finds its place in the film where the much talked about ‘Yellow sari’ clad Neetu Chandra cavorts with Ameer and ‘blink and you miss’ Charu Niveditha. Mysskin tries to duck the complaint of this particular cliché of his by placing a relevant incident at the end of the ditty. Kay’s RR is sometimes perfect, delivering the right kind of mood for the film whereas in a few sequences it stands out obtrusively. Sathyan’s prying camera peeps, thrills, and gives the needed feel.A genre such as this should have a frenzied pace to keep the viewer on the edge of the seat but Mysskin misses the bus here with a languorous mode of unfolding events. This could work for an emotional drama but a certain amount of pace which is required for thrillers is a casualty in YS. Besides that, the climax scene is the antithesis of all the tone and mood that was set in the entire film with characters behaving in a dramatic and non-Mysskinish manner.
Courtesy: Behindwoods
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