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By Kaushik.L.M

Cinema as a medium is meant for non-stop entertainment and atleast this is what a majority of the population would agree to. If in the process, the audiences are also thrown open to something new and sensitive, then the purpose of cinema goes beyond just entertainment and becomes more wholesome.

There are few directors who have been following the above unwritten rule very well during the course of their careers. Director Shankar gets first recall as a director who has delivered wholesome responsible entertainers. He delivers his messages in an engaging format that doesn’t get boring one bit. Corruption, social responsibilities, patriotism, education, black money and robotics are some of the concepts that he has handled but always with healthy doses of fun and entertainment.  

In 2005, Tamil cinema was introduced to a cinematographer turned director who has also since been towing the Shankar line in the way he has been straddling intelligent entertainers. KV Anand is the person we are talking about. In his first movie Kana Kandaen, he introduced Prithviraj to Tamil viewers as a suave soft spoken villain and also showed how salt water desalination can be a viable way to solve the drinking water crisis. The movie was a decent success given the modest star cast and Anand was now noted as a director too, in addition to his decorated resume as a cinematographer in movies like Kadhal Desam, Nerukku Ner, Mudhalvan and Chellamae.

After this movie, he got busy with Shankar’s magnum opus Sivaji as the cinematographer. After some path breaking work, he returned to wield the director’s baton in Ayan in 2009. This Suriya starrer, heavily marketed by Sun Pictures and grandly produced by AVM, was among the biggest blockbusters in recent times.

In Ayan, Anand showed the way drug trafficking operated as well as how goods are illegally being imported into the country through people who are ready to make a quick buck. There was an entertainment feast as well thanks to Harris Jayaraj’s splendid numbers and the fast screenplay. People also started noting Anand’s eye for exotic locations. Namibia, Zanzibar, South Africa and Malaysia were among the spots that the audiences were transported to.

In his follow-up Ko in 2011, Anand portrayed the power of media and also the difference that the youth can make by getting into politics. This movie was again a bonanza for entertainment lovers and Ko again joined the list of the biggest blockbusters in recent times. Jiiva, Karthika, Pia and Ajmal got a big kick start to their careers. This movie followed the trend set in Ayan by taking the audiences to faraway lands like China and Norway. 

Now with Maattrraan releasing this Friday, Anand has promised a visual spectacle with Suriya again. The usage of performance capture technology, the conjoined twins angle, societal issues, father – son bonding, lots of romance, Russian actresses etc. have been part of the pre-release talk. The teasers have again promised exotic locales and good peppy music like Ayan and Ko. Russia, Latvia, Norway and other Balkan countries like Serbia, Macedonia, Albania and Croatia have been spanned for the shoot of this AGS Entertainment spectacle.

We have read about how Suriya had to shoot each scene twice (once each for Vimalan and Agilan, the conjoined twins) and how these shots were merged later using CGI. Tremendous amount of hard work has gone into the movie in the VFX department as well with as many as 400 associates working in this department. Srinivas Mohan of Endhiran fame has supervised all the VFX work.

The advance bookings have opened and fans are eager to catch what the Anand – Suriya duo has come up with. The tagline of the movie "Sometimes the End is just the Beginning" is apt for this article too. Let the show begin, come October 12th.

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