Review of Super Deluxe Movie I saw Thiagarajan Kumararaja’s Super Deluxe opens with a shot of Vaembu (Samantha) lying beside someone on a bed. The camera slowly moves around the room, pulling you in the direction it travels. Soon you realise that it’s not the camera, but the director Thiagarajan Kumararaja who has lured you into his world.

And this world has eccentric characters like Arputham (Mysskin), who believes that he is god’s right hand because he was the only one who survived the Tsunami when millions died. Kumararaja doesn’t stop there. His thoughts are out-of-the- world (literally), outlandish, and outstanding.

There are 4 parallel plots taking place at the same time, involving the lives of Shilpa (Vijay Sethupathi), Leela (Ramya Krishnan) and Arputham (Mysskin), Vaembu (Samantha) and Mugil (Fahadh Faasil), and another one involving four boys. The best part about the writing is that these plotlines don’t merge at one poi

One sub-plot becomes an influencing factor in another, but after that, they part ways. The way the events unfold is interesting and makes the movie more engrossing. The trademark qualities NalanKumarasamy and Mysskin’s writing is seen at a lot of places. A lot of humourous portions belong to Nalan’s ‘crazy’ world. Who else can write a scene where a man dies while having sex? On the other hand, towards the end, there a sequence involving Mysskin, set in a subway, with green lighting.

What more do we need to figure out that this has been written by Mysskin himself? PS Vinod and Nirav Shah’s visuals have an everlasting effect on us. The wise usage of ffamewithin-frame shots through doors, windows, and alleys creates a sense of being trapped, and this has been used for all major characters. The wise usage of vintage tracks of Ilayaraja falls on point

Yuvan Shankar Raja makes sure we feel the heat and soul of the scenes through his brilliant background scores and apt silences. The walls on all the houses and a police station, “the make-shift flower pot on one of the apartments, the borders of sarees, the costumes of the characters, are all blue in colour. While this is supposed to create a stable feel, the characters are all unstable. This irony has been effectively used to elevate our cinematic experience. Vaembu and Mugil’s story become melodramatic after a point of time

And the biggest issue with the film is that they have the maximum screentime. Even the way their conflict gets resolved looks implausible. But, the way the terrific FahadhFaasil and Samantha act, these issues are covered up. Shilpa’s characterization brings out the best in Vijay Sethupathi, but not Vijay Sethupathi. Apart from the main leads, BhagavathiPerumal and Master Aswanth, have done their job well and scored in their plot points. On the flipside, the second half could have been a bit more crisp, due to the three hours runtime.