Review: Vinveli Payana Kurippugal - Native science fiction

By Santhosh Mathevan Published on Jul 19, 2018 02:04 PM IST

What it takes for a man to reach his life goal is supposedly the storyline of most movies. But, the way this storyline is narrated is what makes the movie unique. Debutant Jayaprakash's 'Vinveli Payana Kurippugal' (VPK) is one such movie that has a non-conventional narration of a simple story.

Duraipandi a.k.a. Durai, a village thug, wants to visit space through Elon Musk's SpaceX. The plot is about his attempts to reach this goal. Conflicts arise in the form of different caste association members, girlfriend's husband and politicians for which Durai needs to find a resolution.

The USP of 'VPK' is its writing. As the title suggests, the movie is narrated in six chapters, referred to as 'kurippugal' in Tamil. Each 'kurippu' has a subject and a conflict.

This conflict has its resolution in its successive 'kurippu'. Among the six segments, two have been named as 'Sila Thiruppangal' (some twists) and 'Sila Nigazhvugal' (some incidents).

These two chapters are established carefully when writing so that they connect with the rest. Having this narration, the plot's subtext itself is a concoction of conviction, realisation, greed and a peck of feminism.

Jayaprakash's writing has creativity all over VPK's narration. This is especially so in dialogues, where the school dropout hero pronounces Neil Armstrong as Nila Armstrong and Tenzing as Don Singh. As a writer, Jayaprakash has delivered in literal and figurative contexts - though he is not so sure about the names of the achievers, he has the same conviction they had and wants to be like them some day.

There is also a dialogue between Durai's love interest Nandhini and her husband Anbu. Had it been written carelessly, it would have become crass, but Jayaprakash succeeds here as a mature writer by boldly speaking feminism though a section of the audience may not receive it well.

Despite shaping it to be a science-fiction, at some point of his screenplay, Jayaprakash brings in nativity to it. The thevangu (loris) reference in the pre-climax is something that seems to be unnecessary in the first place but leads to an unexpected twist towards the end.

The shortcomings of VPK occur in its cast. Though Athvik as Duraipandi shines throughout the runtime, we could see a lot of his co-artistes struggling to emote. The cast could have had some serious rehearsals before the schedule.

Athvik has shouldered VPK with his unique way of acting that delivers perfect amalgamation of black-comedy, thug life and aberration. He scores in a lot of sequences like eating the first piece of birthday cake and ordering his men to distribute the rest, taking control over the US-return Jake with a lollipop in hand and in the panchayat conversation with a new-in-town made-up don.

Shot with a Blackmagic 4K camera, and untouched colour exposure by DI team, VPK is in visual shades without an exaggerated tone for setting the mood. Since Jayaprakash himself has handled the camera, he has restricted to show only what he wants, despite a few out-of-focus frames in the beginning.

Transforming the content that was available on paper to the screen could have been the hardest part of VPK's making. But, Jayaprakash has succeeded in it as much as he can with the limited production value.

Howbeit, the amateur filmmaking in a few portions and dilettante actors let Jayaprakash down. Still, as a sincere attempt and for its uncommon narration, VPK can be considered a new benchmark among movies of its kind.