But the suspense plays a pivotal role, in the sense that, you don't know where the film is heading until a point. No, the film is not a supernatural thriller. As the title suggests, Kalki is a metaphor for time and filth. Who's the other woman? It's not a major surprise. Kalki (Yasmin Ponnappa) exits the room and the film's title card gently surfaces. Because each time he looks at her face feels her body, he's reminded of the other woman. The camera slowly pans and we see an intimate shot of a couple. For any random person who's been into films for some time now, that single shot is enough to guess the premise: Time travel. Kalki begins with the shot of a wall clock. In the end, she says, "Ella aambalaingalum Sappai dhan." Much like Aaranya Kaandam, Yasmin gets the meaty part in Kalki too. More than a film, it was a fascinating study of characters, especially the one played by Yasmin Ponnappa. Dostoevsky has already declared that people do wrong simply because they secretly like to.Kalki Cast: Kishore Kumar and Yasmin PonnappaĪaranya Kaandam is an important film for several reasons. Ironically, the film ends up contradicting its opening quote by trying to explain why the seemingly innocent Ponnan chose to turn violent. There’s also a repetitive and banal joke by Aaru that puns on the name of a rooster called Kunju. It’s the kind of scattershot detailing that throws you off rather than deepening your understanding of the film.Ī random homosexual interpretation is added to the relationship between Dheeraj and Vicky when Mayilsamy’s gang mock them for being gay. By itself, it doesn’t explain why a person has to suddenly turn violent. You can see that there’s trauma associated but the memory of a deceased mother is a generic image. You get snapshots of his mother at different points in the film. Instead of being a straightforward, amoral tale, the film tries to tell an ambitious but sketchy story about Ponnan’s inner life. Without any buildup around a hero or a villain that you’d see in a mainstream film, Alpha Adimai efficiently moves through its plot points.īut writer-director Jinovi tries to add a layer of interpretation about the hidden alpha in all of us and it doesn’t sit well on a simple and sparsely-written thriller. This sets up the film’s most engrossing stretch when things move at a fast clip even when they’re predictable. At the same time, Ponnan conspires to use them to transport the weed safely to Ooty. After the score, in a bit of convenient writing, they’re caught smoking weed by the cops. They’re so desperate to score that they drive down to Mayilsamy’s place. Thrown into this chaos are Dheeraj and Vicky who too are locked in a tussle about who’s the alpha. But almost right after you meet Ponnan, you know that the film will end with him becoming the alpha - this unfolds in a predictable manner as the three grow wary of each other gradually.
The changing pecking order between the three is ostensibly behind the title alpha adimai (alpha slave) - the subtext being that a docile slave such as Ponnan could be secretly hiding an inner alpha male. Mayilsamy’s entourage consists of his assistant and relative Aaru (Jinovi) and an apprentice Ponnan (Eshwar).
He needs to move his huge stock to another dealer in Ooty in order to pay off his creditor and escape the cops. It tries too hard to project a subtext that doesn’t exist.ĭheeraj’s dealer is Mayilsamy (Kalki), and he’s in a spot due to recent police raids. But the writing unsuccessfully tries to elevate the film into a portrait of a twisted mind and this undermines the effectiveness of an otherwise straightforward thriller. With a running time of less than ninety minutes, Alpha Adimai starts energetically and sticks to this simple plot - it’s a big part of what keeps it watchable. Dheeraj (Vinod Varma) and Vicky (Arun Nagaraj) step out to score weed for a party and get caught up in a tangle with their dealer and the cops. You then meet a group of pretentious guys hanging out at their studio in Coimbatore. Alpha Adimai begins with a quote from Dostoevsky that suggests that everybody secretly likes to do the wrong thing, even if they outwardly act like they’d hate to.
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