Filmmaker Karthik Venugopalan is well-known in the South Indian cinema business. His unique style of direction and storytelling has helped him establish a reputation. Karthik may not be as well-known as some other filmmakers in the business, but he has made a name for himself and gained praise for his distinct vision and approach.
Movies
PT sir (2024)
Director: Karthik Venugopal
Cast:
- HipHop Adhi
- Kashmira Pardeshi
- Anikha Surendran
- Thiagarajan
- Ilavarasu
- Munishkanth
- Pandiarajan
A young educator tries to get schoolchildren involved in unusual physical activities.
Anikha Surendran’s portrayal of Nandhini in Hiphop Adhi’s PT Sir is arguably its most novel element. Nandhini is aware that a single event does not define her life and that she must speak up to obtain justice, even if everyone handles trauma differently. Nandhini holds her brother’s hand in one hand and a college bag in the other, keeping her head held high just moments after her parents humiliate her for her outfit choice and dissuade her from leaving the house. But in the overall context of the movie, these isolated scenes don’t provide anything new. It completely undermines her character growth throughout the movie, which merely serves as a showcase for Adhi’s valiant moments.
Set in Erode, Kanagavel (Adhi) teaches physical education at a school run by Chairman coach Purushottaman (Thiagarajan), who is in charge of a conglomerate of educational establishments. The plotlines are designed to clash, tumble, and ultimately come apart, yet the rest of the story can be finished in a single sentence.
Kanagavel feels sorry but says nothing when the school’s security guard is assaulted by a loan shark for failing to pay back the interest on time early in the movie. He responds, “I am just a PT sir, not a hero,” when Vanathi (Kashmira Pardeshi) queries his indifference to the atrocity. You watch too many Telugu movies, in my opinion. Adhi himself puts his shoe on the line to become a hero during the story, yet you would believe it is a critique of the emergence of over-the-top male celebrities.
There are a few songs, such as “Achamillai Achamillai” or “Vel Vel Vetrivel,” that are either overdone or sound stale whenever Kanagavel picks up a battle or faces villains. It is revealed to us that Kanagavel is a mama’s boy who is fed an astrologer’s forecast that if he gets into trouble and strays, he will reach a place beyond redemption. Despite his timidity, Aadhi’s Kanagavel manages to overcome it and become a man who speaks out against injustice, defying the movie’s attempt to make him a child next door.
Although Thiagarajan can play a villain with ease in his part as Coach Purushottaman, he comes across as a generic figure whose role has been drawn in broad jet-black strokes. Coach is adamant on using all of his strength to defeat Kanagavel, as if he were an enemy that must be defeated. These movies follow a certain pattern, which includes superfluous duet songs, a riot of emotions, and a hero who steps up when necessary. However, the female protagonist, Kashmira Pardeshi as Vaanathi, is only there to light up the screen. She barely appears in the film, save for a few dialogue exchanges, which is surprising given how serious it is about women’s emancipation. Their first gags fade away, and their romance track hardly survives.
PT Sir brings up important issues on how women survivors cannot seek legal justice and how the powerful are able to control the process by slanting the law in their favor. However, the filmmakers go too far to demonstrate this to the viewer. The women on the street come together to give a lengthy monologue about how harassment is a part of their daily lives after continuously humiliating Nandhini. Unfortunately, the women are always held accountable for the suffering they endure. Additionally, PT Sir exhibits a troubling lack of empathy. One man, for instance, calls a survivor “Manasthi” (a woman of honor) in a scene that follows her suicide.
The audience following Nandhini’s case on social media makes snap decisions whenever the second half’s courtroom drama takes a sharp turn. Name-calling and character assassination ensue from the steadfast support her news garners. It demonstrates the rise of social media armchair experts. However, the video serves no purpose other than to reflect the negative aspects of our culture. The movie merely highlights PT Sir’s quick ascent to prominence in promoting justice for women.
Butter Biscuit (Short Director 2021)
Directed by: Karthik Venugopalan
Cast:
- Ram Nishanth
- Settai Sheriff Settai Sheriff
- Kutty Vino Kutty Vino
Nenjamundu Nermaiyundu Odu Raja (2019)
Directed by: Karthik Venugopalan
Cast
- Rio Raj as Shiva.
- Shirin Kanchwala as Nisha.
- RJ Vigneshkanth as Vicky.
- Nanjil Sampath as a Politician, Nisha’s father.
- Radha Ravi as Jeepakaran, Anbu’s father.
- Mayilswamy as House Owner.
- Vivek Prasanna as Local Goon.
- Bijili Ramesh as Bijili Ramesh, a politician.
Nermaiyundu Nenjamundu In 2019, Karthik Venugopalan made his directorial debut with the Tamil-language comedy-drama Odu Raja, which translates to “You’ve got a heart, you’ve got integrity, so run king.”
Aariroo (2018)
Directed by: Karthik Venugopalan
Cast
- Chutti Aravind
- Balaji Thiyagarajan Dayalan Balaji Thiyagarajan Dayalan
- Prakruthi Prakruthi
- Sri Vidya Sri Vidya
Karthik Venugopalan’s 2018 short film “Aariroo” explores themes of childhood trauma, the paranormal, and the strength of resilience in the face of uncertainty. It tells the story of a young boy named Aari who is forced to face his own inner demons and fears after coming across a mysterious, unsettling presence in his rural village home.
Types of Half Boil Eaters (2018)
Directed by: Karthik Venugopalan
Cast
- Vivek Anandan
- Chutti Aravind Chutti Aravind
- Prakash Arumugam Prakash Arumugam
- Abdul Ayaz Abdul Ayaz
- Sherief Basha Sherief Basha
- Ram Nishanth Ram Nishanth
- Settai Sheriff Settai Sheriff
- Karthik Venugopalan Karthik Venugopalan
Other work by Karthik Venugopalan:
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