10 Enradhukulla, is a time-tested threat desi parents employ to get kids to do get on with things. 10 Endradhukulla, “put your shoes away”, “fetch me water”, “clean-up your plate”, “finish all your math problems”… You know the drill. How do we, the enforcers of this epic countdown, not heed our own instinct? If you let your goodwill for Vikram get the better of that basic warning system, you do deserve this movie.

They say the first 10 minutes of the movie you use to set it up; the director uses this crucial starting segment to set the tone for the rest of the movie. To be fair to Vijay Milton (Goli Soda), 10 Endradhukulla does enough within the first 10 seconds that suggest you sneak out of the auditorium. If you choose to ignore that, you’re stuck with what seems like random rolls of film thrown into a puzzle generator and assembled by a visually-challenged editor.

On a scale of intolerable flicks, ones that are great on effort, but wanting in cohesion, ’10 Endradhukulla’ lands somewhere slightly below Puli, but way above Anjaan. Vikram, should have by now realized that he’s very (very) bad at picking scripts or directors (or both). I often ponder how an actor with his talent and drive exhausts our patience and his age on stuff like this and not rescue himself.

Two dampners that make the movie inconsistent. One’s the patchy video effects that are intentional or badly done; a huge problem in either case. The second biggest drag on the screenplay, I felt, is the fact that the movie travels through six Indian states. Which brings me to my pet theory about Tamil directors fumbling it when they aren’t making a film close to home.

Here’s the simple theory of mine, something I’ve been formulating when I’m caught in a theatre with movies such as Kandasamy. Maybe it could help you avoid stepping into films like 10E in theatres.

Theory on Fareen-Duds:

  1. Part A: Directors lose way with the Script when they shoot in lands beyond their own.
  2. Part B: A DoP (Director of Photography), by way of job’s nature, love exotic locales.
  3. Part C: A DoP, doubling as Director forms illusions that the lack of Script can be made up with eye-candy locations (read: NOT Tamil Nadu). Works for songs, but not for movies.

*Part C is the most dangerous cause it exceeds the sum of the damages that Part A and Part B can wreck.

Not convinced? Consider these recent attempts by a DoP/Director

  • Maatraan & Anegan (K V Anand)
  • Yaan (Ravi K Chandran)

I rest my case. Thank you very much.

About The Author hemanth