Aghathiyaa movie reviews One of the most amusing from the American animated series Rick And Morty have to be Abrodolph Lincoler from the hit episode ‘Ricksy Business’. He is a bizarre combination of Adolf Hitler and Abraham Lincoln, a genetically engineered clone gone wrong. The attempt was made to create a leader with a neutral ideology, but instead, the result was Lincoln, who ended up with the most bizarre concepts imaginable. Sample some of his lines ‘Prepared to be emancipated from your own inferior genes.’ His ideas are demonic. As confusing as Lincoler, Aghathiyaa’s character is just like this, and it reminded me of this character because of how chaotic the film’s ideology is. On one hand, the film has Pa Vijay as the director, who, for some reason, incorporates Dravidian newspapers Kudiyarasu and Viduthalai as some sort of advertisement plastered all over the film. Then, it acts as a propaganda movie that is Sidha-medical in nature, a feature that would make Periyar turn in his grave.
Before discussing further, some contextual framing of Aghathiyaa revolves around the caspita character Aghathyia portrayed by Jiiva, an art director. On the first day of filming his first movie, the heroine gets married and loses interest in acting, leading the movie to be shelved. But Aghathiyaa has already burned 30 lakhs to convert a palace in Pondicherry into a haunted house. Now, to recover the money his girlfriend Veena (Raashi Khanna) advises him to construct a scary house out of the set. It instantly attracts the public’s attention, but soon, actual ghosts from the 1940s era start oozing out of the palace. Further curious, Aghathiyaa starts hunting for video footage and hints from the 1940s which make the life of Siddha doctor Siddhartha, an Indian herb cancer healer. It seems he was victimized by the French colony, and correcting the history is Aghathiyaa’s responsibility. Alongside the scary house problem, we learn that Aghathiyaa has a mother suffering from cancer. The mystery of what happened in the 1940s to save his money and mother is now up to him.
But this is not the extent of the movie. The film also touches on concepts such as reincarnation and patriotism, all while spending money on lavish sets and gaudy visuals. It seems that the whole point of the movie is to proudly showcase Siddha medicine and its purported ability to cure cancer. The actual validity of those claims is debatable, but the film will sell you the glory of Indian Vedic medicine. It is perplexing because Siddhartha praises both Dravidian rational and divine medicinal ideas simultaneously. On one hand, it’s critical of Brahminical subjugation and flattens Seshadri (Radha Ravi), a Gomastha Brahmin caricature to a French villain, on the other, is critical of the freely distributed benefits as a populist electioneering tactic of the Dravidian parties.
Beyond the ideological muddle, the movie also seems to struggle to pin down a genre. It starts as a horror piece, shifts into a period film, and ends with a fantasy story that incorporates a hilarious, sub-PS2 games-level fight scene. Everything appears lavish, but the production design seems gaudy. The sets resemble expensive cardboard props, and the costumes, the palace, and the dialogue seem to be ripped from the script of some over-the-top stage drama. It does try its hand at comedy too, and, well as the cliche goes, the punch line is where the audience makes
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