Every frame is authentically set in the late 1970s and early 80s – The men with step cut long locks touching the equally long collars of their colourfully patterned shirts and the huge bell bottoms with tight waists and broad belts The women wearing the bright graceful pavadai dhavanis to college The radio programmes and film music blaring from horn speakers and even the Ilayaraja duets that are used effectively for the wooing sequences. The spectacular work on the visual design and the meticulous detailing of the period elements is visible throughout the film starting from the walls being painted with advertisements and film posters paraded on bullock carts. Borrowing many cliches from the masters of Tamil film nativity, Bharathiraja and Bhagyaraj, to establish the semi rural and semi urban existence of the characters is a master stroke. Using clips of old Ilayaraja tunes as the backdrop for the romance between Azhagar (Jai) and Thulasi (Swathi) is again a clever device in setting the period in the minds of the audience. Deftly using introductions of each character to establish the motivations and background within which the story unfolds, the interesting use of the flashback as the camera follows the character played by Ganja Karuppu as if drawing us into the lives of these friends. Building up towards the tentative friendship between five young jobless youngsters who listen to AIR bulletins and film songs, dream of a better life, the initial portions draws a true picture of the life of Tamil youth of the late 70s and early 80s. Touted as a retro classic in Tamil Nadu, there are many things that strike one as the film unfolds on the screen especially the screenplay, art direction editing and cinematography.Ī simple story of friendship and betrayal, love and betrayal and finally the futility of many lives set in a Madurai suburb, Subramaniapuram, the film is riveting and powerful in its imagery. A huge success at the box office across Tamil Nadu and critical acclaim that is almost eulogizing the film and its maker makes this film worthy of study for anyone interested in the trends in Tamil cinema. Obviously the producer/director of Subramaniapuram, M Sasikumar, has supreme control of the film craft. Brilliant visualization and amazing sound design well etched characters and well written dialogues that reflect the times the film is set in narrative techniques and filmic treatment that can match the best in filmmaking. A taut screenplay that keeps the audience staying with the characters through their ill-fated journey unrelenting suspense and plots and sub plots interwoven cleverly.