We want to see how Krishna and his cohorts overcome the numerous obstacles erected by Vamsi, who even sends over goons to threaten Krishna’s mother in Trichy. But word of this never gets back to Krishna. Why, then, have this scene? It’s not as though we’re invested in her.
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In her only other appearance, a lot earlier, we saw her grumbling about Krishna while slaving away in a dimly lit kitchen, and I remembered that we never really saw her face. I also remembered how nicely the shot was set up, how much importance was given to its compositional aspect, its interplay of light and shade. In that regard too, Arivazhagan isn’t a lazy filmmaker, and at a time when most Tamil films have begun to look like flatly lit television serials, without the slightest interest in framing and staging, this quality cannot be underestimated.