It was an ode to Omen, but the angle here was positive. To a large extent, Manoj Night Shyamalan changed the perception on horror films with his Sixth Sense. The horror genre is not a favourite for me, but a good story and great acting make me watch it. While commercial success is one aspect of films, the integrity to the plot, staying true to the story and script, and having actors give a convincing performance is what sells the story effectively, especially in genres that deviate from reality, like the horror genre which plays on our fears and on our curiosity to connect with loved ones on the ‘other side’.Īs a child, the spine-chilling Omen, and later, the grotesque Poltergeist left me scarred for life and scared of crow and darkness for years, until I understood how such scenes get created on set. With a melange of funny characters who were revealed to be ghosts after much laughter, what Venkat Prabhu did can be said to have paved the way for films like Annabelle Sethupathy, even if these seem weakly made. The correlating flashback and inciting incidents made for a new take in the whole horror-comedy mix. In spiritual realm, a mirror is the gateway for connecting with souls and this scene remains one of the most effective ‘dual role reveals’ in a film. Venkat Prabhu’s Massu Engira Masilamani had the same formula, but it also had an effective ‘ghost-meets-man’ scene, in which a large mirror plays the ‘medium’.
But one film has stayed in my mind long after I saw it on the big screen, featuring a most convincing ‘ghost’ played by Suriya. Another horror-comedy that worked was Maragadha Naanayam, which also had a bit of history and road trip thrown in.
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