Whenever it is Kamal
Hassan at the helm of affairs one can be sure of a display of histrionics that
would make one reconsider the definition of acting. Yet, his career as a
screenwriter has been quite chequered in the last decade and a half. Moving on
from the generally simplistic plots that he used to pen ineffably, he chose
subjects that were quite complex in narrative structure and content that had
the affinity to become cult classics many years after they hit the screen
(Aalavandhan and Hey Ram for instance). Yet, the
