Sabdham Tamil Movie Review
Sabdham (meaning "sound" in Tamil), a 2025 Tamil horror-thriller directed by Arivazhagan Venkatachalam, marks the much-anticipated reunion of the director with actor Aadhi Pinisetty, following their acclaimed collaboration in Eeram (2009). Released on February 28, 2025, the film boasts a talented ensemble cast, including Lakshmi Menon, Simran, Laila, and Redin Kingsley, with music by S. Thaman and cinematography by Arun Bathmanaban. Touted as an "adventure horror" experience centered around the concept of sound, Sabdham promised a unique theatrical journey. However, while it excels technically and offers moments of intrigue, it struggles to sustain its momentum, resulting in a film that is engaging yet ultimately underwhelming.
The story unfolds in the misty hills of Munnar, where a prestigious medical college becomes the epicenter of mysterious student suicides and deaths. Aadhi Pinisetty plays Ruben Vaidhyalingam, a paranormal investigator tasked with uncovering whether these incidents are rooted in the supernatural or something more sinister. He teams up with Avanthika (Lakshmi Menon), a neurologist and lecturer at the college who is skeptical of ghostly explanations but haunted by nightmares tied to the deceased students. As Ruben digs deeper, eerie sounds, unexplained phenomena, and a web of secrets unravel, leading to a revelation that ties the present to a decades-old tragedy.
The film’s first half is undeniably its strongest asset. Arivazhagan sets an eerie tone with a measured pace, blending investigative thriller elements with subtle horror undertones. Ruben’s approach—initially treating the deaths as crimes before embracing his paranormal expertise—keeps the audience guessing. The interval sequence stands out as a bold highlight, leveraging sound design and visuals to create a genuinely unsettling moment that feels experimental for Tamil cinema. Thaman’s background score shines here, amplifying the tension with a powerful auditory experience that justifies the film’s title. The cinematography, too, captures the foggy isolation of the hillside setting, enhancing the atmosphere of dread.
Aadhi Pinisetty delivers a commendable performance as Ruben, bringing a quiet confidence to the role. His physicality and deep voice lend credibility to the character, a man navigating skepticism and the unknown with equal parts curiosity and conviction. Lakshmi Menon complements him as Avanthika, offering a fresh take on a professor whose rationality is challenged by inexplicable events. Her expressive eyes convey the character’s inner turmoil effectively, though her voice modulation has drawn some criticism for lacking depth. Simran and Laila, in supporting roles, add gravitas to the narrative, with Simran, in particular, stealing scenes with her effortless presence. Redin Kingsley provides sporadic comic relief, though his humor feels forced at times, clashing with the film’s darker tone.
Where Sabdham falters is in its second half, which struggles to maintain the intrigue of its setup. After a gripping midpoint, the film veers into familiar territory, leaning heavily on exposition and a backstory that feels convoluted rather than compelling. The attempt to merge science with the supernatural—exploring themes like out-of-body experiences and the afterlife—sounds fascinating on paper but lacks coherence on screen. The climax, in particular, feels rushed and overstuffed with twists, diluting the emotional and thematic impact. What begins as a brainy thriller devolves into a cacophony of ideas, leaving viewers disconnected from the resolution.
Technically, Sabdham is a triumph. The sound design, a cornerstone of the film, is exceptional, creating an immersive experience that elevates even the weaker moments. From the rustle of leaves to the chilling echoes haunting the college, every auditory detail is meticulously crafted. Thaman’s score, while occasionally overpowering, complements the tension, though the absence of memorable songs is notable. Arun Bathmanaban’s cinematography paints a visually striking picture, with clever camera angles and a moody color palette that sustain the film’s eerie vibe. However, the visual effects, particularly sequences involving bats, are noticeably tacky, undermining some of the suspense.
Comparisons to Eeram are inevitable, and this is where Sabdham stumbles most. While Eeram thrived on its simplicity—a ghost story rooted in revenge and water as a medium—Sabdham overreaches with its ambition. The scares here are underwhelming, relying on predictable jump scares (a prank, a video game pause) that lack the chilling ingenuity of its predecessor. The film’s technical brilliance cannot mask the absence of a gripping screenplay or genuine thrills, a cardinal sin for the horror genre.
At 2 hours and 28 minutes, Sabdham feels slightly bloated, a runtime that could have been trimmed for sharper storytelling. It’s a film that prioritizes style over substance, impressing with its craft but faltering in emotional resonance. For fans of Arivazhagan’s meticulous style or those seeking a theatrical experience driven by sound and visuals, it’s worth a watch. Yet, for those expecting the spine-chilling magic of Eeram or a cohesive horror-thriller, Sabdham may leave them longing for more. It’s a decent attempt that resonates sporadically but fails to rise above mediocrity, making it a mixed symphony of potential and missed opportunities.
A technically sound effort that promises much but delivers only in parts—best