(A/N):
Drop a here that you find funny. Or reflects your mood.
Guys I hope you put more comnts and power stones... Which will encourage ...
....
Soon after the pooja function wrapped successfully, the shooting for SMS officially began.
Compared to the scale and technical heaviness of Aadhavan or the psychological atmosphere of 13B…
This film felt completely different from the very first day itself.
The energy around the set was lighter.
No heavy emotional silence. No tense atmosphere.
"...."
"...."
"...."
No large stunt discussions.
Instead the whole shooting environnt felt noisy, youthful, and chaotic in a strangely fun way.
Which perfectly matched the spirit of the movie itself.
Most of the shooting schedules were planned around Chennai city:
Ashok Nagar, Royapettah, Chennai Central, suburban railway stations, tea shops, middle-class residential streets, and crowded urban locations.
Unlike glossy comrcial films that tried to make Chennai look cinematic and polished…
Rajesh wanted this movie to feel lived-in and relatable.
The city itself needed to feel like part of Siva and Sakthi's story.
Real buses.
Real railway platforms.
Real traffic sounds.
Real middle-class chaos.
That naturalness mattered heavily to the humor.
anwhile the production team had already spent several days clearing permissions before the shoot properly started.
Especially for:
train station portions, moving crowd shots, and PVR Sathyam areas.
Because once public crowds recognized Karuppu, controlling the shooting would beco nearly impossible.
Already after:
Aadhavan, the World Cup, and constant dia attention,
his public visibility had exploded.
So Rajesh and the assistant directors were trying their best to maintain controlled shooting environnts before fans fully sward the locations.
The first major sequence planned was one of the most important scenes in the film:
The train eting between Siva and Sakthi.
Their very first interaction.
The scene where the entire chaotic relationship truly begins.
Inside the train set prepared for the shoot, the crew mbers moved around adjusting:
cara tracks, lighting reflections through train windows, sound placent, and crowd junior artists pretending to be passengers.
Rajesh himself looked unusually focused today.
Because despite the scene appearing simple on paper…
It carried enormous importance emotionally.
If the chemistry between:
Siva, and Sakthi failed here…
The entire film would collapse later.
anwhile Karuppu had already entered costu and makeup.
The look for Siva was intentionally stylish but believable:
fitted black T-shirt, dark pants, slightly rugged hairstyle, watch, and casual confident body language.
The styling naturally gave off slight military vibes.
Which was exactly why Sakthi misunderstands him initially.
When Tamannaah arrived in costu as Sakthi:
simple modern outfit, book in hand, soft makeup, and expressive eyes,
the visual pairing itself imdiately worked before caras even rolled.
Rajesh visibly relaxed seeing them sit opposite each other inside the train compartnt.
Because sotis chemistry either existed naturally… Or it didn't.
And thankfully for him—These two clicked almost imdiately.
The scene began softly.
Sakthi sat reading her book quietly while Siva occasionally glanced toward her pretending not to notice.
Then slowly the conversation started.
Karuppu perfectly captured Siva's specific type of confidence:
shaless, smooth-talking, casually lying, yet sohow still charming.
Well it was his orginal charecter though...
When Sakthi mistook him for a military officer because of his appearance and behavior…
Siva imdiately decided not to correct her.
Not out of malicious intention.
Simply because:
she looked beautiful,
The conversation was flowing,
And he didn't want to embarrass himself now.
That emotional immaturity itself was classic Siva.
anwhile Tamannaah played Sakthi with equal ease.
Her expressions shifted naturally between:
curiosity, amusent, suspicion, and growing comfort.
The scene slowly developed into playful conversation between two strangers pretending to be more impressive versions of themselves.
Siva lying about army life.
Sakthi introducing herself as an air hostess confidently.
And both fully believing each other's nonsense.
Behind the monitor, Rajesh quietly smiled wider with every take.
"...."
Because the scene felt alive.
Not "perford."
Alive.
He let out a sigh of relief.
At one point during the conversation sequence,
Karuppu casually improvised a tiny hesitation before ntioning Kashmir posting.
That small pause actually made the lie funnier and more believable.
Rajesh imdiately shouted.
"Super! Keep that!"
The crew too slowly loosened up seeing how naturally the scene was progressing.
Soon the sequence shifted toward the station exit.
The atmosphere outside the platform was recreated beautifully:
porters moving around, tea sellers shouting, train announcents echoing, and autos waiting outside.
Siva helped Sakthi with her luggage while continuing the conversation smoothly.
Their comfort level by this point visibly felt believable.
Not cinematic "love at first sight."
More like two strangers unexpectedly enjoying each other's company.
As Sakthi prepared to leave in the auto, Siva finally asked the important question.
"When can we et again?"
Tamannaah delivered Sakthi's teasing response perfectly.
"Didn't you say you're leaving for Kashmir in two days?"
For half a second,
Siva himself got trapped inside his own lie.
Karuppu's awkward cough imdiately made several crew mbers laugh even before Rajesh called cut.
-Cough!
Then Siva quickly recovered.
"I can extend leave. From my office... No worries..."
That line landed perfectly because of Karuppu's delivery.
Smooth. Confident.
Yet obviously desperate.
The shot ended beautifully with:
Sakthi smiling from the departing auto,
Siva waving casually, and the slight satisfaction of a stranger connection forming unexpectedly.
Then ca one of Rajesh's favorite portions.
Enter Vivek Siva's friend.
Or more accurately—Santhanam.
The mont he entered fra searching for Siva across the station, the entire scene energy shifted instantly into cody territory.
"Dei!"
"I searched every platform! And you're flirting here?"
Karuppu imdiately reacted perfectly.
Instead of answering directly, Siva casually checked Vivek's shirt pocket and stole his cigarette like this was normal daily behavior.
"Two hours da…"
The timing between both actors imdiately clicked beautifully.
Not forced punch dialogue cody.
Actual close-friend energy.
Interrupting each other. Ignoring questions.
Random topic shifts. Natural irritation.
The cigarette scene especially beca hilarious because Karuppu acted fully absorbed watching Sakthi leave while only half listening to Vivek.
anwhile Santhanam perfectly played the frustrated friend trying to understand what disaster just happened.
Then ca the line where Siva proudly explains how Sakthi believed everything he said.
Karuppu delivered it with such shaless pride that even the caraman started laughing during one take.
Rajesh finally called cut laughing himself.
"This is exactly the tone!"
The entire crew visibly relaxed afterward.
Because now everybody could feel it clearly.
The film's humor wasn't depending on loud cody scenes.
It was coming naturally from:
character behavior,
shaless lies,
friendship dynamics,
and relationship chaos.
And more importantly…
The chemistry between: Karuppu, Tamannaah, and Santhanam was working frighteningly well already.
As the day's shoot finally wrapped after several successful takes, Rajesh sat near the monitor replaying the footage again quietly.
A slow smile appeared on his face.
Because sowhere inside those simple train scenes…
He could already feel the heartbeat of the movie beginning to form.
As the shooting for SMS progressed day by day, the energy around the film only beca stronger.
Unlike heavy emotional films where every schedule drained the actors ntally…
This movie sohow made the entire crew enjoy coming to the set.
Even the assistant directors who usually ran around under pressure looked more relaxed during this shoot.
Because every day:
sobody would improvise sothing funny,
Santhanam would crack jokes between takes,
Karuppu would troll soone,
Or Tamannaah would burst into uncontrollable laughter midway through serious rehearsals.
And slowly, with each completed schedule…
M. Rajesh began gaining confidence in himself too.
Initially, he had been extrely careful during every shot.
Double checking. Triple checking.
Watching reactions nervously after every take.
But now? He could finally feel the movie breathing properly.
The chemistry between the cast was carrying the film naturally.
And more importantly—Karuppu completely understood Siva's character rhythm.
That itself solved half the battle.
One of the important cody sequences shot during those days was the hilarious airport office scene.
The setup itself was simple.
After getting emotionally invested in Sakthi, Siva decides to take his family to the airline office where she claid she worked as an air hostess.
Naturally, Siva behaved throughout the journey like fellow already imagining wedding invitation printing.
anwhile accompanying him were his mother, sister, and Vivek.
And from the mont the scene started rolling…
Chaos began beautifully.
The airline office set had been recreated neatly with:
reception desks, waiting chairs, staff moving around, and a huge welco banner featuring smiling air hostesses.
As Siva proudly entered the office with full confidence, Santhanam's Vivek quietly joined beside him from behind one of the promotional standees.
The timing itself beca hilarious.
Vivek suddenly copied the exact sa smiling pose from the air hostess cutout and whispered dramatically:
"Machan1…"
"You can't ignore also."
The entire crew behind the monitor burst out laughing during rehearsal itself.
Because Santhanam delivered the line with absolute shalessness.
anwhile Karuppu stayed fully inside character, trying hard not to laugh while dragging Vivek away irritably.
Then ca the truth reveal.
The receptionist called for "Shakthi."
And after dramatic buildup…
Another woman arrived.
Not Tamannaah's Sakthi.
But completely different Shakila.
The cao appearance itself made the scene even funnier.
Siva's entire confident expression collapsed slowly in stages:
confusion, denial, panic, then pure embarrassnt.
anwhile his family imdiately began laughing at him openly.
After sending her off telling she was not the shakti they were looking for.
Especially Vivek.
Santhanam nearly destroyed the take by over-laughing naturally seeing Karuppu's defeated face acting.
Rajesh imdiately shouted.
"Don't reduce the laughter!"
"Keep it natural!"
That beca the beauty of many SMS scenes.
The cody didn't feel "written."
It felt like actual embarrassing situations happening to real people.
Then the film progressed into one of the most important turning-point scenes:
The courier delivery sequence at the radio station.
The atmosphere during this shoot felt completely different from the previous cody-heavy scenes.
Because this was the mont: both Siva, and Sakthi discover each other's lies simultaneously.
The radio station set had beautiful urban middle-class energy:
headphones, music consoles, RJ booths, assistant staff, and busy office movent.
Sakthi was casually handling work when a courier arrived.
The delivery partner entered.
She looked up. And froze.
"...."
"...."
Siva stood there holding the package.
For one second, both simply stared at each other silently.
And the brilliance of the scene ca from what was happening inside their heads.
In Siva's mind as the scenes about her lies flashed:
"She lied about being an air hostess."
In Sakthi's mind as the scenes about his lies flashed:
"This idiot lied about being military."
The background score itself shifted perfectly into playful tension.
Rajesh intentionally kept the dialogue minimal initially because the expressions carried everything.
Then slowly… The argunt exploded.
The terrace confrontation sequence afterward beca one of Rajesh's favorite portions during the entire shoot.
Because the chemistry between Karuppu and Tamannaah truly exploded there.
Not romantic chemistry.
Tom-and-Jerry chemistry.
Both snapping at each other. Both exposing lies.
Both irritated. Yet sohow unwilling to leave the conversation.
The Chennai terrace setup water tanks, drying clothes, evening sunlight, distant traffic noises made the whole scene feel extrely grounded and real.
At one point Siva aggressively drags her family into the argunt trying to justify himself.
Imdiately Sakthi retaliates with equal sharpness.
Neither character behaves maturely.
And that immaturity itself made the scenes entertaining.
Even Rajesh later admitted privately to Udhayanidhi that the terrace sequences gave him enormous confidence in the film.
Because the audience would enjoy watching these two fight.
Then ca one of the funniest schedules in the film:
The TASMAC sequence.
The entire crew had been waiting eagerly for this shoot after reading the script itself.
The set was recreated with perfect realism:
dim tube lights,
stained tables,
loud drunk custors,
old film songs playing faintly,
and the unmistakable sll of spilled alcohol and cigarettes lingering everywhere.
Siva and Vivek entered already irritated after another argunt involving Sakthi.
The mont they sat down, Karuppu perfectly captured that emotionally dramatic drunk-friend energy.
"Two fulls."
Then casually turning toward Vivek.
"You have money ah?"
Santhanam imdiately replied.
"No."
But before even processing the answer, Siva's eyes spotted Vivek's brand-new mobile phone shining from his pocket.
Karuppu slowly leaned forward suspiciously.
"Macha1 phone new ah irukku2…"
The crew already started laughing.
Then ca Siva's legendary shaless lie.
"I have account here. No problem."
Naturally…
There was no account.
After the drinks arrived, the cody escalated further because Siva refused to share even one proper peg with Vivek.
Instead he drank continuously while emotionally ranting about Sakthi.
And suddenly in between drunken frustration—He softly confessed:
"When she looks at … butterflies fly inside my stomach da…"
The line itself sounded ridiculous.
But Karuppu delivered it with such genuine drunken sincerity that the crew lost control laughing again.
anwhile Santhanam's exhausted reactions elevated everything further.
The scene beca even funnier when the bill finally arrived.
Without hesitation, Siva casually pushed it toward Vivek.
Vivek stared at him like betrayed freedom fighter.
Soon the TASMAC owner confiscated Vivek's mobile because they couldn't pay.
And then ca peak Siva behavior.
Instead of solving problem properly—
He removed Vivek's shirt and exchanged it with his own while recovering the confiscated mobile like so heroic achievent.
Santhanam during one take laughed so hard naturally that Rajesh kept the imperfect take itself.
Because it felt real.
Then ca the emotional drunk-call portion.
Siva calls Sakthi repeatedly.
She cuts the call coldly.
Again. Again. Again.
Not even hearing what he want's to say.
Finally frustrated beyond logic—Siva throws the phone down violently smashing it.
And before Vivek could even react properly…
The TASMAC workers dragged him inside for unpaid bill issues while Siva walked away emotionally.
The image itself beca cody gold.
Vivek screaming helplessly while getting dragged away because of Siva's nonsense nearly made even the lighting assistants cry laughing during takes.
As the scene finally wrapped successfully late that night, Rajesh sat replaying portions from the monitor repeatedly.
The more he watched…
The more relieved he beca.
Because now he understood sothing clearly.
The film's biggest strength wasn't:
punch dialogues, comrcial gimmicks, or forced cody.
It was the characters themselves.
Siva behaved like lovable disaster.
Sakthi behaved equally stubborn.
Vivek suffered continuously between them.
And sohow…
That emotional chaos felt unbelievably entertaining.
*******************************
(Author note:)
I hope you guys give your opinion and idea's.
-->
Don't forget to review guys...
Dude
Dude
there
User Comments
0 comments from readers