By: Anand. J (Cinema Correspondent)
GURU
[monsoonjournal.com] Director Maniratnam, one of the best directors of India has mostly made films in tamil including the famous Nayagan, Dhalapathi, Roja and Bombay. He did not taste success in Bollywood inspite of making quality films like Bombay, Roja and Dil Se. Being a master craftsmen, he has chosen a subject and packaged ‘Guru’ well that it will appeal more to International and bollywood audience than just the regional south. Everyone by now knows that the story is loosely based on the life of Indian Industrialist Dhirubhai Ambani but the treatment of the subject is unseen so far.
Mani Ratnam’s Guru is undoubtedly a gutsy and outstanding film. He may have denied it before the release of the film but Guru is definitely a bio-pic on Dhirubhai Ambani, the Reliance industry founder. It is all about Ambani’s rags-to-riches story from early 50’s to mid 80’s. Mani tells us about the life and times of a man who became a messiah for the middle class in the country. Mani’s Gurukanth Desai brilliantly portrayed by Abhishek Bachchan dares to dream big. To realize his dreams he crosses many hurdles, often cutting corners and is accused of making the system corrupt by using morally questionable means to achieve his goals. Lets face it. Dhirubhai, like our protagonist Gurukanth Desai was a real hero for millions of Indians as he believed in sharing his wealth with the very same people who contributed to his company initially. Mani has used this larger-than-life figure of Guru to not only glorify him but also make us feel for him when he lands in conflict with the government and its agencies along with rivals who are out to crush his spirit and company.
The film works in a similar pattern to the way that superheroes in a mass masala film beats up more than a dozen guys and wins against all odds. The tagline of the film clearly conveys the story of Guru - Villager, Visionary, Winner! And Mani sir the king of romance has weaved a beautiful love story with several magical moments, like the bedroom scene where the couple playfully smack each other, the scene when he presents her a swing as Guru tells her his future dreams or the kitchen scene when he hugs her while she cooks- all stay in your mind.
Aishwarya Rai has given one of her best performances on Silver screen. If Gurunath’s chase of fantasy (to make it as a businessman) puts him and those who reposed faith in him on the path of riches, then Mani’s own cinematic odyssey into the pioneering story of modern-Indian business world rewards us with an unforgettable experience of artistic entertainment. A business missionary and a visionary, is what Gurunath is. For him, no rule or norm is an impediment to the path of progress that he has charted for him, his company, which for him is also the metaphor for the newly emergent India.
Mani’s genius lies in incorporating a cute and impish love into the broader ambit of an emotionless world of shares and supplies. Mani’s other great success is in getting the best out of his team. It is Abhishek Bachchan who leads the pack with a show that is surely the best of his career so far. In a de-glamourised ‘bania’ look, Abhishek packs all the right punches in a character that is far more complex than the dandified exterior would otherwise lead us to believe. The Abhiwarya (the newly mingled couple) on screen chemistry is superb and its once again to Director’s credit that he has handled his lead actors perfectly. The sub-text of the duo’s romance to the larger theme of a man with a mission keeps the film from slipping into the slipshod stream of stereotyped consciousness.
Musical Wizard A R Rahman captivates you with lilting and lingering numbers and he is always magical whenever he combines with Maniratnam. The picturisation of the songs needs special mention. Rajeev Menon has the true ‘eye’ of Mani, bringing into images the ideas in the director’s mind.
Director Maniratnam who has a penchant for Hi-tech item songs (remember the popular Chaiyya Chaiyya of ‘Dil Se’) comes with ‘Maiyya Maiyya’ this time superbly executed on none other than Mallika Sherawat. On the flip side, the film is too lengthy and some of the characters are not well etched out like the Aishwarya’s brother character. Some of the songs mar narration but kudos to Mani for presenting a film sans gory violence.On the whole the film has classy touch with massy appeal.
Guru is a must watch for all film buffs and critics.
VEYYIL
Veyyil the last hit film of year 2006 and third consecutive successful movie from Director Shankar’s S pictures has been directed by Shankar’s assistant Vasantha Balan. Incidentally this movie released along with Director Vikraman’s Chennai Kadhal on the same day and Veyyil emerged as a winner in Box office. The movie gives actor Pasupathi a life time role and he has essayed his character loyally.
Director Shankar well known for encouraging young creative minds had earlier produced super hit Kadhal followed by historical satire Imsai Arasan 23am Pulikesi. With Veyyil he delivers a hattrick and continues his successful production run. In Vasanthabalan, he has found a formidable director who is ready to push the envelop far and firm. In an era of ‘punch dialogues’ and massy adventures, Vasanthabalan has chosen to tell a tale of human foils, frailties and faithfulness. Tale of heart is the background of Veyyil and it definitely makes a satisfactory viewing.
Vasanthabalan’s cast has given a bravura performance. Bharath is self-contained and understanding. Bhavana is petite and polished. Shriya Reddy is supportive. Pasupathy is the nerve centre of the film. In a delightful role that is at once real and reflective, Pasupathy is spot on. No emotion is beyond his gritty face. Radiating the essence of the character, Pasupathy’s eyes tell the story like no screenplay can ever narrate. Those windows to the soul carry the myriad human experience with dignity and decency.
Beware Big Production houses, here comes Director Shankar’s ‘S Pictures’ that has consolidated its reputation as the best production house in Tamil cinema. They make commercially viable quality films. Once again Shankar has introduced Vasantha Balan a director who understands the nuances of making a realistic film with well-etched out characters and strong screenplay.
Welcome back to real, solid film making in an era of shallow, fraudulent larger-than-life movies, here is the definitive movie with a moral framework. This one works and keeps you riveted.
Veyyil is one straight from the heart. The story is told through the protagonist Murukesan (Pasupathy) who recalls his childhood in a village near Virudhanagar. His father is a butcher who works hard to bring up his four children two boys and two girls and has a happy family.
Murukesan dotes on his younger brother Kathir and his weakness, like any other adolescent is love for movies (especially MGR films) that are screened in a local theatre. But one day life changes for him when his father catches him red-handed from the theatre after he bunks school. The child is severely punished and he runs away from home after taking money and jewels. His journey is quiet exciting with its share of happiness and sorrows. He is taken under the wings of a theatre projectionist in a nearby town and slowly the theatre becomes his home. He falls in love with Thankam (Malavika, a TV actress from Malayalam) a beautiful girl who lives opposite the theatre but their love story does not have a happy ending. Murukesan is dejected after Thankam’s death and the theatre is demolished. He decides to return home after 20 years. The rest of the film is all about Murukesan’s mental turmoil’s as he is caught between the deep love showered by his younger brother Kathir (Bharath) who runs a successful advertising agency and his guilt of not being a responsible son or elder brother.
There is parallel love story between Meenakshi (Bhavana), an innocent girl and Kathir. Then there is Pandi (Shreya Reddy) who is Murukesan’s childhood sweetheart. It is actually in dealing with Murukesan’s character especially his relationship with his father where Vasantha Balan’s brilliant touch comes to the fore. One of the best scenes in the film is when Murukesan comes home after 20 years and his father’s reaction to the situation. Hats off to all the actors- The father, mother and of course Pasapathy who performed with subtle emotions that will stay with you for long.
Quite naturally, it is Pasupathy who presides over the show magestically. His composure, dead pan expressions, happiness and tears are tangible, real and touching. Bharath as Kathir has given a knockout performance as the aggressive and responsible guy. Bhavana, Shreya and the new girl Malavika are all apt in their roles. Newcomers like the father, mother, sisters, friends are all life-like.
The music of G V Prakash is another rose in this fragrant bouquet. He has understood the situation and has come out with songs and background score with finesse. Its hard to believe that this is the same kid who sang ‘Chikku Bukku Rayilu’ and he is only 17 years old. Muthukumar’s lyrics get an extra coat of emotion in Prakash’s hands. Madhi and Azhagappan have captured the village side of Virudhunagar in their lens that specks out vital and variegated details. Vasanthabalan has not let cinematic consideration come in the way of telling a story like it is. In a sense, he has just held a mirror to the lives of Murugesan and his family.
The film’s weakness lies in few bloody gory sequences and a spate of highly emotional depressing scenes. Director has tried to be too realistic and in the end it turns out to be an emotional tear jerker and becomes depressing at times.
Veyyil – Sudavillai!!!
POKKIRI
Ilaya Thalapathi Vijay’s Pongal release Pokkiri has proved all his detractors wrong who wrote him off when his previous film Aadhi turned out to be a dud in the box office. The Pokkiri team of Vijay and Director Prabhu Deva has given a masala entertainer which is watchable and enjoyable. This film is a remake of Telugu Super Hit Pokkiri which released last year and was a huge success. Inspite of a thin story line, the presentation and the packaging of the film makes it more racy and entertaining.
The wafer thin story starts with Attractive heroine Asin typically falling in love with a macho man. She gets opportunity to shake her legs with Vijay for 5 songs. Though she looks naïve in few scenes, she is also charming and bubbly and has done her role with ease. What stands out, probably, is her ease at dancing, considering that the steps are not usual or simple. Both Vijay and Asin share terrific on-screen chemistry. Prakash Raj as the notorious Don Alibhai does an excellent job. His mannerisms and body language would surely win applause from the film-buffs. Napoleon plays an honest police commissioner in the hunt of criminals. Hats off to him for playing the role with utmost grace. The dialogues during the press meet deserve kudos and Napoleon has delivered them well. Vadivelu evokes laughter with his comedy donning the role of a Kung-fu instructor. Tamizh (Vijay) is a hardcore criminal, who can do anything for money and also change loyalties for currency. He meets Sruthi (Asin) and it is love at first sight between the two. The sequences that follow are interesting and arouse curiosity, as Asin is a simple woman with conventional expectations from her man whereas Vijay is a ruffian who can do anything for money. A villainous cop attracted by Sruthi threatens her mother to send her daughter with him. Enters Tamizh as a savior for Sruthi and her family. Tamizh, who works for an underworld gang soon rises in life, owing to his bravery and never-say-die attitude.
The sequences that throw light on the hooligan attitude and ‘can’t-care-any-less’ stance of Tamizh offer a lavish treat for Vijay’s fans. This attitude, however, comes as a rude shock for Sruthi and this results in a conflict. Despite this hardcore criminal attitude of Tamizh, Sruthi cannot help falling head over heels in love with him. Tamizh’s boss and an international don Alibhai (Prakash Raj) arrives from abroad and thereafter, the story takes an unexpected turn with twists, suspense and surprises, all neatly packaged and presented as an engrossing narrative.Don’t expect any surprises in the plot or treatment. It is a faithful remake of Puri Jagannath’s Telugu Pokiri for which the plot was borrowed from Hollywood gangster thriller Dannie Brasco (1997) featuring Johnny Depp and Al Pacino.
What makes Pokkiri tick is that the story uses all the characters as restless, unbelievable pawns in a do-or-die chess game. To Prabhu Deva’ credit, he keeps the tempo running besides making use of Vijay’s immense screen presence and comedy timing. Watch Vadivelu mimicking Surya for the song ‘Sutrum Vizhi Sudare’ and shaking legs with Asin. Vijay carries the entire movie on his shoulder with aplomb and delivers punch dialogues with his usual ease.
Music Director Mani Sharma who did the music for Telugu Pokkiri has rendered the same tunes and songs in Tamil too. The opening song ‘Aadungada Enna Suthi’ and ‘Dole dole than’ are hummable. Other songs are just average. Re-recording is jarring at times but on the whole the background music suits Vijay’s image.
On the negative side, there are a lot of violent and gory sequences that could have been lessened or avoided. Especially when Vijay has lot of young followers and fans, bloodshed and violence is one that needs to be avoided. It’s a Vijay movie all the way and Director Prabhu Deva can take credit for that.
Pokkiri- Pongal Jangiri!
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