[monsoonJournal.com] By: Anand. J
It is really a shocking and boring experience to every fan of Vadivelu who loves the actor for his non-stop comedy. After watched the film it seems like every one laugh on us! The much publicized and expected film is not only fails to make you laugh, and also becomes a big test for your patience for nearly 3 long hours. For the first time the actor fails to recreate the mass even in a single scene!
The story is nothing but the entry of a common man Azhagappan (Vadivelu) to the celestial world of Yama and Indhiran (also plays by Vadivelu) with the help of Rambha (Yamini) who marries Azhagappan accidentally. If the director and actor tried some different treatment to the same one line, it will become a different comedy fair of the year. But poor script and boring dialogues forced the viewers to curse both the director and actor at the end. Some of the fans leave the theater even before the interval.
Azhagappan (Vadivelu-1) runs his own drama troupe with his set of friends (wasting the experienced Thiyagu, Manobala, Alwa Vasu in these roles) and lives with his loving mom (Sumitra). One day celestial beauties- Urvasi, Rambha and Thilothama, visit earth, Rambha loses her way (!!) and become a statue just because of the curse of Indiran (Vadivelu-2). On a fine day Azhagappan garlands the statue due to a compulsion of his mother to remove his bigamy Dhosham in the horoscope. Immediately the statue of Rambha regains live and later takes him to Indiralokam (heaven). Azhagappan is shocked and distressed to find the conditions prevailing in Yamalokam (hell), just placed near Indiralogam and does his best to redeem it from the villain Yaman (Vadivelu-3)!
Oh, God…. Even an illiterate knows who the Lord Yama is and what his duty is (He is the God who always does justice to balance the world as they say in Hindu Puranaas). But Thambi Ramaiya, the poor director tries to establish the God who is responsible for birth and death as a cruel villain! In INA, Yama drinks illicit arrack brought by Azhagappan, beaten by his men Chitraguptan and others, Indiran the God takes care of Heaven and is always trying to strip beautiful girls… Oh, no doubt, the film is really a mad creation.
Mad can be entertaining if it is done intelligently, like what Goundamani - Senthil done in Lucky Man (appears as Yaman-Chitraguptan) or Rajini-VKR-Vinu-Cho combo in Adhisaya Piravi.
But the problem with this film is that it hardly raises any laugh and the script is so weak. Sadly you have no words of praise for Vadivel who can’t rise above the flawed script. He hams it up, is loud, overacts and over-the-top style of delivering dialogues especially in the scenes in hell as Yama. In fact this character recreates the hell to viewers in the hall!
After watching the film, it feels like you’ve been trapped in there for what seems like a lifetime. None of the songs are shot spectacularly, the sets looks artificial (one could see the satin cloths and waste pieces in the floor which used for the sets in many frames!) and Shriya’s much hyped item number is totally unfit in the script (She is coming as a black magician Kodangi Pidary Aatha to cure Vadivelu through her unimpressive item number!).
On the whole, the amateurish, inconvincible and dry narration of the story makes everyone to feel the hell in the earth!
Indiralogathil – Ore Bore
[monsoonJournal.com] By: Anand. J
For the makers, artists and technicians who have worked for Bheemaa, and for eager fans of Chiyan Vikram, all of whom have been eagerly awaiting its grand release - the long wait is over. Now, as the movie joins the Pongal blast, it’s celebration time for all of them! Does Bheemaa meet fans’ expectations? Vehemently, YES!
Chinna (Prakashraj) and Periyavar (Raghuvaran) are local gangsters who operate separate rowdy groups with a power war between them. Chinna was Periyavar’s loyal follower before he was expelled from the group by the then-mighty Periyavar. Chinna does not forget Periyavar’s insults and Periyavar now feels challenged by Chinna’s growth that interferes with his hegemony.
Sekhar (Vikram) relocates to the city from Rameshwaram. With the single-minded plan to join Chinna, he bravely kills two men who are on Chinna’s hit-list. Curious, Chinna enquires from his close aide (Thalaivasal Vijay) about the bold and baffling killer. Soon Chinna and Sekhar meet each other. Sekhar’s flashback reveals the reason for his actions.
In the flashback, Sekhar reveals that Chinna, then a budding rowdy in Rameshwaram, had attacked a goonda who was insulting Sekhar’s father (a police constable). While leaving the crime scene, Chinna had handed over the weapon to young Sekhar. Since that day, Sekhar idolized brave Chinna and wanted to follow his footsteps. Chinna immediately appoints Sekhar as his chief subordinate. With Sekhar by his side, Chinna attains great strength, and rights Periyavar’s wrongs. Sekhar also unites Chinna with his childhood sweetheart Padma (Lakshmi Gopalswamy).
With blind devotion, Sekhar carries out his allotted agenda of terrorizing, beating and killing. Gangster politics flare up when Sekhar kills Periyavar’s sons and some of his key men. The Commissioner of Police (Ashish Vidyarthi) is the leader of ‘Operation Bheemaa’ aimed at stopping the two gangster groups terrorizing the city. The Commissioner has a ’shoot at sight’ order against all members of these groups.
Sekhar’s life takes a sudden turn when he meets Shalini (Trisha). After a string of chance meetings, Shalini and Sekhar begin to like each other. Shalini wants to marry Sekhar at once. But Sekhar sees his profession and family as major minus points. Soon, a decisive moment arrives.
While escorting Chinna to a meeting, Sekhar, smitten by Shalini, gets distracted. Feeling guilty, Sekhar confesses his mistake and gives up his job, but not for long. His devotion to Chinna drives him back to Chinna’s camp. Sekhar waits for the right moment to quit the life of crime to enable him to unite with Shalini. Before that, he has to vanquish Periyavar and his men, has to intelligently elude the wrath of his own group, and also has to survive the police encounter.
Does Sekhar fulfill his desire to lead a quiet life with his dear Shalini? Does this film have a ‘happy ending’? What happens in the final climax? Find out when you watch remarkable Bheemaa on the silver screen!
Bheemaa is a gangster film, dealing with underworld life, but it has a new grittiness and edge to it. It is difficult to imagine any artist other than Vikram in such a powerful role. Vikram breathes life and credibility to the character Sekhar and portrays its contemporary overtones convincingly. We get to see Vikram with a tough look - close-cropped hair, dense beard and small ear studs. His physique and body language communicate the character he portrays - vibrant, tough and unpredictable.
Prakashraj’s involvement and acting are glowing, as ever. Raghuvaran appears on screen after a hiatus! He pulls off his role with his usual coolness, to the degree of likeability. Ashish Vidyarthi’s performance is impressive. Trisha is glossy and lovely. The highlight of her role is well-delineated when, with her charming romance and a strong poise, she tames the beast, the tough thug Sekhar.
Antony’s editing, Rajeevan’s art and Harris Jayaraj’s music - all shine through cameraman R.D. Rajasekar’s lens. Though this is RD’s first film with Vikram and Lingusamy, the understanding and planning is evident in each shot. RD has aptly used the action script to display his creative talents too. S. Ramakrishnan’s dialogues have a realistic touch. Kanal Kannan’s stunts deserve special mention.
‘Mudhal Mazhai’ and ‘Ragasiya Kanavugal’ in Harris’s music top the charts. ‘Rangu Rangamma’ is a dance number with glamorous Shirin on a ship, exclusively decorated for the sequence.
Bheemaa is smartly written and stylishly crafted by Lingusamy. It is the outcome of one-and-half years of sweat and slog; the result cannot be anything but positive.
Bheema – ‘Cool’ ma
By Anand J [Email: Cine@monsoonjournal.com]
[monsoonJournal.com] The movie without any bias is undoubtedly one of the best entertainers in the recent times. If one sees it purely as Director Shankar’s movie, the viewers will be highly disappointed but if one sees it as a pure entertainer, then the movie comes out great.
One can easily relate Shankar to a Rajini fan since he has shown actor Rajinikanth in all dimensions which a die hard fan of Rajini would like to see. Movie has all essential entertaining ingredients like fantastic locations, Technical wizardry, mind blowing songs, good mixture of comedy, action and sentiments with a very old storyline boosting one man crusade against tirades. Superstar Rajinikanth proves yet again why he is a Superstar.
The man was chosen by destiny to give us moments of unmatched joy and that is what he does in Sivaji, enthrall. He exudes charisma in each frame. Whether he talks, flips sunglasses or walks nonchalantly. Let’s get it straight, Sivaji is a Rajni film directed by Shankar and not a Shankar film starring Rajni; which one do you prefer? One thing for sure, if you prefer the latter you are surely in the minority. The movie has enough and more for people who think that Rajni was at his best in Thillu Mullu and also for those who think that nothing can beat Baasha.
The movie portrays Rajini in different flavors of fun, lover, the terror and the boss.
One gets to see the first two in first half and the last two in the second half. There is ample fun for everyone who is looking for some. Vivek and Rajni combine to provide some very hilarious moments.
Vivek must come in for special mention for his performance, especially the scene where he very candidly points out about every spring chicken of the industry trying to become the Superstar overnight, aping his mannerism (watch the movie for the real fun). Shriya comes and goes in the songs where one must say she looks gorgeous, but there is a very thin line between glamour and vulgarity and here the lines seem to have blurred. The high points of the first half however must be the songs. Balleilakka simply rocks. Nayanthara fits the song to perfection – looking very beautiful. The STYLE song, in praise of the Superstar’s inimitable element of style has been shot in a way that is completely novel to Tamil cinema. The choreographers – Brindha and Prabhu Deva respectively have done a great job. The plot of the movie thickens as we get closer to the interval and it is only in the second half that Rajni really unleashes on screen; it’s action time.
The second half is all about Rajni and the villains, Suman being the lead antagonist. He has managed to look every inch the ‘wolf in a sheepskin’ kind of character. Dressed in white and white, sporting a wide smile, this might just become the new stereotype look of the Tamil villain for some time to come. Villains cannot get more handsome. The script moves at an express rate here, with twists and turns galore. Not at one point does the tempo of the movie drop. In between, there are some very interesting comic interludes involving Solomon Pappaiah (you are bound to laugh every time he appears on screen) and a few other comic scenes to offer some relief from the tense main plot.
Shankar has taken all the cares to make the script as unpredictable as possible and that has worked, as the biggest twist of the movie fell like a thunderbolt on the audience; you don’t see such things normally in a Rajni movie. The climax (of course you know who had the last laugh) is easily the best and the most exciting part of the movie.
Though defying superhuman powers, the fights choreographed by Peter Heinz and the extremely lavish sets created by Thotta Tharani stand out. Camera work of K.V.Anand is first rate through out, Antony’s editing is crisp and Sujatha’s dialogues are rock solid.
A.R.Rahman’s songs are being lapped up by the audience with background score adding substance to the narration. Shankar, the architect of the product should be applauded for raising the bench mark of a Rajini movie. Future directors might find it even more challenging to script the Superstar in the future.
Kudos and full marks to the team of Sivaji for dishing out a neat, clean family entertainer sans blood, gory and violence.
Sivaji – Stylish and Entertaining.
By Anand J [cine@monsoonjournal.com]
[monsoonJournal.com]
There is considerable audience for what could be called the ‘Soft Romance Melodrama’ genre amongst the Tamil viewers and catering to them is cinematographer-director Jeeva with his slow, soft and feel good romantic flicks.
One such story is Unnale Unnale, a topsy turvy love fest starring Karthik (Vinay) and Jhansi (Sadha). Poles apart, Jhansi’s soft, introvert nature cannot stand the extrovert, flirty, take it easy Karthik, who very easily attracts the opposite sex-intentionally or otherwise. Though he loves Jhansi sincerely, she fails to look beyond his flirty exterior and walks out on him.
After the break up, Karthik is sent on deputation to Melbourne by his employer and as always he befriends a bubbly and vivacious Deepika (Tanisha) during his short flight to Melbourne. As luck would have it Deepika turns out to be Jhansi’s acquaintance.
Jhansi too shifts to Melbourne for some reason. While in Melbourne, Karthik tries his best to get back with Jhansi with Deepika’s help. But the story becomes complicated when Deepika, too falls in love with him.
Though the flow of the story is a little confusing, the film ends on a mature note.
Meanwhile, some scenes have been borrowed from popular Hindi movies with no real modifications. Humour is weak. Performance wise, Sadha leads the way while Vinay and Tanisha are mediocre. Vinay looks handsome and he might well turn out to be a contender for Teen Heartthrob along with the likes of Arya, Karthi (Surya’s Brother) and Madhavan (Maddy).
Editor V T Vijayan shows off his expertise with some real good transitions between shots. Costumes by Anees add to the feel of the plot.
Director Jeeva excels in cinematography and direction.
If you are tired of all those violent stories of rural villages, you might as well take a break and watch this.
Unnale Unnale – Dullalle Dullalle (Not a Dull Movie eh…)
By Anand J [Email: Cine@monsoonjournal.com]
[monsoonJournal.com]
Siddharth Anand’s Ta Ra Rum Pum plays on every human’s ultimate fantasy to conquer against all odds and take home the trophy. Here the trophy stands as a metaphor for the realization of one’s most precious dreams. And that is precisely what makes Ta Ra Rum Pum a universal subject to identify with and feel for.
As everyone expects from a Yash Raj Film, even if a story about inspiration and hope, it is bound to be lavish, stylish and commercially viable. Film is set in New York City. What’s new, you ask? What is new is Anand’s vision of the most populated city of The States. Not only do you get to do some fresh sight-seeing but also innovative angles of oft-repeated locations like Brooklyn Bridge and Times Square.
Car racing is the basic premise of the story. Expectedly, there is a whole lot of vroom-vroom going on all through the movie. Rajveer aka RV (Saif Ali Khan) makes a dashing entry; a la Tom Cruise in Top Gun, helmet in hand, against the violent strumming of an electric guitar. His racing skills impress a cabbie Harry (Jaaved Jafferi in his best Gujarati speaking accent goes in for a swell image makeover) and they strike a deal with Billy Bhatia’s (Bharat Dabholkar) company Speeding Saddles.
During his winning spree, the carefree RV also hits it with the fastidious Radhika (Rani Mukerji). He calls her Shona because ‘it’s Bong (Bengali in slang) and sweet, and so are you’. The duo, with funny hairdos, also find time to parade on the empty streets of Manhattan. Again, Anand appears to draw inspiration from another Tom Cruise flick, Vanilla Sky. The latter has Cruise running on the empty streets of Times Square, not a soul in sight.
RV proposes to Radhika with Tiffany, a Merc and a mansion in Manhattan – all of which is irresponsibly purchased on loan and installment, if you are the one for details. Soon they have two kids, with nicknames that’d have you mistake them for a horse, Champ (Ali Haji) and Princess (Angelina Irani)
All the adulation makes RV feel over-confident about his game. In trying to fool around and entertain the crowds against his closest competition, RV makes a faulty move resulting in a major accident. After missing out on a whole year, he gets back into the action, nonetheless scarred from his previous experience. His poor performance on the track leaves him jobless, homeless and bankrupt. While RV never stepped inside a university, Radhika never finished her degree post-marriage. Silly move, we think. Lack of proper education forces the two to take up low-end jobs and shift to a rundown desi neighbourhood. While the children are made to believe their new impoverished status is a play and part of a reality show, Don’t worry. Be happy.
Eventually, RV has to take a stand, which means an edge of the seat contest from start to finish and, of course, lots of cheering. The sentimental turn in Anand’s story is heartfelt. But what is particularly appealing that none of the characters crib. Instead, they tackle every problem with resilience and humor. Sure, kids will be kids and occasionally sigh at the sight of creamy puffs and spicy hot dogs. Generally, there is a positive vibe running through this family and the film. The foursome make a happy picture hopping inside the enormous Disney store. Speaking of choreography, Vaibhavi Merchant infuses an impressive rhythm and frolic in the movements. Almost every song and dance is a pleasure to watch.
If Salaam Namaste (Anand’s directorial debut) was inspired albeit cool, Ta Ra Rum Pum is inspiring and sweet. The filmmaker has a knack for bringing wit in woe. He does that admirably. Saif Ali Khan’s spontaneity is utterly disarming and distracting. He plays RV, a huge racing star, with amusement as if to say ‘big deal’ not losing his boyishness even during stressful times.
Rani Mukerji’s Radhika is a confident lady. Self-assurance comes naturally to the actress.
Essentially, Ta Ra Rum Pum is a feel-good family entertainer with good looking actors, thrilling car chases, playful melodies (Vishal-Shekhar) and pretty visuals. Then again, there’s lot more beneath. It talks about taking responsibility for one’s own problems instead of finding an easy way out. It packs in a lot of optimism and grace, especially in the way new age parents are depicted. Even if in passing, the fast-growing obsession and dependency on plastic money and installment schemes is mentioned as well.
Any film that makes you feel good about life and prioritizes hope over struggle is worthwhile. Ta Ra Rum Pum brings a smile to your lips and song to your heart.
By Anand J [Email: cine@monsoonjournal.com]
[monsoonJournal.com]
Has Tamil Cinema evolved? Especially with movies like ‘Mozhi’ and ‘Paruthi Veeran’ one starts to wonder ‘May be it has’. With spiritful directors like Manirathnam, Shankar and a slew of talented young directors, film going audiences have started to feel that Tamil film Industry has come of age. But then the reality hits you hard with ‘Parattai Engira Azhagu Sundaram’.
The first question that crosses a viewer’s mind would be ‘Why did they make this movie?’ followed by a spate of other reasonable questions like ‘Are viewers mad?’ and ‘Why a remake?’
Parattai is the story of a youngster, Azhagu Sundaram, from a remote village in Tirunelveli, who reaches Chennai in search of a livelihood to support his mother after his father’s death. As fate has it, he becomes a gangster and gains popularity as Parattai, in a very short time. He then develops an aversion towards lawlessness and wants to return to his mother, and the peace of his village. Circumstances however conspire to prevent him from doing that.
Meanwhile, his mother follows him to Chennai, but finds it difficult to locate him in the huge city. And so it goes on. Doesn’t it already feel like a 1970’s lost and found story? The story is never consistent, at times it is about misled, helpless individuals and at other times, it is about the love between a mother and a son. Finally it boils down to a disappointing climax.
Director Suresh Krishna has relied on melodrama to make up for the story’s deficiencies. Poor performances add to the film’s low points. This movie is apparently a remake of a Kannada Super Hit movie ‘Jogi’ which won lots of appreciation. It defies logic when one thinks about how this storyline could have won laurels.
Archana’s performance is the biggest letdown. The national award winner could have chosen a better script for her comeback. She is believed to have fallen head over heels for this script since she was told that she would appear through out the movie. Looks like she has lost her touch with the Cine media. Dhanush, as the hero, does fairly well. Having played similar roles earlier, Meera Jasmine has perfected the bubbly bold character and provides some relief in her short role.
Debutant music director Gurukiran’s music fails to create an impression. The timing of the songs in the film add to the jarring effect; there is one point where two songs are almost simultaneous.
Cinematography and Editing are the only solace to the viewers. The movie goes into flashback quite often and it has been handled deftly. However, unnecessary attempts to excite, with tilted visuals and unwanted jerks, doesn’t go well with the movie.
Director Suresh Krishna has used Rajnikanth’s name, in and out of context, in a big to appeal to the superstar’s (who is also Dhanush’s father-in-law) fans, but that is as ineffective as everything else in the movie.
All in all ‘Parattai’ will evoke lots of ‘Korattai’ (Big yawns huh……)
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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