Thalapathy

Manirathnam once mentioned in an interview that the three Indian actors most difficult to make a movie with were Rajnikanth, Chiranjeevi and Amitabh Bachan. His style of moviemaking clashes with the image these actors have cultivated for themselves and the expectations their fans have from their movies. But he manages quite nicely in Thalapathy with Rajnikanth. It is definitely more a Manirathnam movie than a Rajnikanth movie. The basic, familiar story(with its roots in one of our most famous epics) has been skilfully modernised with his trademark screenplay and dialogs, great cinematography and foot-tapping numbers.

Surya(Rajnikanth) was abandoned by his mother as a baby and has grown up as a rowdy in the slums. The area is ruled with an iron hand by local dada Devaraj(Mammootty), whose thug is killed by Surya. The two are against each other initially but become thick friends soon. Surya thereafter becomes Deva's thalapathy(commander), carrying out his orders. Surya's mother(Srividya) has since married and has a son Arjun(Arvind), who comes to the town as collector. Surya loves Brahmin girl Subbulakshmi(Shobana) but her father marries her off to Arjun while Surya weds Padma(Banupriya) whose husband he had earlier killed. Surya and his mother soon comes to know the truth but are torn between relations and loyalties since Arjun vows to eliminate Deva and Surya while Deva swears revenge on Arjun for police atrocities.

Manirathnam uses the Mahabharath as the base with modern day versions of the main characters here and makes several nods to leave us in no doubts about this fact. So we have characters named Surya(for Karnan) and Arjun(for Arjuna). There also a couple of other hints like the name of a town where Arjun goes to quell some riots(Pandavapuram). The ending is different here, though I believe this might have something to do with the standing of its main stars.

Thalapathy gives us some strong characters and then builds on the emotional interactions between them. Naturally, the movie works best during the scenes of confrontation between these characters. Sparks fly during Rajni's meeting with Mammootty in the rain and later, when the two go up against Arvind Swamy. This scene is picturised very well with the camera cutting between the two teams on opposite sides of the table and Rajni's aggression providing an effective foil to Mammootty's calmness. Sentiments take the upper hand once the hidden relationships are revealed. Rajni's loyalty to Mammootty and Srividya's desire to see neither Arvind or Rajni hurt provide ample fodder for sentiments.

Romance takes a backseat to emotions and we see very little of Manirathnam's touches in this department. Shobana falls for Rajni a little too quickly but the scene where she reveals that she likes Rajni's 'goonda' activities is nicely picturised in a great location. Their meeting after her marriage to Arvind is also conducted naturally and decently.Rajni only has a 'guardian' relationship with Banupriya inspite of their marriage but the girl who plays her daughter is cute and delivers her lines well in her conversations with Rajni. Mammootty and Geetha make a nice radiant couple.

Rajnikanth gets a chance to emote quite a bit more than his other recent movies and does quite well though his fans would not have been happy to see their hero being tortured by a policeman and not fighting back(though he gets his revenge later) or losing the girl he loves. He displays some nice footwork in two songs. Mammootty is dignified and the Manirathnam's clipped dialogs suit his character well. Arvind Swamy looks young and smart in his debut and stands up well to the much more senior artistes. Shobana uses her large, expressive eyes to good use in the initial scenes when she is scared of Rajni and later when she tearfully asks Mammootty to let go of her father. It looks rather odd to see Srividya, who played Rajnikanth's wife in his first movie, play his mother here but she does her job well while Jaishanker gives her good support. Banupriya is underused. 

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Siva Manasula Sakthi

Vikatan Talkies debut film Siva Manasula Sakthi which had a lot of pre-release hype is a bit of a letdown. If originality and a solid screenplay isn't your top priority and you want a bit of candy floss some sentiments laced with lots of comedy, then you might dig this one.

Shiva(Jeeva) meets Sakthi(Anuya) meets during a train journey from Coimbatore and Chennai. Both boast a bit about their profession, Shiva says he is an army officer while Sakthi claims she is working for Thai airlines.

Soon the truth is revealed Sakthi is a high profile Radio Jockey with Hello FM, while Shiva is a lowly paid courier boy! Shiva has chip on his shoulder as he is 12th failed and a "local" who boozes in TASMAC bars with his friend Vivek (Santhanam)!

Shiva lives near Mambalam Railway station with his very humorous and funny mom (Urvasi) and a sister and is the bread winner for the family. The trouble with him is that he is a prankster who loves to play practical joke on others.

At the same time Sakthi is well educated and is an independent rich girl who has an attitude problem. They are as different as chalk and cheese, but there is some kind of spark develops between them.

The snafu is that her father has found a handsome IT guy Arun (Arya in a cameo), but Shiva pulls all stops as Sakthi slowly realizes that she is in love with him and they spent a night together! But do they live happily ever after?

There is very little in this movie that has not been lifted from countless other films notably SRK's Chalte Chalte and Hrithik's Mujhse Shaadi Karoge. It's the script that is silly, blame iton the dialogue and situation The film is basically a comedy in the first half that peters out into a sob story in the second before becoming a laugh riot in the climax!

Yuvan's music is peppy, but picturisation is tacky, there are four songs before interval that comes one after the other and two songs post break. There is no chemistry between the lead pair and the most polite comment that can be made about Anuya is she is camera friendly and has only one single expression throughout. jeeva is a joy to watch but has a tendency to go over the top.

However at the end if you come away smiling it's only because of the shenanigans of Urvasi, Santhanam, Sathyan and jeeva. The comedy track when Santhanam has to pawn his new mobile in the bar is a scream.

The film moves at a snail pace especially in the second half. If you have nothing else to do you can take a look at SMS, another time pass run-of-the-mill film.

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Sillunu Oru Kadhal

You can leave behind memories of your first love in a diary, but someday it will pop-up. These candid memories will continue to haunt you even after marriage, and you can’t run away from them. Debutant director Krishna’sSillunu Oru Kadhal, will strike a chord with anyone who has experienced the bitter-sweet ravages of romance.

The film opens with the introductory scenes of Kundavi, a small town girl, daughter of a village chieftain in Ambasamudram.Little Kundavi grows up to be a naughty college girl (Jyothika), who thinks that only love marriages can be successful. But her parent’s get her married off to Gautham (Surya), an engineer from the city.

Cut to 6 years later - Gautham and Kundavi, along with their 5-year-old daughter Aishu live in Mumbai, where they work. They are a picture perfect family and their life is filled with happiness....till, one day, Kundavi comes across Gautham’s old diary, by chance when he is on a business trip to New York.

The diary reveals Gautham’s past- He is a dude in an Engineering college in Coimbatore where he meets Aishwarya (Bhoomika), the demure and soft-spoken daughter of a local MP & businessman. It is love at first sight for Gautham and after a while Aishu also reciprocates(!). They decide to get married at the registrar's office but after Gautham ties the thali, Aishu’s dad and his men beat him up and take his daughter away!

A shell-shocked Kundavi puts on a brave face after Gautham arrives, and her next mission is to see that Gautham’s wish “to live at least one day with Aishu” comes true. She finds Aishu, who is completely changed now, as she lives in Australia and considers Gautham as her husband. Kundavi brings her home and tells her husband that he is “allowed” to spend a day with Aishu, whom he loves more than anything else in the world! So what happens during that one day allotted by Kundavi to her husband and his lover?

With a title like Sillunu Oru Kadhal, we expect a tangy, romantic film, but strangely there isn’t enough spice in the tale of Gautham, Kundavi and Aishu. Krishna takes the beaten track of loyalty, family values and bonding. He does not dare to be different at a time when “bold subjects" are being increasingly sought after!

There are two major faults in Krishna’s script.One, is the character of Gautham, whose decision to marry Kundavi and lead a happy life does not seem justified.It is weird that he doesn't bother to enquire about Aishu, his true love. Secondly which wife in the world will react to a situation like what Kundavi had to face? It just seems far fetched.Also, On the downside, Vadivelu & gang coming to Mumbai(Kundavi's family)scenes were absolutely unjustified and does not evoke any laughter.It is Santhanam who scores over Vadivelu this time.

It is the music of A.R.Rahman that elevates the tempo and adds life to the movie. The songs are great, but they could have been picturised a little more aesthetically, especially the “Maja Maja….” song & “New York Nagaram…” , which was shot in Switzerland! The camera of R.D.Rajasekhar, especially in the “Kummi Adi…” song, shot in Rajamundry (passed off as Ambasamudram) is eye catching. The paddy fields, Sunflower gardens in full bloom, rivers and lush greenery are a visual treat!

Jyothika is the pivot around which the story moves, and she is in top form, especially in the intimate scenes with her fiancée. She embodies the happy and later the brooding wife to perfection. Surya pitches in with yet another fantastic performance, be it the responsible husband and father, or the cool dude at college. His composure, deadpan humour and tears in the climax are tangible and real, giving it heartrwarming immediacy.The little daughter of the couple is cute, though she is over smart at times. Bhoomika looks anameic and tries her level best to add life to her character.But pray, why was Sukanya seen in that silly role?

But, the most irritating feature of SOK is the brazen plugs for products. Never before, in Indian cinema have there been so many in-film advertisement placements – Maruti Swift, Pepsi, TVS Star, Boost, Aircel, Maggi, Head & Shoulders!! Editor Antony could have made the film crisper as it is too long (2 hrs 50 min) and the film drags in the second half.

Nevertheless, go and watch the film for all the hype and hoopla surrounding it.

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Raavanan

Mani Ratnam returns to spread magic (or a blunder, as this review progresses) with his ‘Raavanan’ after a splendid show in the form of ‘Guru’. Well lets be positive to some extent now, his team is world class, with Santosh Sivan behind the lens, Srikar Prasad on the editor’s table and A R Rahman handling the music and besides that the stellar star cast! The movie looked like a bouquet of flowers but only the fragrance seemed to fade!  

'Raavanan' is cinematic brilliance. Watch the movie without expectations and watch it for what it has to offer rather than searching for what you want! It is a celluloid adaptation of ‘Ramayana’ written by sage Valmiki (and interestingly, no name is displayed for ‘the story’ when the titles are showed.) with modern publicity techniques that will attract the audience. Let’s get to the analysis part and wrap this review up as soon as possible, because the movie is just above 2 hours. And about wrapping it soon, anyone among the audience will tell you to get out of the hall as soon as possible once the movie is over!  

Mani Ratnam, the master of creating art on celluloid has possibly over worked to not reach the hype! He is class apart no doubt but his class on screen is visible only in parts. He has delicately portrayed bits and pieces of modern day Ramayana. Well nothing offending here but Ramayana is a story that is imbibed in to our lives from childhood, seems like this movie was shot to associate every scene with the happenings in the holy epic.  

Suhasini Maniratnam pens the dialogues of the movie. Her dialogues are intelligent, credible and most importantly, conveying information. Characters and their strengths are informed through these wonderful dialogues. The homework seems to have been done well. Mani Ratnam has sketched his characters amazingly. Every character has a purpose and every actor behind the character has been rightly cast. . Leave alone the fact he was inspired from Ramayana but here in this, the Raavanan is the hero. The title role is played by Vikram (like you didn’t know). He is Veera alias Veeraiah. A tribal leader who’s fighting for their rights. He is strong, genuine and loyal to his tribe. Even other characteristics of his are mentioned through an enquiry scene where the police talk to the tribals to find out what kind of a person this Veera is. Vikram’s performance is simply electric. 

The next in line is Prithvi Raj, who’s the dynamic Superintendent of Police. He is oozing with confidence as an actor and his chemistry with Aishwarya Rai Bachchan is good enough on screen. He makes it quite obvious as being the Rama in this story. So you know the strings attached.  

Aishwarya Rai Bachchan’s characterization is simple. She is a loving wife who has been abducted (did we leak the story now?) and her expressions from thereon are simply amazing. She is beautiful on screen (sure is) and has come out with a noticeably extraordinary performance. Only a certain part of the credit goes to her, the rest goes to Mani for getting the best out of her.  

The other supporting characters like Karthik( apparently Hanuman) as a forest officer, Prabhu as Vikram’s older brother, Munna as Vikram’s younger brother and others are impressively handled characters. The director has made sure all the characters receive the deserved importance. Mani Ratnam is the master unarguably; he has made sure the actors have their presence felt on screen.  

At this predicament of the review, Priya Mani as Vikram’s step sister has done a commendable job. Her character as a bold sister to the strong brother is much appreciable. Her performance will definitely be applauded and as she’s playing the same role in the Hindi version, she has made an excellent start in her Bollywood journey. 

Technically speaking, Editor Srikar Prasad has sharp scissors. The screenplay in the first half, though nothing has been conveyed and is an utter waste of film reels, his editing is near precision. Stunts and bomb work by Peter Heines and Shyam Kaushal deserve appreciation and so is art director Sameer’s work, given the fact that most of the movie was shot in and around water. The tribal village, the police camp, a bridge and a marriage set were simply amazing and he would be one technician to make note of. The fight on the bridge just before the climax is an edge-of-the-seat scene that has been well shot and well directed.

But there is one man who will be applauded for his work (perhaps the only respite in the movie) is Santosh Sivan and his camera work! Mani’s movies always have natural lighting and Santosh has used it to good effect. Green pastures, water falls, rivers, trees, and all that nature can offer in a forest are radiantly shown. Hats off Santosh, you’ve done a splendid job! 

Winding up this section, A R Rahman’s music is classy. His tribal beats merge with the movie’s theme. His rerecording could have been better but nevertheless, a great show! Hard work from cast and crew is evident in the movie, given that the movie was shot under incessant rain, blood sucking leeches etc, but what does it count for? 

The list of minuses is being reduced with a lot of deliberation. Mani Ratnam has pictured beautiful movies in the past. ‘Raavanan’ was termed his magnum opus, etc but sorry it didn’t seem like one. The screenplay was a let down with only few scenes showing his directing supremacy. He has done another ‘Roja’ with only Aishwarya replacing Arvind Swamy and a few minor alterations. The movie was lost somewhere. May be because the first half was a major let down and the second half carried a lot to show (or burden) the audience.  

 ‘Raavanan’ is for those who appreciate quality cinema ingredients. Director’s touch, camera, art, etc are prominent yet something is missing. Don’t look for the plot; it is quite obvious (from the trailers). Watch it for Mani Ratnam’s direction expertise, Vikram’s performance, Aishwarya’s beauty and the beautiful locations! This was branded Mani’s best movie by a few but on second thought, the master’s best is yet to come.

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Aadukalam

Dhanush and Vetrimaran once again hits the bulls’ eye! Their second film together Aadukalam is gutsy and a brilliant film. Dhanush is simply outstanding, his career best performance. It is also Sun Pictures best ever production, a film that they can be proud of.

What makes it tick are it is a story of ordinary people, told in a realistic way with human emotions about friendship, betrayal, jealousy, petty ego that leads to havoc in the life of a youth. The narrative style and presentation are truly international.

The film is set in a suburb of Madurai where rooster or Cock fights is a major sport. Karuppu (Dhanush) is an understudy of Pettaikaran (Jayabalan) considered as the best in business. Karuppu thinks the world of his mentor, who prefers his other assistant Dorai (Kishore) more. Karuppu is an innocent good fella who falls for an Anglo Indian girl Irene (Taapasee) living in the nearby railway colony.

Pettaikaran most bitter foe is a policeman Retnasamy (Nareyn) whose family for years used to conduct and win trophies in cock fighting. Retnasamy decides to have one last cock fight between his team and that of Pettaikaran and emerge triumphant for the sake of his dying mother. The fight is conducted after a special permission is given by police and local bodies. In the crucial tournament, Retnasamy using drug induced roosters in the first round, trounces Pettaikaran. At this point to save the face of his guru Karuppu, enters the fray with his rooster.

Pettaikaran is upset and announces that Karuppu is not a member of his team, but the underdog goes on to create the biggest upset. Karuppu’s victory makes his mentor bitter and jealous, as he is crowned the new king of cockfights. This creates hidden animosity in Pettaikaran who plots for the downfall of Karuppu leading to a riveting climax.

Ultimately however, Aadukalam belongs to one man and one man alone. Investing in his character a lot of realism and protecting it from ever turning into a caricature, Dhanush delivers a performance that is arresting. The character conveys volumes through his eyes and Dhanush lives in the role of Karuppu. Jayabalan is a revelation as Pettaikaran and Kishore is outstanding as Dorai. Debutant Taapsee is a promising find and she suits the character of an Anglo Indian girl to the T.

Technically, the film has many brownie points-The film's dialogues are sharp and mesh in well with the scenes. Velraj’s cinematography is one ofAadukalam’s greatest strengths; and even actors in bit roles leave a lasting impression.

A major plus is GV Prakash Kumar’s background score and the Yathe Yathe...song lingers in your mind even after you leave the theatre. The rooster fight in the interval point is the major highlight.

Minuses? It is too classy and difficult to comprehend for an ordinary viewer. The first half is very racy and entertaining while the second half towards the climax drags and some characters like Retnasamy disappear in the second half.

Every once in a while comes a film touch both heart and mind; films that make you surrender completely to the power of the experience. Aadukalamlives up to the expectation that the film carried and the credit goes to Vetrimaran whose research and hard work shows on screen.

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Chennai-600028

Producer S.P.B Charan and his debutant director Venkat Prabhu have come out with Chennai-600028 a thoroughly enjoyable film. In a way it gives some contention that Tamil films are coming of age, and are targeting the urban youth audience.

So, what makes it tick? The screenplay is minty cool and our heroes are ordinary middle class guys, not the larger-than-life super-heroes you encounter in Tamil commercial cinema. The basic storyline is woven around galli cricket match and a tournament, along with an assorted group of guys who are buddy-buddy and have various growing-up problems.

There is a local flood lit cricket tournament in Chennai Mandaveli area, where the big clash is between R.A Puram Sharks and Royapuram Rockers, with latter winning the tournament four times in a row. The Sharks and the Rockers team members are always daggers drawn, and the film is how the former defeats their arch rivals in the cricket field.

The Sharks are the underdogs, and naturally the focus is on them and their members. Karthik (RJ Shiva, of Radio Mirchi fame) is the captain of Sharks a dreamy guy who is in love with his friend and fast bowler Palani's sister Selvi (Vijayalakshmi, daughter of director Agathiyan), and his brother the local don funds the team.

Their main batsman Aravind (Aravind Akash) is a playful lamb working as a bearer in a Coffee shop who is after a rich and sexy chic (Christine Zedak).Then there is Reghu (Jai, another look alike of Vijay and youngest son of Deva) who was the star bowler of the Rockers but ends up with the Sharks. Finally the director has introduced his younger brother Premji in a comedy role as a fat guy who is a sloppy fielder!

All these guys along with a host of newcomers and a funny barber turned coach (Ilavarasan) makes this bratpack movie as interesting as a cliff hanger of a one-day match. It is good fun watching these likeable and recognizable bunches of guys in their quest for romance as they try to get the 'Mirchi' cup.

Yuvan Shankar Raja has dished out eight fast youthful numbers with Yaro….being the pick of the lot. The sensuous Ennamo… sung in a husky and sexy voice by Anushaka against a guitar and flute background has been picturised in a teasing way with some great skin show by this new chic Christina. Sathi Saravanan's camera work has added to the mood and feel of the film.

On the downside the plot is too precarious a peg for a 16 reel film and should have been trimmed to make it a bit racier. In a way the songs come one after the other at regular intervals slowing down the tempo. The film will be enjoyed only by the city audience, and has large dosages of Chennai lingo.

All the guys who acted in the film are candid and have let their hair down. RJ Shiva is the surprise packet in the film. Venkat Prabhu deserves a pat on his back for making a breezy fun movie which highlights the fact that cricket in India which is a religion for many is also won through team spirit and sacrifice.

So go ahead, make your matinee and enjoy the match.

Verdict- Sixer!






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Boss Engira Baskaran

Red Giant Movies' M. Rajesh directed Boss Engira Bhaskaran (BEB) is yet another golden film in promising hero Arya's fast-emerging career, which has steadily risen in the last two years with an array of varying roles: from an Aghori from Kasi to a dhobi-wrestler of the 1940s, and back-to-back hits Naan Kadavul, Varudu (Telugu) andMadrasapattinam! Unlike his serious characters in the previous movies, Arya stands out in this out-and-out comedy role in Boss Engira Bhaskaran, proving that he is one of the versatile and bankable actors in today's Tamil cinema.Boss Engira Bhaskaran is an intelligently made romantic-comedy with finest touches of some real life situations.

Set in the backdrop of Kumbakonam, Boss Engira Bhaskaran has Arya playing the role of a happy-go-lucky guy Bhaskaran aka Boss, with a good-for-nothing image in his social circle; Santhanam plays his only friend Nalla Thambi who runs a saloon. Nayantara plays a trainee lecturer Chandrika. Malayalam actress Shakeela, noted for her appearances in numerous soft porn movies, plays a cameo as a tutorial teacher, while Jiiva comes in the climax in a special role.

Bhaskaran is on the way to his exam hall to appear in his English (arrears) exam, which he has been trying to pass for the last five years! Since he is too weak in English, Bhaskaran has prepared some materials for malpractice at the exam hall and they are secretly placed all around his clothes. At the bus stop, he meets Chandrika (Nayantara) and is attracted to her charm. To get her attention, Bhaskaran strikes a conversation with her and eventually reveals that he is going for an exam with copying materials. At the exam hall, Bhaskaran is surprised to see Chandrika as an invigilator and tries to hide. But she seizes all his materials and consequently, Bhaskaran leaves without writing the exam.
Meanwhile, Bhaskaran's elder brother Saravanan, a veterinary doctor, falls in love with banker Shanmukha Sundaram's daughter Nandhini and decides to marry her with her parents' consent. He sends Bhaskaran and his mother for the 'bride seeing' ceremony at Nandhini's house. When they are about to leave, Chandrika steps in, saying she is Nandhini's younger sister. Though shocked, Bhaskaran sees this as an advantage as he will now have more opportunities within the home circle to meet and woo Chandrika. Later, Saravanan-Nandhini's marriage takes place.
After some interesting sequences, Bhaskaran proposes marriage to Chandrika but she refuses, saying her marriage would be decided by her elders. So, Bhaskaran talks with his sister-in-law Nandhini, who promises that she would encourage the alliance only if Bhaskaran gets a decent job. It becomes a big issue at Bhaskaran's house and everyone criticizes Bhaskaran for even thinking about marriage when he has neither a degree nor a job. Irked by this criticism, he leaves the house, challenging that he would earn plenty of money in six months and marry Chandrika. What happens next forms the rest of the film.
Perhaps this is the first time Arya, known for his serious and romantic roles, plays the lead role in a full-fledged comedy film. His performance as an irresponsible guy who decides to make a U turn in life, is convincing and his comedy timing and mannerisms are impressive. In fact, this proves that Arya can handle all kinds of roles with ease. After Arya, Santhanam deserves a big round of applause as he is the backbone of the show. The major plus point with Santhanam is that unlike many leading comedians who usually act in comedy tracks separate from the main plot, he plays the role within the story, contributing a more realistic feel. After a couple of debacles in Tamil, Nayantara is back with a bang and unlike her usual movies which demand nothing but skin show; Boss Engira Bhaskaran offers her ample space for performance. Nayantara does justice to the role as Chandrika, though not outstanding.
Music by Yuvanshankar Raja is spectacular as usual and his numbers, especially 'Ada Boss Boss' and 'Yaar Antha Penthan' are worth mentioning. Editing by Vivek Harshan is racy, while Sakthi Saravanan's cinematography is perfect, in keeping the mood of the film. However, the picturisation of the song 'Mama Mama' could have been better. Though Boss Engira Bhaskaran can be graded as a near perfect movie, it is not devoid of slips. Jiiva's role as a rich, young businessman Siva, who comes as Chandrika's bridegroom but later joins the lovers, is clichéd, though it is cast in a different manner. And the last sequence which shows Jiiva getting a phone call from the director himself who advises him to just stick with his cameo alone rather than messing up with some action scenes which the hero is supposed to do, might have been included with a comic sense but in reality, it looks odd and artificial in the flow of the story and thus, could have been avoided. Considering the style and the quality of narration of the earlier portions, the climax is poor! Otherwise, Boss Engira Bhaskaran rocks!



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