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Ponniyin Selvan: Part One (2022)
Don't shoot yourself in the foot, dear Tamil friends.
As one who keenly follows Tamil films and being a die hard fan of both ARR and Mani Rathnam, I wasn't going to let go of the opportunity to watch PS1 on day one.
Having read the original story, I was indeed curious and eager to behold how the master film maker would unveil this masterpiece on the big screen. And boy oh boy; wasn't I disappointed?
The first half did hold the promise, the screenplay (with some crunchy dialogues borrowed from the original) was savoury, the casting was alright (if you are prepared to ignore the small matter of the age of the characters - obviously it's just a number), the music held its own and the cinematography shone through at least in parts.
But does the movie hold together? No. And that's a big no. It's a pack of cards flying all over the place, the makers trying to hold onto them together, sadly to no avail.
Disappointingly disengaging (for those who have read the original, just try and remember how engaging that was) unless you stimulate and force yourself to focus hard, outdated war sequences (incredible that such a stellar crew has stuck to the fossilized non methodical sword-spear-hand combat sequences) and a dismally sub par VFX (the climax fight was the worst of the sufferers, I believe) take off a big bit of sheen of what was supposedly a magnum opus.
Continuity errors and goofs galore, unexpected and unacceptable for the scale of the movie and the credentials of the team furthers the downslide.
Too lackadaisical an effort perhaps? Not deprecating whatever the effort has gone into the making of the movie, but yet given the magnitude of the task at hand, this was unpardonable.
A few frames here and there do stay in your mind, but for an adaptation of one of the greatest novels in Tamil history, regarding the movie as a masterpiece is belittling the original and the language itself.
It's an average movie if you are being too generous, nothing more.
Theerppu (2022)
Seriously?
Even an acclaimed writer with an ensemble cast cannot get away with trash. The proof is this very movie.
Why Prithviraj would choose to act in such an abysmally plotted script leaves me befuddled.
For a fine actor and one of the flag bearers of Malayalam film industry, to portray that lousy character; lumbering around with his perennial swag and loud mouthing nothings as if they held some deeper meanings only to see everything fall flat when the foolhardy master plan (as if?) is revealed evokes despair as much as astonishment if not a hee-haw as well.
It is indeed trying to sit through this tedious stretch of visuals aimed at but fails incredibly to building a tense narrative; and I'd suggest an evening dine out as a pleasant alternative.
Kuruthi (2021)
When religion becomes poison that cultivates hate.
A pulsating thriller from start to finish, Kuruthi is a film that captures you in minutes, troubles you throughout, asks many an uncomfortable question over its runtime and leaves a lasting impression.
Addressing the very common yet much less talked about (than necessary) issue of how religious overtures are transforming human behavior and relationships, the movie adopts a no holds barred approach, taking on all corners and laying out all sides in the open, as raw as could possibly be imagined.
There is no subtlety, no taking sides and not a tinge of sympathy; and to pull off something like that you needed a top-notch set of actors and that's what you have. A stellar cast where, apart from Roshan Mathew and Murali Gopi, and to some extent Shine Tom (who all are outstanding nevertheless); the characters, penned exquisitely and embodied with perfection, don't conform to their stereotypes at all - as if any further display of boldness is necessary; although I did feel that the monstrosity of Prithviraj was a tad too overbearing in that small space (or maybe that it was meant to be like that?).
As with any disease, we have the morbidly ill ones, the not so ill ones (but ill, nonetheless), the ones who are not ill (but could turn ill anytime) and the truly immune ones; and as the movie rolls on we discover what transpires when such a cluster is confined to a small space over a period of time (in this case, one night).
A small flame is quickly transformed into a full blown all consuming wildfire ( I was pleasantly reminded of "The hateful eight" while watching)!
Accolades to the writer - for someone doing his first film there are more than half a dozen lines that are going to ring and resonate in the viewer's ears for years to come. The camera captures the lights (and the absence of it) beautifully and the background score augments the experience.
Towards the last leg the movie does stretch a little unnecessarily and has some sequences - the ever present fight, fall, recover, fight, repeat sequences; the mass transformation of one character (I felt it was out of place though admittedly, it did look good) - that may have been included for the so called mass appeal that arguably descends it from the greatness it had touched moments ago; but the ending (much like the interval scene) is perfect.
Despite these minor blemishes; Kuruthi deserves to be applauded for the brave and unpretentious portrayal of an extremely sensitive subject and would remain one of the more daring and powerful films of recent times.
Chekka Chivantha Vaanam (2018)
Beguiling!
There is this scene towards the climax; when Rasool (Vijay Sethupathy) embarks on a rather lengthy speech.
Seems very much in context and goes well with the character - the opportunistic, motor-mouthed, corrupt officer of the law trying to prolong the inevitable; and is so identifiable as well with the actor himself who has portrayed quite a few personnel of underpar intelligence with that unique loudish half-nasal tone. It does tend to get a little too dragging, when all of a sudden; a shot rings out...and everything changes!
Yes! Everything had changed. Only, you hadn't noticed them at all. You had seen it all, now come to think of it, but didn't pay too much attention to it until that very moment.
The vague babbling had given way to a ruthless authoritative voice. Sharp, steely eyes replaced the meek, surrendering ones; those fearful quivering lips showed a firm resolve and the fidgety movements were now quick and precise. The transformation had been gradual but complete!
You are amazed. You want to go back...and see this one more time... and so you do! And then you appreciate the magic once again! The magic that happened when a fantastic actor combined with a master craftsman.
CCV would never rank among the finest of Mani's works; but for me this particular scene had that innate perfection that outdoes many other scenes from many other movies. It was so cleverly contrived and unexaggeratingly performed with a devious subtlety hiding a cunningly artful surprise.
Thank you both!!
Yakshi Faithfully Yours (2012)
A Blair Witch Blunder
The documentary style filming, the amateur angles, the conversational dialogues, poor lighting, the running feet,the distant shrieks – The film tries hard to embrace a novel methodology aka Blair Witch project or Paranormal activity; and plunges headlong into an enormous failure in every respect.
The fragile story-line and direction has every bit to do with the film being an utter failure as much as the performance by any of the lead actors; everyone with zero acting skills and none worth a second look as well; sans,perhaps to a lesser extent the Yakshi herself, who a decent enough looker, nonetheless had her face spoilt by an overdose of make up and ends up poor in appearance and performance.
A modern take on the age old legend should have prompted many a genuine movie lovers' interest and called for better attempt on the part of the director; than marketing a miniature skin show packed with loads of rubbish under a profitable brand. Thankfully that failed!
Olipporu (2013)
Clueless !
IMDb must take into serious consideration changing the genre of the movie from drama to mystery since Olipporu can unarguably boast of a baffling plot that leaves the viewers completely mystified till the end... Even after the end. But; what was the end? Then again what was the beginning? Forget it; just what was this entire dumb movie about??
Cutting it short; a hollow movie with mammoth pretensions; whose director could consider himself to have got a lottery, when he succeeded in luring the dependable Fahadh Fazil into it; a regretful decision from the versatile actor, that might have come about in view of ample screen time in an unfathomable script, and innumerable incoherent lengthy speeches and one liners directed at the viewers, thankfully a scant few, none of whom I have come across could infer any meaning into this tomfoolery.
One can only imagine the director with a shrewd face hiding the mocking smile; mumble in all seriousness to an astonished interviewer "it's an introspection of the lead character with his views on the recent issues of social concern" (Something that a friend of mine came up with after much ado).
But then he has no choice; or else he would just have to blurt the truth right out; which would me something like this – " Its MY film and I want nobody; and I mean absolutely NOBODY, to make any head or tail of it."
Thira (2013)
Taut
Thira is a crisp thriller movie that stands true to its genre with no pretensions. Nothing is contrived and nothing forced as the movie sets off on an unwavering course at breathtaking pace from start to finish.
Premises are dark, and the theme brutal, as women trafficking forms the crux of the film; where the lowly protagonists cross swords with the powerful giants in shadows. The versatile veteran Shobhana leads the pack of actors with an inspiring portrayal of Dr. Rohini Pranab, while the débutant Dhyan pleases with a mature performance, that was unexpectedly and most surprisingly not lost in the shadows of a much acclaimed actress. Casting is superb with generous array of new faces, that fits even little roles like a glove. The camera, the colors and the music (Splendid work by Shaan Rahman) blends seamlessly with the film adding to the atmosphere.
On the downside the film though fast paced, is merely a point to point chase with directions at each point for the next destination; and barring a semblance of a curve; lacks genuine twists or turns. On a lesser note, Shobhana's hoarse whispering and exhalations do tend to tire ones ear towards the end.
The brilliant screenplay and exemplary direction carries off the movie with aplomb and the ones who looked in for a taut thriller are left savoring a chilling recipe with content.
Kadal (2013)
For once; the stalwart stumbles
Being an ardent Mani movie follower and an avid AR music lover I couldn't afford to miss Kadal, and didn't. Expectations ran high; and for a while with a thunderous opening sequence and a riveting exhilarating first half, the film held fort, only to fall away gradually in the second half and by the climax sequences and the anticlimaxes, the collapse was complete.
The film does start off well with the much Mani Ratnam traversed- social discard, orphaned child growing up in a low key environment - path, not very dissimilar to Nayakan or Thalapathy, and promises a lot while establishing the premises of how the light of good and the claws of evil manipulates the rawness of youth and innocence of love. But one couldn't escape the feeling that the master story teller having penned the film, had failed to draw starkly the lines of the characters, a task which he is usually so accomplished at, in particular that of the heroine and to some extent that of the antagonist. Incomprehensible is the heroine's character, and unjustifiable the antagonist's; both of whom the audience fail to identify with, and the method in the madness unbelievably unacceptable.
The film does go on however, shouldered by excellent performances by the artists, Arvind Swamy the stand out, Arjun, an admirable transformation in spite of a few hollow links, and a very commendable Gautham Karthik.
To his rescue Mani does have an ever reliable AR Rahman whose magic outscores the film itself, though with Nenjukkulle and Moongilthottam, it appears one song too many, but then no one is complaining; and the dependable Rajeev Menon whose visual treat had the audience in trance for more than a handful of occasions, with the hitherto unseen splendorous portrayal of Kadal(The sea) in all its enormity, tranquility, majesty and menace.
An appropriate end to the story seemed out of reach of the director, and the climax appeared tweaked, more an emotional compromise than a logical culmination; thus ruining the foundation of the story itself; and leaving many stones unturned and many fates undecided.
The film ends however, not before the audience is enthralled by some magical Mani moments - the burial scene, the tape recorder scene and the birth scene to name a few – but sadly you go back taking a few moments with yourself; and not the movie.
Karmayogi (2012)
Poor period film... Period!
There's a wonderful romantic song starting ' Malarmanjariyil' sung beautifully by Chinmayi performed on screen by Indrajith and Nithya Menon; in the film. That's one good thing about the movie. Sadly it is the only good thing.
An announcement about the film being an adaptation of Hamlet introduces you to the movie. In the end, one who has read the play would be left wondering whether there was any worse adaptation ever; and one who hasn't would think it were one of the worst Shakespeare plays.
The elaborate dialogs making use of an outdated dictionary to communicate the period premises; and the non emotion clad faces to produce the subtlety of art house productions appear outright contradictory and makes for tedious viewing. The costumes are comic to say the least with Nithya Menon looking like having made a blast to the past from the 90s. The characters are hollow, seem more like caricatures; and the performances poor. One cannot identify with our protagonist, Rudran Gurukkal, played by Indrajith ( No fault of his, for the character has no substance), his emotions, actions or method. His dreams look like a lift straight from a puppet show. This is one mediocre film and one feels sorry to have viewed it.
Outsider (2012)
An elaborate sloppy thriller!
As a package, Outsider has a lot running for it. A more than impressive cast with Sreenivasan, Indrajith, Pasupathy and Saikumar for one. A more than OK story line that goes like this: Circumstances force a common man (Sreenivasan) to shoot a psychotic criminal ( Pasupathy) paralytic for years. A corrupt officer (Saikumar) steals the glory and years later; the criminal is back, alive and healthy and burning with revenge.
The plot and premises look promising but the director has done no good by trying to lengthen what would have been a taut 90minute thriller into a sloppy 130min yawn. Sreenivasan looking starved and haggard hopelessly tries to be his vintage self; though he still passes off the nod. Pasupathy rolling his eyes, jumping around unnecessarily and shouting at everyone has a task easy by his standards. Saikumar is delightful and Indrajith good. What spoils the film is the too many side plots – Neighbours' tragedies, Indrajith and Sreenivasan's daughters love plot etc - which are unnecessary takeoffs that only adds length and no substance; not to mention the songs that seem pasted just for the sake.
To summarize shabby vision has ruined what might have been an interesting prospect.