Dharma Durai

My review: Dharma Durai

Seenu Ramasamy is known for movies with solid screenplay and seamless narration. His previous release "Neerparavai" is one of my favourite movies of all time. But his latest release "Dharma Durai" is just an average fare. Movie doesn't have a solid screenplay and the seamlessness of the narration is missing this time. But that is the offshoot of the story-line which traces the life of a doctor from his time at college through his engagement, tragedy, getting into alcohol addiction and finally his redemption. Hence the screenplay is just a compilation of various incidents that happens that timeline of his life. 

But the amount of homework and research that Seenu seemed to have done in "Neerparavai" is missing this time around. In "Neerparavai" he came up with authentic portrayal of alcohol addiction as an illness may be for the first time as far my knowledge is concerned. But sadly here where he has again dealt with alcoholism for a major chunk of the movie, the things are loose. I had always wondered what prevents the director in consulting a medical student or a professional about their course, books, etc. Here we have the 2nd year students in the dissection class of Anatomy, a pathology professor performing surgery, an important character who introduces himself Dr So-and-So, MS,MD !!! 

Vijay Sethupathy is terrific once again. Watch out for that scene where he seethes with rage mixed with grief going after his brothers. Tamanna and Aishwarya Rajesh are excellent while Shrusti Dange is below average. Seenu Ramasamy always comes out with a strong mother character and this time Raadhika Sarathkumar aces the role with aplomb. The support cast lend admirable support. M.S.Baskar is terrific in the role of a poor father. Wonder why this powerhouse of talent is not used properly in Tamil cinema.

Yuvan Shankar Raja's background score is good while none of the songs passes muster. Technically the movie is average, 

On the whole, one can't but help getting reminded of Vikraman movie's of the 90's, the trope of which this movie astutely follows minus overt melodrama and climax sermons replete with analogies. 

Bottomline: Letdown from Seenu Ramasamy

2.5/5

Appa

My review: Appa

In our younger years there used to be some movies which were huge hits when the dialogue portions of the movie were released as audio. Most of these movies dealt with issues that affect the society and had powerful dialogues. The movie as a whole would have been an average affair but they raked in the moolahs through these audio cassettes. Samuthirakani's "Appa" is a perfect candidate for such a audio release.  His angst against the crooked education system and the pressurising parents are well and duly noted, but the movie is only talk and talk and more talk. Characters keep talking on and on and on before the tedium sets in.

Though the scenes and sermons directed at the faulty education system is laudatory, Samuthirakani seems to be paranoid in almost all things modern. Case in point is institutional delivery.  In the times when the country is striving for cent percent institutionalised delivery, in this movie Samuthirakani has seen it with a paranoia and dolls out unscientific eulogies on home delivery which is regressive. Likewise he seems to have an outlook that is tinged with paranoia with respect to anything and everything that is not traditional. 

But on the same time there are exceptional sequences like the one in which he allays the fear of his adolescent son in dealing with opposite sex. But even a good sequence like that of a person who is physically challenged achieving something in life is marred by overdose of melodrama  which is what pulls down the movie's quality. 

All the actors have had a field day in projecting their histrionic skills to the maximum that there is no room for subtlety. Technically movie is very tacky. Ilayaraja's background score is the sole redeeming factor in other wise banal film making.  

On the whole, "Appa" is an overdose of on your face propaganda enacted by over the top actors marred by overenthusiastic direction though the intention seems noble.

Bottomline: Pressure of speech 

2.5/5

Joker

My review: Joker

Raju Murugan after his impressive debut with "Cuckoo" turns his focus on political satire for his second movie, "Joker". As a political satire "Joker" must be one of the boldest ever attempted in Tamil. Unlike in movies of this genre in other languages, Malayalam in particular where they don't fear about using the names of political personalities and parties, in Tamil the approach has always been that of caution. But Raju Murugan has courageously used names of politicians, and tried his level best to hint at the follies and trickery of the current political establishment. He has not spared anyone in that regard. 

The strength of the movie is its dialogues. Though there are numerous instances they cross the line in becoming sermonising, Raju Murugan has tried his level best to reign in things. Though the dialogues take the centre-stage and the visual story telling is limited, he had made up for it with a poetic flashback portions that also reaffirms his mastery over romance. But then he is such a mood that even these portions are not bereft with the sermons but at least they crop here and there only. 

The problem with "Joker" is that for the most part of the movie, the screenplay is somewhat loose which fails to engage the viewers in a regular manner, hence the impact the movie ought to have made gets diluted. In spite of these shortcomings somehow I felt a tinge of sadness by the  time the movie ends. That is mainly to do with the acting of Guru Somasundaram, who is just terrific in such a complex character. His straight face is still haunting long after the movie got over. 

Movie's strength other than the dialogues is its casting. Everyone cast in the movie are perfect for the roles. Since most of them are unfamiliar faces, they come across as real people inhabiting the landscape the movie is set in. Guru Somasundaram, a grossly underrated and underutilised actor, has been used well by this movie's director. Ramya Pandian is expressive while Gayathri Krishna is  earnest. Mu Ramasamy is casual in her performance. 

"Chellamma" is a haunting number by Sean Roldan. His background score is another pillar of strength for this movie. Chezhiyan has captured the arid regions of  Dharmapuri district with panache. 

On the whole, though "Joker" talks a lot about the prevailing malice due to the politics of the country and how government and its machinery can wreak havoc in the lives of its innocent citizens anytime, the overt preachiness could have been toned down a bit.  

Bottomline: A hard pill to swallow.

3/5

Pelli Choopulu

My review: Pelli Choopulu

While watching "Pelli  Choopulu" I was just wondering why such breezy, well made romantic comedies are not getting made in Tamil. Not that they are getting made regularly in Telugu either, but they come up with one or two such gems every year. I can't remember such a feel good romcom in Tamil over the past few years. Tharun Bhascker Dhasssyam's "Pelli Choopulu" is a very entertaining movie that keeps you engrossed mainly with its breezy screenplay with good casual performance from the cast.  

Though the movie follows the template of the romantic comedies to the tee, the premise is fresh. Wrong address, diametrically opposite personalities, witty friends, coming of age trope, family bonding, everything is there but presented in a thoroughly entertaining manner. It is refreshing to see that the movie is bereft of moral preaching, be it the heroine boozing or the hero settling for a marriage mainly to get dowry for his business. Movie's plot revolves around two contrasting people who meet by accident, get together to do business finally getting hooked to one another.

Vijay Deverakonda as the lazy, wastrel Prasanth is casual in his acting. His scenes with his friends are a riot. Watch out for the scene in which he along with his friends try to capture a prank video. He has good comical sense. Ritu Varma takes time to grow on you, but unlike the plastic doll north Indian actresses, she seems to be talented and carries the movie on her shoulder with ample support from Vijay. Among the support cast Priyadarshi Pullikonda as Kaushik is a show stealer with his terrific comedy timing. The audience are in splits whenever he is on screen. 

Music of the movie enhances the feel good factor with mellifluous, soft  and soothing songs and background score. Vivek Sagar is the music director. Movie is technically sleek. Tharun seems to have a flair for comedy. All the comical scenes in the movie have come out wonderfully and are a important reason why the movie clicks with the audience. He is not bad with the romantic or the emotional aspects of the movie too. He is an important addition to the Telugu film industry. "Pelli Choopulu" would do for him what "Bommarillu" did for Baskar. 

On the whole, "Pelli Choopulu" is a clean and thoroughly enjoyable feel good romcom in Telugu after a long time.

Bottomline: a realistic cheerful entertainer 

4/5

Sairat

My review: Sairat

I finally watched Nagraj Manjule's critically acclaimed and the highest grosser ever in Marathi, "Sairat". I am glad that this is the first marathi movie that I watched since it is not a generic movie that could have been made in any language with its settings in the urban milieu. Nagraj Manjule, by setting the story in the milieu from which he comes from is able to diligently capture and reproduce it on screen. So far any one who is not familiar with the cultural and sociodemographic milieu of  rural Maharashtra this movie is a window of opportunity to that end. 

Though on the surface the story may sound simple that of a poor young man falling in love with a rich girl and the repercussions of it, the movie is much more than that. For the starters this movie must be the only one so far as far my knowledge that does a role reversal of sorts with the female lead playing the protagonist with the male lead giving her ample support. It is the strong willed Archie (Rinku Rajguru) who calls the shots in their relationship, who saves her beloved from the hands of the goons by wielding a gun, who directs submissive Parshya (Akash Thosar) into eloping with her, who drives the bike with her husband carrying the baby in the pillion. 

In my view, though it authentically represents the caste differences, the repercussions of inter-caste marriage, the sociocultural fallout of such a digression in a closed village type of setting, the movie is more an ode to all those strong willed educated girls from the rural India who have become more assertive and strong and their struggle with the patriarchal society which seeks to protect the social order from any skews as a result of their actions.  

Coming back to "Sairat" as an entertaining movie, I just loved the colour, levity, and life the movie has in it's first half. Back by a wonder background score and lovely songs, the first half which is more than one and half hours just breezes through. It is a celebration of the naive rural lifestyle, the fun, the love and the banters. On the other hand, the second half is more sombre, mostly shot in the dark or with natural light, there are no songs, yet keeps you engaged. Nagraj is terrific in the manner in which he is able to communicate the emotions and feelings of the lead pair and evoke the same in the viewers. It is just sheer brilliance and not everyone's cup of tea. 

One of the main reasons as to why "Sairat" has become such a phenomenon is the movie's lead actor, Rinku Rajguru. What an expressive actress for a change, who is earthy, imperfect, innocent and no frills attached. She carries the movie on her shoulders. From a naive yet strong, almost tomboyish teenager to a lover who struggles to cope with the aftermath of elopement to an unfamiliar city where getting a space to rest is a big task to an ambivalent girl who is torn between love and family to a mature married mother, the effortless ease with which Rinku is able to get into the teeth of each stages of her character is just astounding. It is quite difficult to shed off Archie from your mind long after you have watched the movie. 

Akash Thosar is a perfect foil for a fiery Rinku. As a submissive yet pining Parshya, Akash is good. Among the support cast it is Tanaji Galgunde who steals the show in the first half as physically disabled Balya. Be it in the lighter scenes or the emotional ones, he is just so natural. Watch out for the scene in which he thinks he has got a love letter from his girl and what it finally ends up as and the amazing transformation in the body language, facial expressions and emotions he is able to bring about. It is one of the best scenes written for a supporting actor in a long time. All others in the support cast have lived their roles. 

Apart from Rinku, another reason why you would enjoy the movie is its music. Both the background score and the songs are composed by Ajay-Atul. The sound of music in this movie reminds me of Ilayaraja from his hey days and are a definite reasons for the movie being this successful. All the songs are enjoyable and are beautifully picturized. 

Nagraj Manjule's casting, screenplay and direction needs special mention. His grasp of the rural milieu of Maharastra is astounding and its reflects on screen. Also he seems to have a knack for entertainment while underlining the societal responsibilities and concerns in a movie. It is to his credit that "Sairat" has become one of those rare movies you end up loving it absolutely. It evokes each and every emotions in the viewer in intended to. And it is that movie which stays in your head for long after it is over. And it made me crave for multiple viewing. 

Bottomline: A thoroughly entertaining and thought provoking classic.   

4/5

Kabali

My review: Kabali

At the outset I must congratulate Pa.Ranjith for his courage and conviction in making this movie "Kabali" with Rajnikanth. At the time when even the most illustrious of directors try to play safe he has stuck to his strengths and made a movie like how he wanted it to be, not getting swayed by the star power of the lead man. It is actually a blessing in disguise that I happened to watch this movie well after the euphoria and the subsequent backlash that followed the release of this movie died down. 

The mistake the makers have done is releasing a teaser which is so much dissociative from what the movie actually is. Hence the fans who went in looking for an action thriller must have got disappointed with the gangster drama that the movie is. And it is not that this gangster drama is that bad to warrant that kind of backlash. Also the political propaganda that people were alluding to when they were listing out the negatives of this movie is as subtle as you can get in a Tamil movie. We have had movies, even the hardcore commercial mass masalas, where the political propaganda and castiest chest thumping nauseatingly overwhelming and none had any problem then. 

Coming to this movie, I am again amazed by the homework Ranjith must have done in understanding the Malaysian milieu and recreating it on screen within the framework of a commercial cinema. The historical and contemporary underpinnings with all its socio-cultural and political constructs which is usually a casualty in a Rajnikanth movie is conspicuously prudent this time. The demographics, economics and the temperamental outlook with which each and every character and scene is conceived and created on screen belie the fact that Ranjith is only two films old prior to this. It has been a while that a movie has so beautifully and accurately managed to present to the audience such an authentic portrayal of community that most of them are unfamiliar with. 

There have been criticism that the movie is slow and the screenplay is lagging. I actually found the screenplay engaging and kept me engrossed with the proceedings throughout. Each and every character made an impact, though there are numerous of them and some of them are not that well etched. But the detailing of even minor characters were amazing. Take for instance that the hyperactive and impulsive characterisation of Dinesh and most of the teenagers in the Free life foundation. Most of the teenagers who have a profile of being a school dropout, who take to drugs early and engage in gang activities and  antisocial behaviour are indeed hyperactive and impulsive. Also the early adverse life situations which are one of the important risk factors for these type of personality development are all alluded to along the narration. 

Ranjith deserves praise for casting "actor" Rajnikanth in this movie, dumping the "superstar" Rajnikath in the process. It need guts and he sure seem to have loads of them. It is refreshing to see "actor" Rajnikanth on screen after a very long hiatus. He has performed well, especially in the emotional sequences. Radhika Apte is a terrific actress whose talent is used well for the first time in a south indian movie. And equal praise needs to be reserved for the one who dubbed for her too. The scene everyone raving about when the lead pair meet after 25 years is elevated to a great deal by the dubbing artist as much as Radhika's terrific performance. The quiver in the voice while crying which in my opinion only Kamalhassan can pull off effortlessly was brought out by this person who not only deserves praise by limelight too. (Who is she ?) 

One criticism levelled about the movie is that the villain was not of the same league as that of the ones we have seen over the years in a Rajnikanth movie. But in a story that is set in the backdrop of Malaysian sociodemographic conflict involving Indians and Chinese, who else other than a Chinese could be the movie's main antagonist ? 

Movie's background score is irritating to the eardrum. Santosh Narayanan is not in good form this time. Murali's cinematography and overall technical aspects of the movie are satisfactory.

On the whole, though "Kabali" is not a movie without any glitches, it is a courageous attempt by Ranjith who has rediscovered Rajnikanth. the actor after may be couple of decades. 

Bottomline: A film by Pa.Ranjith 

3.5/5   

Velainu Vandhutta Vellaikaran

My review: Velainu Vandhutta Vellaikaran

"Velainu Vandhutta Vellaikaran" by Ezhil stars Vishnu Vishal, Soori and Nikki Galrani. I am still mystified  by the fact that this inane movie is a hit and more so it is credited to be a comedy. I didn't smile leave alone laugh for even a moment while watching this movie. It only goes to show that the threshold for laughs has come down drastically for the contemporary audience. As a result Ezhil marches on triumphantly with ordinary work. 

There are only two running gags that could be justified in people laughing, one that involving Soori and his botched up marriage and the other one involving Robo Sankar's compulsive repetitive narration. Other than this there is nothing much in the movie. Story is redundant and the screenplay directionless. Even the dialogues which are intended to be comical are all trite with overuse of alliterations.

After an impressive lineup of his, one wonders what made Vishnu to take this movie. He is all at sea in the genre which he is clearly not comfortable with. Nikki Galrani on the other hand is energetic and does justice in a poorly written role, Soori and Robo Sankar does their job well. 

Sathya's music is one of the very few positive aspects of this movie. "Kutheeti kannula" and "Pappara mittai" are ruling the FM channels. There is nothing much for him to do as far as background score is concerned. 

On the whole, "Velainu Vandhutta Vellaikaran" is yet another hackneyed so-called comedy from Ezhil.

Bottomline: Tiresome watch

1.5/5