Sethupathi

My review: Sethupathi

After the immensely satisfying and critically acclaimed movie like "Pannaiyarum Padminiyum" it takes guts from S.U.Arunkumar to try out a totally different type of movie as his second one. "Sethupathi" is an out and out commercial cop masala yet Arun has done justice to the movie the almost in the same manner as he did in his debut. He seem to be the kind of person who would give his sweat and soul in whatever he feels convinced about. And certainly he seem to have believed in this script and comes out with a power packed family-action-thriller with all guns blazing. 

The feel, look and the making of the movie just transforms to the 80's -90's era. Most of the movie i had this dejavu feel of watching the cop movies from the late 80's-early 90's era, especially the manner in which the protagonist interacts with his wife, who is a demure housewife religious in her duties towards her husband and children and who paints in the leisure time! Nonetheless these family scenes and the family bonding are the ones which also make this movie feel a bit realistic unlike the other superstar driven cop movies we are accustomed to in the recent years. 

The usual plot, conflict, cat and mouse game between the honest cop and the rogue goon and the final resolution, all follow the routine tamil cinema cop movie template with some interesting twists and turns here and there. Though the movie don't have much to offer as far as novelty is concerned, one should applaud Arunkumar for keeping the screenplay lively and racy that keeps the viewers engrossed throughout. In spite of all the mundane and oft repeated templated proceedings, at the end of the movie you get a satisfied feel of having watched an entertaining movie.

Vijay Sethupathi's cop is one of the better cops of Tamil cinema. He exudes the typical charisma of a superstar but at the same time he also make it more real. For example, towards the climax in the scene in which his family is in danger he is able to portray both the vulnerability of a family man yet at the same time the confidence and arrogance of a policeman all at the same time. Also the subtle changes in his body language and attitude through the period in which he goes through gamut of emotions right from the interval twist to the point he gets redeemed of it is just sheer brilliance. Remya Nambeesan plays a perfect counterfoil for the fiery protagonist. The support cast, especially those in the police station have done good work while the antagonist is just a typical cop movie villain. 

Nivas K.Prasanna's music is one of the pillars of the movie. Be it songs, brilliant "Hawa hawa" and "Konji pesida venam" and the ebulient " Hey mama" or the background score he is just terrific. 

On the whole, "Sethupathi" doesn't pretend in its intention, derail in its execution and fail in its evocation of unabashed entertainment.  

Bottomline: "Idhuthaanda Police" reboot 

3.5/5 

Maheshinte Prathikaaram

My review: Maheshinte Prathikaaram

The Malayalam cinema seems to have gone beyond the realms of conventional screenplay consisting a plot, conflict and resolution. Instead they seem to have brilliantly adept at portraying slice of life in the most natural manner as possible. After "Action Hero Biju", this week "Maheshinte Prathikaaram" does it. Dilesh Pothen, the movie's director has made a beautiful simple movie of the script of  Syam Pushkaran  that is replete with humour. 

Movie just transports you to the beautifully scenic and serene Idukki for about two hours where you become part of the motley group of common men and women who inhabitate the place. The screenplay is so seamlessly woven that the passage of time is hardly felt though  the proceedings happen at a leisurely small townish pace. The situations are real, the characters are real, their predicaments are real and the ending is so casual that it brings cheers in you. 

Humour is the lifeline of the movie that is so intricately laced into the proceedings. At no point these humorous situation seem forced in which is an almost impossible task to achieve. Also the writing is so intelligent that each and every scene is intricately liked to one another. Take for example the sequence that starts of as a petty quibble for a banana that sets of series of cascading events which finally culminate with the event that is the nucleus from which the whole movie evolve, the Mahesh's " prathikaaram". 

Movie is wholly Fahad Fazil's who seems to having a point to prove after a pretty lean patch last year. He has just turned the corners with penance. As a demure Mahesh who gets into an almost obsessive retaliatory mode he is just brilliant. He is back to his "Annayum Rasoolum" days in the romantic portions. He is well supported by bevy of seasoned actors with Alancier Lay as the earthy Baby and our favorite PT master of "Premam" Soubin Shahir as Crispin deserving special mention. Among the ladies, Anushree don't have much to do while the newbie Aparna Balamurali sizzles the screen even in her washed out avatar. She is so sprightly on screen and is a live wire. 

Movie's technical details are adequate not overpowering the script. Shyju Khalid's cinematography is more portraitish than landscapish which is what the movie warrants. It superbly portrays the raw emotions and mundane humour of Idukki than just taking us on a touristic voyage. Similarly Bijibal's music is simplistic and earthy that fits with the narration with elan. 

On the whole, "Maheshinte Prathikaaram" is an enjoyable ride through the hills and valleys of human emotions conceived and presented in a simplistic manner possible that is sure to bring cheers at the end. 

Bottomline: Sweet revenge.

3.5/5 

Premam

My review:

I know it is almost redundant reviewing "Premam" which has completed its golden jubilee run at the theaters. But since I missed it reviewing the first time I watched it as I was quiet busy that time, I thought I should write about it this time when I watched it for the second time recently after almost 24 weeks since my first viewing. This is more of my musings about the movie than a review in its traditional sense. 

It is not that common to witness a movie where almost every aspect of the movie comes good. That has happened with "Premam". One can't think of a better casting than what this movie boasts of. We don't know whether it is sheer serendipity or result of painstaking casting, everyone fits perfectly into their roles to make the movie a perfect whole. Be it the young Celine or the foe turned friend Justin, even the most fleeting of characters are memorable and are very well casted and enacted. So when even the minor characters are that good what could you expect from the lead ones except sparkling fun. 

Nivin Pauly would find himself part of legendary tales for years to come. His George has become part of pop culture not only in Kerala but whole of south India, if not India. His flirtatious coy smile has become part of young pining lovers' armory. His swagger with thick beard clad with black shirt and dhoti has become a fashion statement to the college goers. The effortless ease with which he has shown the variation in terms of physical appearance, body language, attitude and voice modulation for each of the three epochs are sings of someone who is brimming with talent and confidence. 

Premam would not have become such a rage if not for Malar and " Malare". Alphonse Putharen has weaved magic with this characterization which runs a risk of being ostracized by the moral brigade for the manner in which she gets into a romantic relationship with her own pupil. But the dignified manner in which it has been written by Putharen and alluringly portrayed by Sai Pallavi has made people overlook the aberration quiet easily. The movie is a celebration of  girls who are simple, and earthy. Malar is skinny, wears average looking cotton sarees and absolutely no makeup, cheeks brimming with pimples,, has a big nose; yet she is the current teenage heartthrob. That is the kind of magic "Premam" has created. The scene in which she showcases her dancing talent to the unsuspecting dumbstruck gang of George will be remembered for long. 

Usually movies of such genre would have different set of friends for each epoch. But here Shambu and Koya are the constant companions for George, enacted brilliantly by Shabareesh Verma and Krishna Shankar, respectively. Along with Nivin, these two terrific finds have also undergone transformation in the spheres I 've mentioned about Nivin. Madonna Sebastian is a cutey pie. Already there are groups in the social media who are creating memes and banter about who is better, Malar or Celine. 

The music and cinematography are two integral parts of this movie that are as important as any other aspect of the movie in elevating it to the heights it has reached. Rajesh Murugan's background score is terrific. Be it the mellifluous scores of the first epoch, the manic electric guitars with the drums in the beginning of the second epoch or the melancholia of the final portions, he is just superb. "Malare" is already declared as the "hit of the decade". It is a beautiful and perfect confluence of music, lyrics, rendition, picturization and enactment. "Scene Contra" is so catchy that a local radio-station modified it and used it for a campaign for wearing helmet. "Rockaankuthu" and its use in the background score keep the viewers energetic and euphoric when ever it appears. 

Among many unsung heroes of this movie, the most prominent one is Anand C. Chandran, the movie's cinematographer. What a brilliant work. He has collaborated well with  Alphonse Putharen to present to us a visually appealing movie, each and every frames of which is so memorable. Even the mundane events like the preparation of a lime sarbath with the sprinkling of kush kush is presented with artistic elan. "Malare" songs visuals is such a terrific piece of camera work. Due to his brilliance, things like lime sarbath, fish fry, beef curry, red velvet cake, butterflies, etc have almost become integral characters in the narration. 

The basic premise of this movie is decade old. The movie is heavily inspired by Cheran's "Autograph". Even the middle portions have a Malayali in that Tamil film, here a Tamilian. But who would have thought of a movie of jilted live in such a lively, humorous, youthful yet arty and crafty manner without compromising on it's commercial value even an inch. Alphonse Putharen seem to have procured that magic wand which made him do nothing sort of a miraculously perfect movie in all aspects. 

May be in times to come the next generation of movie lovers might question why this movie got such adulation and success it got like how we question what that special about that humongous monster hit  "Sholay". But like "Sholay" which still remains as one of the monumental works in Indian cinema, "Premam" would also find its foothold among them.

P.S: My brief review of the movie at time of its release : "Alphonse Putharen is a movie maker to watch out for. After the mighty impressive ""Neram", his second feature film, "Premam" is a instant classic. How can anyone even think of conceiving a movie on multiple love failures in such a breezy, light-hearted manner yet with moments that tug your heartstrings. Nivin Pauly can do no wrong and Sai Pallavi is an overnight heartthrob. Infinite times better than "Autugraph" and hundred times better than "Life Ishtene", both movies which are among my all time favorites. 4.5/5 "

Visaranai

My review: Visaranai

When I was a kid we used to go this zoo in our town where there would be an caged enclosure for a python. Three times in a day they would throw in a live hen inside for the python to devour. This hen would first look terrified inside the cage trying its best to find a way out. But after a point when the python is still in its slumber it slowly gets cozier, gets used to the place and even at times would poke at the python playfully. It would be running around without knowing the danger it is placed in and its imminent end. It was a terrifying scene to witness all this especially when the python rears its head from the slumber and gets its prey. 

Somehow I got reminded of this childhood encounter of mine while watching this terrific movie by Vetrimaaran, "Visaranai". This movie exactly depicts this in the setting of how the police and their highhanded handling of things wreak havoc in the life of innocent souls. It is more terrifying to note that the story itself is based on certain real life incidents. Your heart will surely go for those who went through this ordeal in their real life and the end that befallen them. 

Many a times when handling such a strong and rich material even the most experienced of directors would get carried away in translating it on screen. Either they might get too arty or will go overboard in a preachy manner. Here Vetrimaaran has somehow struck a magic middle path that keeps the movie on the boundary between an art cinema and a commercial cinema. And this he does by showcasing the happening in a simple narration with all the subtlety of a world class cinema. At no point in time do you feel that a scene is stretched to get a arty quality nor does he wastes the opportunity to get massy. Take for instance the scene in the court when Dinesh blurts out about the brutality he and his friends are subjected to, it is one of the best mass scene one could have seen in the recent times. You just clap or whistle in joy without even realizing it which even the most viable of commercial stars are trying difficult to command. 

Movie boasts of powerful performances from first class actors. Dinesh is probably the most underrated actors in the tamil film industry currently. He has not gotten his due even after sterling performances in each of his movies so far. "Visaranai" is high time that he finally gets his due which he highly deserves. Not only him, both Murugadoss and Samuthirakani have come out with terrific performances. Samuthirakani's is one of the best police roles written and enacted in recent times. Everyone in the movie are flawless in the enactment of their roles which is very rare. 

Technically the movie is simple and just about caters what the script demands. G.V.Prakashkumar's background score is again subtle yet enhances the movie's overall appeal. 

On the whole, "Visaranai" is certainly one of the best movies that deals with the human rights violations in the police settings, courageously bold and brutally honest. 

Bottomline: Sends shivers down the spine at the end. 

4.5/5   

Bangalore Natkal

My review: Bangalore Natkal

"Bommarillu" Baskar is a close friend of M.Raja, who is one of the best at remakes in tamil movie industry. Baskar seem have imbibed a lot from his friend as well which is evident in his "Bangalore Natkal" which is a  remake of last year's Malayalam blockbuster "Bangalore Days". Baskar has improvised the script written by Anjali Menon in a more pacier and interesting manner suited for the tamil audience. He is a master of handling family oriented emotions and conflicts which shows this time too.

"Bangalore Natkal" is faithful to the original in its storyline, emotions and settings while I found it to be more focused keeping the viewers' interest intact unlike the more laborious original. The major doubt that was pitched against this remake was its casting whether they would able to do justice to the steller cast of the original. But amazingly the cast of this movie have done a pretty decent job of it all. Another striking aspect of the movie is its dialogues. The humorous oneliners work like a dream. In fact these oneliners are an important factor that masks the weakest link of the cast, Bobby Simha, instead projecting him in a better light. 

Sri Divya's character is the central fulcrum around which the plot is woven and she has done brilliant job of it. It is not an easy job fitting in to a character that Nazriya played so wonderfully well in the original, but she has done just that. Nowhere in the movie would you feel that she has not done justice to the role. She is just terrific. Arya is also good in his role of Arjun who is constantly fighting with the scars of his childhood. Bobby Simha gets all the best oneliners of the movie through which he kind of passes muster. Rana Daggubati is good while Parvathy is brilliant as ever. This role she would do in her half sleep with elan. The support cast is chosen with care and they have done their parts very well. Saranya is top class in the role made memorable by late Kalpana.

Technically the movie is more glossier and richer than the original while Gopi Sunder continues the terrific job he did with the original. 

On the whole, in my opinion "Bangalore Natkal" is livelier, richer and faster than the original that keeps you interested. I liked it more than the original which was sluggish and boring.

Bottomline: Improvised remake.

3.5/5

Action Hero Biju

My review: Action Hero Biju

Nivin Pauly seem to be in the form of his life. He can do no wrong and whatever he touches seem to turn gold. The hit combo of last year's blockbuster "1983", returns once again successfully with this new movie "Action Hero Biju". Abrid Shine gels well with Nivin Pauly and succeeds in bringing him out of his comfort zone and gives him a makeover of sorts with this tough cop role. 

"Action Hero Biju" as the tag line proclaims is "a ride with a police officer". The script written by Abrid Shine and Muhammad Shafeeq doesn't follow the conventional narrative style of a plot, conflict and resolution. The script just takes us into the Ernakulam town police station and leaves you there as a passive onlooker for a few days where we observe varied cases and varied means by which they solve these cases. Along the way they showcase how the local police stations functions as not only a police station but also "as local court, high court and supreme court" as the protagonist says.

Movie wholly belongs to Nivin Pauly who is there onscreen right from the first frame to the last. He has completely reinvented himself from what we have seen him so far as a flirtatious lover boy to a rough and tough honest cop. He effortlessly portrays the demeanor, body language and attitude of a police officer. It is yet another feather in his cap that is already brimming with magnificence. On the other hand the female lead of the movie Anu Emmanuel is just ornamental to the movie and employs the same coyish smile throughout. The support cast is first class.

Rajesh Murugesan's background score is terrific. Alex J Pulickal's cinematography is superb especially the aerial shots towards the end is awesome. Abrid Shine shows his class in many scenes at the same time keeping alive his earthy humor intact. The scene in which the police walkie talkie goes missing is a laugh riot. Another one with the drunk prisoner brings the roof down. 

On the whole, "Action Hero Biju" is a happy ride with a police officer where we are subjected to multiple small episodes in his life.

Bottomline: One man show.

3.5/5    

Irudhi Suttru

My review: Irudhi Suttru

"Irudhi Suttru" is a decent feel good sports drama that has been seasoned with ample dose of mass masala elements. Hence, unlike may of the past sports movies that keep rooted in reality and plausibility, this one takes the diametrically opposite route that is certain to keep both the critics and commoners happy. Movie boasts of many well written mass masala scenes as well in it that could have been a part of any other mass star movie. Only difference is that here the protagonist is a female and she gets all those whistles and festoons. 

Sudha Kongara has almost followed the well proven underdog template in the sports background which she brilliantly blends in the North Chennai milieu. Along with the screenplay which is razor sharp and interesting, what makes the movie work is the characters that she has written and the manner in which they are portrayed on screen by the actors concerned. Be it even the smaller characters like Saamikannu (portrayed brilliantly by Kaali Venkat) or the blink you miss role of Muralikrishnan (again Radharavi shows his mettle), each and every character have their moment in the movie. Nasser, as Pandian who is the assistant coach is again a scream with his casual demeanor and effortless delivery of Madras slang.    

But the movie belongs to its lead pair, Madhavan as the temperamental coach Prabhu and Ritika Singh as the maverick prodigy, Madhi. Both have given equally powerful performances complimenting each other. It can be compared to Kamalhassan-Sridevi from "Moondaram Pirai" in terms of chemistry and complementary acting. Special mention about Ritika, she has effortlessly transformed into a North Chennai fisher girl in terms of body language, personality and attitude.Her's is one of the best acting debuts in the recent times by a female lead.

Santosh Narayan's terrific background score, and lilting songs, especially "Ye Sandakaara" and "Vaa machaney" are great value additions to the movie. After his mighty impressive work in "Vidiyum Mun"Sivakumar Vijayan has again done a stupendous work here. Both the background score and the cinematography aids in fostering the rustic feel to the movie.

Sudha could have avoided couple of "cinematic" scenes in the end like Madhi kicking the head coach after winning and her father undergoing a dramatic change in his character and apologizing to his wife (for what..??) which rears out like a sour thumb in an otherwise might impressive movie.

On the whole, "Irudhi Suttru" is the year's first mass masala commercial action entertainer that has a female lead who packs in all the punches, literally!

Bottomline: Paisa Vasool.

3.5/5   

Kathakali

My review: Kathakali

Pandiraj's tryst with action thriller, "Kathakali" promises much with its mood and making but falls short with its lackluster pace and paucity of thrills. A good script on paper would have been a pacy, hair-raising thriller in the hands of a better director who is adept in making movies of such genres. Pandiraj who is used to be making mild, slower family oriented feel good movies kinda directed this script also in the same manner. As a result the kind of impact the movie ought to have made with the viewers remains unfulfilled. 

Since most of the story takes place within 24 hours time frame, I would have liked a little more meat in the proceedings rather than presenting us with the same happenings again and again giving you a feeling of being exasperated. Also there is nothing much in the name of twists and turns in the plot that keeps you glued to the screen. The stretch with Iman Annachi is a case in point which just drags the screenplay without much to offer to the plot. And they could have very well done away with the thread involving Catherine Theresa and focused more on the cerebral manner in which the protagonist tries to get away from the muddle he is trapped in.

Vishal has done very well in his understated performance after similar one gained accolades for him in "Pandiyanadu". The manner in which he has allowed his character to get bullied and ragged by female lead augurs well for him. Catherine Theresa's characterization is straight out of the files of homes that look after intellectually challenged. Karunas' is another irritating character along with his wife's which is more of a cartoonish caricature than anything else.  Others in the  supporting cast have performed adequately.

Hiphop Thamizha's background score is a torture to your hearing sensibilities while the two songs that the movie has are all good. Movie is technically sound and rich. Major part of its credit should go to the movie's cinematographer Balasubramaniam. 

On the whole, "Kathakali" is an average thriller that promises a lost but some how fails to deliver.

Bottomline: Mundane making.

2.5/5