Friday Review: Tik Tik Tik

From the time I heard about this film and its concept (of space travel) I decided not to give a miss, watching it from theatre – and like I told earlier I went for a night show at drive-in, skipping the evening, for the Tamil film Tik Tik Tik . Shakthi Soundar Rajan always comes with different concept and deals with technical aspects neatly and I’m following his movies from Naanayam, even though he has directed only four films Tik… is top-notching.

The film revolves around an asteroid, in the size of Chennai, which is to hit the east coast of India in a week time to create havoc and the Indian space team tries to destroy the asteroid before it enters the earth surface! A team of astronauts head by Vasu (a trained magician and escape artist) goes to a space station to steal a missile, hold by an opponent country, to break apart the asteroid to preserve our country. Did their mission accomplished or not remains the subject which put us upright and holds interest to watch.

Hollywood has manipulated a lot on this concept (of space travel) but first time a movie made in India, using our simple technologies and VFX, want me to consider special and it lived up to  our expectation.  The director has simplified the subject and technical aspects to everyone’s understanding and the film crew had given their best to accomplish the mission. There are many places where logic dies but the illusion helped built up an image or mirage to watch with amuse. BGM was excellent!

The first impressive was the sound effect, where an asteroid hit the earth with force and make a large hole. I could say D.Imman had given his best and every time the BGM hit “tik tik tik” takes the entire attention and congrats D.Imman to accomplish a century, where Tik… was his 100^th composed album. Jayam Ravi in role of Vasu had showed boldness and unpredicted on face keeps intense. (I appreciate Ravi for taking such innovative projects following Peranmai.) Ramesh Thilak and Arjunan made fun and Nivetha is additional attraction to the exact replicative high-tech spaceship and space station.

The editing was magic and one could feel it if you watch filming clips under credit. Cinematographic is quite refreshing and the VFX scenes are pretty clear and feels real!  The movie is a great experiment that deserves attention and keeping away the logic (which I think is not necessary in a Sci-Fi) it’s a sheer entertainment, taking Tamil cinema to a different level and I really wanted to watch this movie in theatre to support their effort and to encourage such experiment in movies. Tik Tik Tik! A must watch in theatre for the terrific effects.

Evening shows and Kaala

Hereafter, I decided not to go for the evening shows at drive-in theatre as they begin to play movies at 6.45pm itself, it takes at least half an hour to get clear picture on the screen or to say until the sky turns darker. Except winter, all other season has day light up to 7pm and it’s really difficult to get involved watching. The only theatre I could visit here was the Prarthana beach Drive-in Theatre where I could watch movies sitting from the car rather shifted to a seat like regular theatres, and I don’t think Chennai theatres are wheelchair friendly or allow to watch movies from wheelchair. Apart this we could avoid traffic if we go for the night show at 10pm, and it takes only 15-20 minutes to reach and return home.

Last week I went to watch Tamil superstar’s Kaala and it is a movie based on the popular residential area of Mumbai, Dharavi (one of the largest slum in the world), where the superstar protect the people from a political head who tries to evict them to execute his construction plan. The movie was easily predictable, and the director has made it simple so there wasn’t an excitement of watching a Rajini movie. I too went without an expectation perhaps because Rajini has done many don movies and this is another shade in black. Actually at many places it feels and reminds the pro-jallikattu and the tunes celebrating Kaala also reflects the loudness of people gathered at Marina and black being the protesting logo influenced lot.

I thought it was only me, reminded the popular Vivek comedy where he played a fake don in Tamil film Padikkadavan but now I could see many connected this way while watching the movie. For people who went looking for some action from Rajini could have disappointed but ok with bit of styles. At a scene where he says, you may have come without asking me, but to go you have to… I wish Director Ranjith could have made clear notes at some places and also the sub for Hindi dialogues are unclear and noisy when languages blend. All characters did their part well and Easwari Rai had made a nice resurface after long time in Tamil and her slang is typical. Nana Patekar role could have been stronger and the movie is an eyewash overall in black. Could watch ones and you won’t miss anything if not.

Vikram Vedha

I wasn’t sure to write a review on the interesting action crime thriller Vikram Vedha, because many have given great reviews about the Tamil feature film, but like to note down few things that impressed me. The title itself would give clue that the movie is based on the concept of Vikramadithyan Vedhalam ghost story, where Vedhalam ask questions hugging from the back of Vikrama, the king to quest answer through the stories he narrate.

Vikram Vedha has Madhavan and Vijay Sethupathi and it isn’t a regular cop movie but a very interesting and different level of play between an encounter specialist and notorious gangster. First thing I felt watching the opening scene (shooting between police and gangsters) was Gautham Menon’s movie, though I know it was Pushkar-Gayathri’s combo (who made Auto and Va Q cutting) the action sequence were such casual that no one could expect at such a venture.

The name Vedha continued to travel for some time into the movie creating hype and sounding demon, were all broke into particles the way Vijay Sethupathi entered the scene in his own idle style of walk. What applaud from the audience! He appears in front of cops and escapes, revealing a story with questions to let Vikram answer through his investigation and at the end of each story Vedha escapes leaving a clue to glue on seat. 

The balance between the Madhavan and Sethupathi had been handled well and they played an excellent teeter-totter entertaining the people. Madhavan on his side exhibits great body language and his rough tone is apt.to the role of cop and Sethupathi, as young and mid-age did effortlessly the job of gangster and those watched his movies could understand what I mean the effortless i.e. natural acting.

Though not so parallel to the male dominate subject, the female characters of the movie do speak even it’s for few scenes. Shraddha Srinath and Varalakshmi have raised their voice and hand as well   protecting their rights and liberty as advocate and love affair of Kathir (of Kirumi fame) who played Vedha’s brother. Shraddha is a wonderful choice for the wife of an encounter specialist, acted pretty and though working again him their not let down relationship was impressive.

Through Vikram Vedha, Pushkar and Gayathri (the director duo) has touched an extremely high level and also raised the expectation which I’m sure going to give them more pressure to retain the success, although I don’t believe well done movies are the best. Alike everyone else and being concerned on the interesting screenplay, the songs and music doesn’t take attention and the BGM also resembled Miruthan.

Vikram Vedha - a nice suspense movie to watch in theatres and it’s a blockbuster already. 

Friday Review: Vanamagan, the Son of Nature

After the success of Tamil horror comedy flick Devi, director AL Vijay is back on his path of unusual he left with Madrasapattinam and Deiva Thirumagal. Though Vanamagan isn’t impressive as the former ones did, I really want to appreciate him for taking different subjects and experience things. For a tribal role Jayam Ravi isn’t new, as he already done one in Peranmai but what makes difference was he comes from remote and expresses emote instead of dialogues.

Vanamagan (Tamil movie) is about how modernisation and industries destroys the forest and disrupt the tribes who adopt nature as their belonging… but wished the movie adjoin this subject strongly rather moving around cities for first half of the film.

Plot:

Kaviya is a very rich girl and orphan, growing under guardian of her uncle, is carefree and enjoys life on her wish. During a holiday in Andaman Island with friends, she broke into a protected area and accidently hit a tribe by the car. Seeing him bleed, they took him to hospital and later brought to Chennai for further treatment without let know anybody. Back to conscious, the tribe Vaasi got into violence and she was force to take him home, where she learns about the tribe’s behaviour and try to control him. At a moment things went wrong, Vaasi was caught by police and shifted to Andaman where they tried to kill him, but Kavya interrupt and they both escape into forest. And what remain answer everything.

Features:

You can’t keep away the thought of Tarzan or George of the jungle even looking at the poster or trailer, where Jayam Ravi hanging from a root. For Ravi, his body, look and height are apt to the role of Vaasi (Kattu Vaasi), an indigenous tribe unexposed to outside world. But his role as tribe there isn’t much action for him to do or we to feel adventure or we lack interest to watch it as we have seen similar movies earlier… the humour isn’t that much fun or interesting.

Sayyehaa as Kavya is beautiful and captured my attention through her dancing skill than her acting! Perhaps the songs were choreographed by Prabu Deva who’s also called as Indian Michael Jackson. She tried to be beautiful with her expressions and being shown as senseless on things   and turning positive all of sudden doesn’t suit her well or she did about. Thambi Ramaya did little bit comedy and his eagle map line is good.

The film captures the beauty of caressing here and there and the feeling of touch, the real one, which has almost lost in the gadget world, is perceived well. Stroke arrows on animals on television, watching through car sunroof and the tiger fighting like Captain (Vijayakanth) and the tribe on-board to Chennai all makes senseless and boring. Feels the director has approached the movie from a common perspective rather studying well about tribes of Andaman, to give more emotional detail to the subject.

Music is by Harish Jayaraj and Vanamagan was his 50^th composition… the songs were good to listen and the cinematography is wonderful and captured the beauty of forest and waterfalls so well. But the BGM is a bit old charm and is tuned for African forest instead of Asia, which I feel has a distant tone. While I appreciate the effort put by the team to give a different experience and explore a world at its brim, could have scored an interesting screenplay rather applying Hollywood shades.

I feel Pulimurugan is better than Vanamagan! 

Kodi

There are many films with political scenario, but I think for the first time a movie portrayed a woman politician was Kodi, though Dhanush led the movie and plays the title role. Kodi comes out as a mass political entertainer and to keep things interesting, Dhanush led a double role as elder and younger brother and Trisha as his opposite, as well as opponent, made certain its sound victory.

Growing up with equal status in politics, Rudhra and Kodi make their political carrier with their parties being opposite to each other, they hold affaire secretly away from the politics. Though both being passionate in their political carrier, Rudhra is bit further in upgrading her status and ready to go any extreme to fulfil her dreams whereas Kodi seeks straight forward and true to his love. How this differentiation mingles makes the movie.

Movies with equal importance to opposite gender aren’t frequent, and Kodi generated the theme well using the strong characterization of Rudhra (Trisha) and this could be a milestone role for Trisha who had done number of films. For the smart looking actress, the negative shade is quite new and for most of scenes she appears in her natural tone.  Dhanush, as usual becomes the show stealer and this time in two characters shown the variation well and worked simply.

With two back to back hits (Ethir Neechal and Kakki Sattai), director R.S. Durai Senthilkumar has sustain his success with Kodi, having  a fast paced screenplay boredom has kept away. Though we sense dullness in picturization, perhaps due to the condition of weather or mistake in display at the drive-in theatre, and the story being not unpredictable there are some twist to keep it interesting.

Kodi also highlights the issue of toxic mercury waste (that threatens the pristine of Kodaikanal) but it was just a matter of fact and doesn’t take serious foot. Santhosh Narayanan’s composition has supported the movie at its best and I liked the songs that make nice listening and intertwine the subject.   Anupama Parameswaran makes a cute presence as second heroine and S.A. Chandrasekhar’s role as Thalaivar (leader) done with honor.

Overall, Kodi well flew among the Deepavali release and could be watch with family

Appa, the Best Father (Movie Review)

There are very few films share our personal views and things we thought could be right if the outcome was this manner. Appa’s subject is very close to my heart and what I really thought how a parenting should be has been highlighted in this Tamil flick Appa. What a feel it was to watch a father son related movie along with your father? Actually I didn’t feel anything wonder (as i went with my father and bro to watch) but the scrip does enough and what it delivered is best.

Though it is a father son/daughter relationship subject, the objective has been parenting and the movie exhibits a model where the child was himself rather following the serious modes and being a replica of others. Directed and acted by Samuthirakani, the film deals with three different kind of parenting and the outcome of the children and parents reaction make it worth watching and also   entertaining.

Samuthirakani has played an ideal role model of a father, who wants to bring up his child with individuality and morality rather forcing him into certain kind of pressure the other children go through. Right opp. to him, his wife, being an arrogant and comparative person, wants her son to do what all other kids do instead of concerning his real needs and deeds. The parents were separated and the boy grows on his father’s guidance as a confidant, friendly and cheerful young man.

On the other hand, Thambi Ramaiya is as a strict father who dominates his son’s life and wants him always to be topper in academic. Being an anti-Samuthirakani he keeps his son away from them and later put him into a residential school against his wish. The third one doesn’t come into either category and with a son of retarded growth wasn’t encouraged or disregarded, but the short guy was the real show stealer.

After a gap of two years or so, Samuthirakani has took the Saattai (whip) in hand once again to drive away the force that implemented on children in name of education, supervision, suspicion and authoritarian. In Saattai(Samuthirakani’s previous movie), as a teacher, he took reform in education system and function of school and in Appa, he took a step further exhibiting certain kind of attitudes from the parents side to observe and put right  things.

I believe not everyone would get a father like the Samuthirakani’s character in the movie, because the way he handled his teenage son’s confused state of meeting with a girl and facilitates his discomfort feeling when he understand his unfamiliarity towards the opposite sex is absolutely wonderful and best ever expressed. I don’t think any father or mother would discuss the children about the things happen during the teen, like the film emphasis, because this is the phase decides ones behavior pattern and if it wasn’t designed properly the incidents against the women are impossible to avoid.   

Appa carries message on the shoulder which is apt to the current leading society and the movie is a testimony to the misconception happening in the education and children’s growth. Vignesh (the one played as elder brother in Kaaka Muttai) as son of Kani expressed smart and intelligence, although being an average student his character is quite impressive. Mailvagam (Nasath), the child with retarded growth, is one of the best aspects of the movie and his every move is noteworthy and amusing.  

Thambi Ramayai has continued his role from a teacher (in Saattai) to parent in Appa with same frustration, and has proved his ability in twisting his character in the rear end. The boy acted as his son expressed almost everything on his face and the two girls as their friends has given their best. The movie doesn’t have songs (though music by Ilaiyaraja) and also I couldn’t remember the one what lyrics, because Samuthirakani’s dialogues have saturated. It’s a movie for everyone to be must watched. 

Friday Review: Pichaikkaran (Beggar)

I watched the Tamil action drama, Pichaikkaran, from the drive-in on Wed. evening and it is a movie based on the life of a millionaire, who turned down his richness for a time period to save his mother’s life. Arul Selvakumar is a MBA graduate, flew down to India to take charge of his mother’s spinning mills. But within a short span in office his mother met an accident and falls into coma. With no response to any of the treatments, a sage guides him to beg for 48 days with a condition to not to use his influence in anyways and begin each day with bare hands, to get back her mother. The affectionate son decides to go through the term in belief of saving his mother and what all he faces during this course remains the topic.

Actor and music director Vijay Antony played the man behind the subject. Though he couldn’t adapt quite into the look and attitude of a beggar or perhaps the subject doesn’t need it, has given his best in acting and do stunning actions. He carries the look of smart and intelligence throughout the film, reminding his previous roles as Salim. Debuted Satna Titus as his love interest, exhibits elegant acting and the places where she reveals he’s a beggar and the hesitation in practicing with him later were all done in pretty manner.  And of course she’s beautiful!

Already there’s a movie released in Tamil based on beggars. Yes, Bala’s Naan Kadavul had dealt with the subject but were treated with brutal.  The beggars here were shown with little dignity and expressed intelligence, perhaps because the plot was set in metropolitan – Chennai. The movie has some merry scenes esp. the perspective on economics by a beggar gets great applauds at theater, and make certain entertainment. The background score was good and with each drag on the title (pichaiiiikkkkaran) upraise.  

According to director Sasi, the film was an inspiration from the real life story of a millionaire he knows, who would beg for 6 months annually and look after his job the remaining months. Though he didn’t put forth any fact about him, but has done his best communicating the lifestyle of beggars and the public’s perception on them. Particularly this scene where Vijay Antony express annoy when a police handshake him when come to know he’s a millionaire, but who was knocked early in beggar veil. It was a nice execution distinguishes the differences in society. Pichaikkaran – is a social messenger through entertainment. 

Statues in Traditional Attire

Two weeks back we traveled to Kumbakonam and Ariyalur, on the behalf of my parent’s desire to take dip in Mahamahamkulam (tank) on the occasion of Mahamaham – a Hindu festival celebrated every 12 years in the Mahamaham tank located in the heart of the south Indian temple town Kumanbakonam. Though it was a brief visit to both the towns, I enjoyed the moment of being travelled together as families (along with my uncle’s family) and staying at a place overnight. Actually it was my father who wanted to go to Mahamham and we didn’t like him let go alone so decide to go ahead as a family and planned the trip in a very short time.

(click images for enlargement)

We took my uncle’s car rather taking our own. Being planned in a time of short span, our car was not ready for a long drive and we were 8 of us travelled in an Innova placing the wheelchair, tightly fixed into boot and couple of bags on lap and between legroom’s. We plan to start our trip at 10 am but were late by 2 hours and had lunch in a restaurant before Mathuranthagam. Named as Balaji Bhavan, has abundance space around the restaurant and parking lot with shelters, gave me a feel of entered a drive-in hotel. Others went in and had their meals and I settle for sambar satham (rice) that was served at car and the taste was somehow enough to eat.

But what I liked more was the frontage of an abandon park at the rear of the restaurant. As we enter the restaurant, and drive to the parking, I find a traffic police standing in dark and light blue uniform with a sign of stop and the other hand of salute. At glance anyone would think him a real traffic police man, but it was a statue with exact replica. Following him, there were some women statues   representing the different traditional attires of India.  In enriched saris and north Indian salwar, the statues where showy under glowing hot sunshine. But the only woman stature wearing a hat and pinkish gown wasn’t definable. Although I feel the attire resembles Goan style or European tradition.

Beyond that there was something to attract me and more in numbers… but I’m postponing it to next post. 

Friday Review: Miruthan

After long back I was at theater (drive-in) to watch the sci-fi thriller Miruthan, which was advertised as India’s first zombie film in Tamil. Jayam Ravi as protagonist and Lakshmi Menon as his love interest, the film was directed by Shakti Soundar Rajan of Naaigal Jaakirathai. I was amused to know he was the director of Naanayam, one of my favorite Tamil films, based on bank robbery but shot on an innovative platform. 

I see Miruthan as an experimental movie and the concept of zombie is pretty new for Tamil audience who haven’t exposed too many zombie movies in Hollywood. Even I wasn’t familiar with this genre. The film begins with a mishap where some toxic fumes split into the road and a stray dog that sniffs become violent and bites a man who in return becomes a zombie and the virus spreads from one human to another through a chain of violent bites.

Jayam Ravi is a traffic police with a grade to become a police inspector, but chose to retain to the former to take care of his little sister. And he loves Lakshmi Menon as one side; although she’s engaged to someone their meeting always end at sending bad reputation about him to her. At this moment the virus spreads rapidly and many zombies rise among the residences of Ooty – from where the story starts, and Jayam Ravi supports the doctors’ team, which includes Lakshmi and let them to Coimbatore in search of antidote to prevent the virus and violent spread through.

Though they reach CBE, the situation blocks them into a shopping mall right opposite to the medical hospital, where a team of doctors waiting for the sample to find prevention, how did they cross the lane full of zombies in killing mane and a bite that could transform them into zombie? Was set in a bizarre and yet light emotional and thriller. Though there are spaces for emotion, the film travels on a matured lane and straightforward keeps the length of movie short.

The director has applied light-hearted moments here and there to keep track on entertainment rather going serious and keep discontent. Kaali Venkat, RNR Manohar and Sriman has done their bit pleasing the audience as naive and Jayam Ravi led his role well and shooting most of them is something sounds overwhelmed. While I appreciate the director for coming up with different subjects, I wish his films carry some realism for us to believe on the concept. I don’t find a strong reason for those becoming zombie, but still has done a good job and leave us with an anticipation and fierce version 2! 

Papanasam – My POV

Papanasam doesn’t need an introduction (at least to the readers from India – the movie has been remade in all southern Indian languages and in Hindi as Drishyam) is a good family pack and to say in a line it’s about a family that commits a crime and how the common man (the head of the family) protect them from law. As a protagonist, for Kamal Haasan, the movie is another milestone on his performance and to add mileage was his access to Tirunelveli accent. But for me the tone reminds Poovaragan, one of the 10 roles he had done in Dasavathaaram with same courage.

Apt to the title, the movie was shot in and around Papanasam and Tenkasi in Tirunelveli. Though it is a remake of Malayalam version and also directed by same (Jeethu Joseph), I sense an imitation of Malayalam while watch the movie – perhaps because of some important roles done by actors who come from Malayalam. Being led by real life partners, Gauthami and Kamal, their intimation has works well in the movie and also exposed beautiful and the tendency, when protecting the children, is quite natural and look normalcy.

Although the movie’s progress was predictable, there’s something grips beyond suspicion esp. the scene where the family undergoes a trail/torture by police would cause an impact on heart. Niveda Thomas and Esther Anil (as the children of Kamal, who’s called Suyambulingam – a self born Lingam, which resemble the character that developed on self) performance is also appreciative and the way they control the emotions and achieving what needed is simply superb! But I was intensely watching will they mess up anywhere.

Another character that impound us is IG Geetha Prabhakar (Asha Sarath), as a ruthless woman police officer with utmost grim to bring out the truth behind her missing son and going silent in ending, when Kalam indirectly confess his sin, is an impression along with the scene. Ghibran music is very sensible, although the movie has only couple of songs it conveys the pain and intimacy at poise. The entire theme and background is effective!

The most interesting part was how the protagonist tries to hide away the evidences by recreating his own and make believe others; including the police (which might sounds overload) is an excel. But I sense rather being a messenger the movie comprehend thriller. The screenplay is quite drastic and with excellent actors/performers we can’t expect more. Glad I watched the movie in theater with great applauds and apprehend.

Indru Netru Naalai (INN) – A Travel though Time

First thing I felt coming out of the theater (drive-in), watching the film Indru Netru Naalai (today yesterday tomorrow) was, how creative our filmmakers are? Following TEOA, here is another movie based on science fiction which takes us on a fun ride through time travel. Though many films have come up on this concept, this is the first time the Tamil filmdom has experienced such and the team has also succeed in their mission.

A scientist from the future (2065) sent a time machine to the current year and it lands at the hands of two friends (Vishnu and Karunakaran) and an inventor during an accident. When the inventor falls into coma after an electric shock, the friends take away the machine and use it for their astrology business – Karunakaran being an astrologer; they recover things people have lost by going back in time using the time machine but make believe others it’s quite astrology and earn enough.

During one such travel to past, they make a mistake without their knowledge and it saves a gangster from an encounter who’s targeting the father of Mia George, who is in love with Vishnu. Understanding it later, they decided to correct the mistake by going to the past but landed in trouble even before the time machine broke away with no option to go further. How did they handle the situation is something sustain the eagerness till ending.

The film is quite an entertainer and behind the scientific notion it’s the realistic comedy-drama that put forth the entire sum. Not that the concept of time travel doesn’t work, but without a good story and screenplay even with a subject travelling to space seems to work not well. I would say anyone asking me about the hero of the movie is the story and though the artists/actors are equally important (like everyone given their best here) the story is perhaps one of the finest in recent past.  

I remember seeing couple of movie in past on time travel but I was uncertain about my understanding of the concept until watching INN. The director (Ravi Kumar, a debutant) has simplified the function of time travel and that too watching in our regional language the understanding becomes easier. The invention of time machine is also simple, cool and uncomplicated for viewers to get a fair idea.

Among the performance, the character of Vishnu and Karunakaran was outstanding and their lack of star status helps us easily relate and involved in the story. For a sci-fi movie, the visuals usually used to be mysterious and high tech, but except the beginning and things relevant to machine everything seems to be realistic and happen to be in real. The travel in past to granny age is something bring back the old charms lively which have been seen as images alone.

P.S. Thanks to our fellow blogger Rajesh, if he hadn’t written about this film I would have missed a great amusement. He has started to watch movies on first day first show, but I watched this movie last day last show hence the film was suppose to leave the theater for next release.  

Friday Review: Purambokku (Engira Podhuvudamai)

I don’t think films are meant for entertainment alone, and life isn’t entertainment as well, but Purambokku does a bit along with convection of communism. People who want a change in watching from the usual valour and haunting stories; Purambokku will put you upright if you’re interested in social welfare. Revolved around a death penalty, the Tamil film captured the courageous, emotions of three young men who involved in the proceeding.

Balu has been sentenced to death by the court for involved in terrorism and antisocial activities and the assignment (to put him hang) has been given to the Jail Superintendent Macaulay, but who doesn’t have the right or willingness to do, sought-after an hangman and thus finds Yemalingam, who come from the family of hangmanship – whose father and grandfather were hangmen and he himself has done the job as a young boy assisting his father.

Yemalingam, a alcoholic, who works as a railroad switch operator, first denied taking away the task (as he already in distress being fell into the pit of hangmanship) agrees later when Balu’s comrades, who initially intend to kill him, induce him in their plan to escape Balu from the prison. Do comrades succeed in their mission? And how challenging the venture was was set in an interesting manner leading all the way to ending with anticipation and apprehension.

Arya (Balu) in the role of revolutionary has performed well and although he seems quite and fearless at his attitude he maintained the seriousness throughout which is something new for this always cool guy. Karthika Nair as his close associate is perfect choice for the female lead of revolutionaries and her right physique easily achieved the role. Vijay Sethupathi as hangman has conveyed the difficulties and distress though his perspective is highly appreciative.  

Shyam as Macaulay is one character that impressed me lot.  In the role of jail superintendent, he does a job that was animate to the character that ruled out anything humane when it comes to complete his task with great authority – what makes the climax crucial. Apart actors, who overall given fine performance, the technicians behind the screen needs a special mention. The background score (by Srikanth Deva) has been significant and pulsation of Purambokku – meaning unknown person.

The artwork, esp. in the setting of the prison and gallows, was amazing and provides great detailing that haven’t perceived before. And it is a special area (artwork) where the director S.P Jananathan’s movies standout and his earlier one (Iyarkai) has got National Award, where the old lighthouse setting was impressive. Cinematography is another interesting area where I like the light and tone setting that varies from landscapes to diminish prison cells.

There are couple of Kuttu songs and many scenes relevant to prison are pretty older to drag over all apart some incomplete/unclear paths where understanding becomes difficult.  But the second part sustains the thrill and emotions have been well drawn. Although the film is about revolution and capital punishment, the best part I consider was the characters and expression of right emotions where the director has to be appreciated for bringing them out.

Anegan - Survives on love

There are certain creations we don’t want to miss and in the field of filmmaking, as a director, K.V. Anand has created a place for himself for us to look forward to watch with interest. Anegan is one of an interesting Tamil movie (I watched last week) from the director, and as a wholesome entertainer, is based on memories of previous birth, not one, but multiple! Although it is only a part of the film, that traces and survives on love on each birth, the director has a different phrase to communicate the reason which perhaps due to hallucinations or use of drug to enhance dreams. But what highlight was how the illusion becomes clue to explore a mystery?

Dhanush and debutant Amyra Dastur as lead, appears in four difference characters, look, period/age. Dhanush seems to have not much works to do to in showcasing the difference in looks, which was slightly altered by pretty shaved and grown beard – resembles one of his earliest and in beard he reminds the dancer-actor-director Prabu Deva. One could see a usual Dhunush in the sequences relevant to current situation in the film, and I don’t find it quite impressive. But who steal the screen/show was, Amyra Dastur.

The beautiful actress does not only appear prettier, but her performance outshines the star cast and quite admirable. According to the period, her transformation has been done well and though not so highly differentiated, her expression and attitude conveys much to not to believe she’s debut. And another notable thing about Anegan was veteran actor Karthik’s re-entry, but as anti-hero, he acted pretty cool which suppose to be his usual/casual character in movies as well in reality.

I think the concept of this film (with two more situations happening at different periods and traced as previous birth memories) was pretty new for the Tamil audience, even though it was conveyed in a lighter way, I feel some people will find it hard to capture quite. Among the two different eras, the film that begins in Burma (today Myanmar) in 1960s is very beautiful and heightened the interest of watching. As a migrant worker Danush stunned with action and the love with Amyra is impressive than other two.

The music and songs of Anegan is chartbuster even before its release and Harish Jayaraj has touched the peak with both melody and local genre – but the most popular Danga Maari, doesn’t lived up to the expectation that created though music. Being a great cinematographer himself (though K.V. Anand is not the cameraman of the film), his perspective and locations selection always fascinated and in the songs of Roja Kadale and Aathadi the beauty of nature and Amyra stunned.

There’s also limited fight scenes to keep pace and sustained on tack with love genre, which is the centre pole of the film. Like his previous movies (Ayan, KO and Maattrraan) that open door to some daring issues, K.V Anand has focused this time on the rising depression among corporate workers, though the film deal with gaming company, it almost indicates the same and pulled the trigger to dread. Anegan is a must watch for many reasons and also way being different! 

Yennai Arindhaal

First time stepped out, after almost settled at the shifted house, to watch Yennai Arindhaal – an excellent Tamil action thriller film, from the director (Gautham Menon) who is popular with his cop subjects and this is supposed to be the conclusion of his cop trilogy. Ajith who wore the khaki shirt/cap this time, even though he’s seen almost in casuals, has recreated an image for himself and battled well parallel to Surya in Kaakha Kaakha and Kamal in Vettaiyaadu Vilaiyaadu.

Yennai Arindhaal is portrayed around the protagonist named Sathyadev and apt to the name (Sathya, which means truth), the character has consciously tried the best in establishing the same. Ajith comes in four different look and style, according to the phases of his character, has exhibited smart and intelligent to admire and also a person with intense while combat and gentle like wind when patting his loved ones.

Next to Ajith the most impressive was Arun Vijay’s performance, as anti-hero. He has acted more than dozen films as hero, but he couldn’t address well in industry rather being son of veteran actor, Yennai Arindhaal will lead him where he wants to be. Although his character and hairstyle reminds Pandian of Kaakha Kaakha, Arun’s hard work is bright enough.

Trisha comes as bold and beautiful, and allured, although portrayed a character of pretty young mother, her romance with Ajith look matured and rejuvenating at same despite their relationship that sounds odd and many couldn’t get what. I think the best and most exciting part of the film was the 2^nd half from where I feel the real movie starts. The film kept moving at the rear was very interesting and engaged, even though the progress was predictable.

One of the blissful parts of the film was the music! Harris Jayaraj’s background score, as well the beautiful songs are caressing the heart as fascinating as cinematography, which hold some unique light presentation. Though the film was captured mostly under low light and many scenes composed in night, there’s something enrich in tone and light to cause thrill and admire.  Like they say, last but not least, Gautham Menon’s way of filmmaking is something worth watch whatever the subject. 

Shanker’s "I"

There’s something impossible to avoid when it comes to Shanker films. Yes, Anticipation! He’s a man truly behind this cause and deserves much to look forward. Teamed with A.R.Rahman, except for Anniyan, they have rocked always. I really thought do I want to write a review on “I”? Because I can’t appreciate this film just like that or consider as another Tamil film, because each frame has something to behold and feel magical though the many marvelous beauties exhibited in front of the big screen. To say in a word/phrase “I” is a visual treat encompassed by delightful music, even the awkwardness provoke wonder and admiration.

Shanker’s “I” is not a regular film from the director of grandeur, but to say in their style “I” is beyond that and incredible.  Not that to say as a fan of Shanker, his knowledge and ability is sophisticated and so his daring to touch things that are practically impossible or narrow peak. With a director with international content, what upholds the structure (“I”) and burnish was Vikram’s double standard: as bodybuilder and hunchback. I don’t think I need to say anything about Vikram, perhaps, because I couldn't get a word to appreciate him quite.  But who needed when the protagonist is universally acclaimed for his acting and “I” is an added crown to his humble summit.

Thought the story of “I” can be shrunk within a line: where a bodybuilder (aspiring to become Mr. India) accidentally becomes a supermodel and how does him revenge those disabled him awful to take back their course, is set in super-rich scenario, awesome recreation with ambiance and settings and terrific characterization. As a bodybuilder Vikram has harshly worked out like ever bending from tip to toe... he’s sure to inspire many who aspire to become same and as hunchback he take possess everything within his hood. Emy Jackson looks literally super cool, sexy and admirable entirely.  But her performance has went beyond the expectation and skimpy to pickup her own place/space.

The foremost to take the center stage of “I”, as soon it begins, was the camera. P.C. Sreeram! Renowned as master of cinematography, has conveyed a lot and through his perspective our views get enrich and remarkable. The scenes relevant to China have been quite fascinating, and next to songs, either though visual or music, emphasis and produces enormous support in background was extraordinary when it comes to stunt and actions scenes. The fight using men and muscles was massive and amazing to watch, although it doesn't show off well, as every other men were muscular than Vikram, it was challenging and gives a feel of raw.

The film goes off partially fun filled and entertaining was quite thrill after the interval as they unleash how each get revenged. Santhanam played a decent role as supporting actor and humorist and Ramkumar and Suresh Gopi as indirect villains in their unusual/new role. The director has utilized the ad film making as the part of content and recreated real brands in his own style. The movie is also very stylish in trendy costume designing, had maintained the feel of local in slang and it’s funny to hear Emy spoke on. It is a movie truly enjoyed/experienced only in theaters; if you are my kind admire the advance in technology, beauty and quality in films. To feel Mersel – sound mesmerized!

Kayal – Fall in Love

Kayal is a feel good movie I watched, as a night show, from the usual drive-in theatre here and I enjoyed it quite heartfelt and moved at the same time.  Though the Tamil film is development on the background of 2004 Indian Ocean Tsunami, the heart goes with the characterization – in a natural tendency, expression and attitude that drive towards admiration. All new/less known faces adds fresh coat to the scenario (that takes on a brief journey from Kashmir to Kanyakumari) and gives a distinct feel related to the local realities.

The most pleasant thing to say about this film, which has pleased me even before its release, was the songs and music.  D.Imman’s composition was such a backbone to this film that featured a straightforward love story, simultaneously stroke the hearts strings causing pain and pleasure. Kayal (representing the title) is an orphan girl grows in a big family and guardian in her grandmother, encounters love when she meets Aaron, a traveller who proposes love confronting the big family, who caught him, along his friend Socrates, mistakenly for helping a runaway couple.

Aaron, along his companion Socrates lives a life travelling almost six months a year and works for the rest to spend their next half-dozen on travelling.  Coming across India, they head to Kanyakumari – almost their last destination of the country – while seeking a bright light which Aaron believes his destiny, finds out that the light  is nothing but Kayal. Feeling the love deep within, piercing the heart, the unrest Kayal leaves the house in instinct reaching Aaron while he’s on the same path, meets with great destruction but yet happy ending.

Epicentre with earthquake and tsunami, the film embark on a trail towards ending with anticipation. But what fascinates me lot was the lifestyle of the friends and love affair which incline some positive vibes, intertwine by realistic comedy produces a whole entertainment flick. The love expressed by Aaron (Chandran) and Kayal (Anandhi) through their eyes were powerful than the words conveyed. Anandhi has an expressive face, whether its pain or happiness receives to be real and natural. The mole beneath her lips was a notable aspect that adds beauty to her already exist face.

Directed by Prabhu Solomen, Kayal communicates the emotion of love and nature side-by-side... unlike his early films (Mynaa and Kumki) the director, even though he decided to send tidal waves, concluded without letting down. The tsunami related scenes were partially graphics and couldn’t provoke anymore, as it isn’t anything different from Hollywood movies, also reminds titanic when the companions run thought the railway station carrying a sack just like Jack and his friend embark the ship. The man floating on a piece of wood plank is also subject to same.

The film locations were one of the worth checking and most of the scenes captured in and around Kanyakumari sent me nostalgic with memories. Amazing to note the director has also shot a scene at the living bridges in Cherrapunji, along many unknown places were impressive. The camera work was fabulous and captured great light moments! Overall, Kayal was admirable. 

Lingaa

I think Lingaa doesn't need an introduction. But for those still unaware, Lingaa is a Tamil film lead by Superstar Rajinikanth. The film released worldwide in number of countries is based on the construction of Mullaperiyar Dam and its master (British) engineer John Pennycuick. Lingaa has tried to recreate an era related to the construction of dam and recent issues and illusions relevant to same. The movie revolves around a small village and a Dam that acts as its lifeline has Rajinikanth in dual role, as Linga and Lingeswaran, represented the young characters of different period as grandson and grandfather.

Lingaa is a thief involves in small burglaries with his team for living and he’s resentment towards his grandfather, King Lingeswara, for leaving his successors penniless. But things being like that, he was forced to go to his grandfather’s village, Solaiyur, to reopen the temple built by King Lingeswara as it is believed that only his legal heir should open the temple. Lingaa uses this change to escape from the police for stealing a pricey necklace. But reaching there and on failure of stealing the temple’s Shiva Lingam, he transformed the environment into worshipping and also learns who Lingeswara is.

Later on the film travels back to 1930: where Lingeswara is a King of Kodiyur who on his father’s request becomes a collector in the British Government and also a civil engineer from Cambridge, plans to build a dam for the village of Solaiyur as they suffer from water problem. But the British Government’s decision to not obtain permission forced him to resigns his collector post and goes ahead to build the dam on his own and with the help of village people. But to complete the task he was forced to give-up all his wealth on the condition of a British collector to pass the orders and assist on supporting equipments.

Toward the current situation, the MP of the village tries to damage the dam for his selfish ends at the brim with Lingaa unearth his plan. The film with many star cast has done their part so well and also their performance vice appreciable. But still the film gives an incomplete feel with scenes unclear at their ends and characters failed to reproduce the connection that unrelated even to be a fiction. Obviously the Rajini’s appearance doesn't attract and isn't cheerful like watching a Rajini move. Better he retire soon or choose characters that suit him well rather discomforting himself to dance with his daughters aged or fight like an action king.

I feel the film could have been taken better, taking enough time to come up with better scenario instead recapturing or copy from old. The film was shot around some magnificent places like Mysore Palace, Jog Falls and Linganamakki Dam all situated in Karnataka. Sonakshi Sinha has tried to be innocent to her character but her face doesn't relevant to the other characters and the story that itself based on south India. The entertainment part is very less and wasn't interesting anymore but with this plot to be on period it would be wonderful if it made more on the reality platform.

 R. Rathnavel’s camera performed well, but it makes puzzle at certain sequences like the ridiculous climax fight at hot-air balloon, it’s the work of camera or graphics. Except Mona Mona, which sounds pretty, songs (music by ARR) aren't noticeable or perhaps I haven’t listen to the album until watching the movie in Drive-in. KS Ravikumar’s direction isn't such fair and many usual faces from his previous movies make sour. Overall Lingaa is an average movie which is unusual with Rajini! 

Thirudan Police

Titled in the name of a nostalgic game we played during our childhood days imagining ourselves as thirudan (thief) and police and trying to catch the opponents to eliminate. The Tamil film Thirudan Police is also based on the same but the difference was the thief and police are in the same department. Rather being a usual serious action cop story, the film is based on comedy and father-son sentiment and revenge in an amusing way.

Vishwa is a carefree person and dislike his father Singaram; a sincere head constable who wants him to become a police officer before his retirement. But the situation brought him into the same department as his father was killed in a fake encounter planned by an assistant commissioner to save his son from a rape case, as he found the evidence. Vishwa doesn’t seem to feel sorry for his father’s death or shows any interest on revenging the culprits until he realized the worth and hardship of his father as he himself went through it. But how does he revenge, is the highlight set in a light-hearted way.

The movie led by Attakathi Dinesh shows much improvement in acting (following his character as visually challenged in Cuckoo) and also continues to act close to reality make it appreciable. His sorrow for disregarding his father has been carried out light-heartedly though it makes sense and meaningful when he broke down realizing his mistake to misunderstand his father. Veteran actor Rajesh in the sincere head constable suit suits him well, as he had done similar roles in couple of films earlier and though he comes for a short period deserves respect. The upcoming comedian Bala Sarvanan has done best supporting role, and being a constable he guides Dinesh and make fun together.

Naan Kadavul Rajendran and John Vijay played the funny villain roles against the serious assistant commissioner, who launched them to kill the constable Singaram and to help his son to finish off Vishwa. Between the comedy rattle there’s a mild love track with Iyshwarya Rajesh – not so fair but enough with girl next door image – make some pleasant appearance and couple of duets with Dinesh. Music by Yuvan was fine and I liked the song Pesadhe, which sounds pleasant along with a party song by Vijay Sethupathi.

The debutant director Caarthick Raju had done a decent job to be watched by everyone and will be appreciated for highlighting the father-son relationships, apart attaching photos of the actors and technicians shot with their fathers to the credit was something innovative and touching. Produced by SPB Charan, the film has SPB Balasubrahmanyam appear in a special guest roll, sent a brief message to student on father’s behalf. Thirudan Police – A Light-hearted Play!

VIP

A short form of the Tamil Film Velaiyilla Pattathari, which means “unemployed graduate”, is a family-youth entertainer and also the 25^th film of the national awarded actor Dhanush. Apt to the title, the film quite based around an unemployed graduate who stays idle at home and not looking into jobs out of his interest or subject he studied and following the ethics as a civil engineer. But how he grows out without losing his faith on ethics is better half. As the elder son in the family of four, Dhanush portrayed the prime character along with the boy-next-door attitude, thought it isn’t new for him; he has done what he deserves at best. 

As a regular father who abuses his son all the time for not getting a job, unlike his brother Karthik, who works in an IT company with enough salary, Samuthirakani’s strict tone helps betterment the role. It seems mother means Saranya; such how her impression created among the Tamil filmdom and she proves every time there couldn't be a nice mother like her, obviously. Being a force behind his son’s new lease of life and dream come true as her lungs transplanted to a great builder’s daughter, after she lost life to cardiac arrest has emotional touch. Glad the film doesn't turn into another mother sentimental drama but energetically rise up on a newly built platform.

The film also conveys the public interest on building construct and at many places directly and indirectly reminds the recent collapses of building in Chennai and reveals the rival among the builders. Being a member of VIP group (via Facebook), Dhanush gathers all the unemployed graduates to help him on his initial project, as all workers and supervisors went favor for his rival company, turned into to kindle up youth. The film was comical, inspiring and produces great enthusiasm esp. to youngsters  (I hear whistle sounds from the gallery behind) though it sounds like the imitations of superstar Rajini Kanth, there’s anything that his son-in-law shouldn't follow his path! Lol

The music (by Kolaveri fame Anirudh) simply rocks among youth! The songs combine well with the story without redirected to distinct landscape unrelated to scenario. One can enjoy songs just like that for the local enthusiasm in beats and raw lyrics. I wish the directors, actors and musicians has to think alternate routes to inspire youth rather promoting alcohol as their inspiration, which I fear this trend would become a permanence source in Tamil cinema. It seems the climax fight is forced into the film to only exhibit Dhanush’s six-pack and thanks for giving life to the long lost moped bike, on which hero travel everywhere and also taking it for date with Amala Paul.

VIP - A youth festival, just for celebration alone! 

Manjapai

Referred to the yellow bag (Manjapai) is a family entertainment (Tamil) film based on grandfather-grandson relationship. Manjapai is a popular concept used in Tamil cinemas, where the hero or any other characters coming from village to city is often shown carrying a yellow bag. In this film the Manjapai is related to the grandfather character, who comes to the city for the first time to stay with his grandson who is suppose to pursuing career in US.

The film has many funny scenes and light-hearted moments to sit back and relax except for the emotional break up at last. The young actor Vimal had chose to play a software engineer in the film, dream to settle down in US and in a brief time he created the opportunity and working towards achieving his goal. Meanwhile he brings his only grandfather from the village to stay with him until he left to US and his grandfather, being so ignorant, pulled him into lot of trouble which even threatened his US dream.

The veteran Rajkiren has lived as grandfather, not only to Vimal but he reaches up to the audience watching the film! He had played father role in many Tamil films but first time he becomes full-fledged grandfather who rise up his orphaned grandchild single-handedly. He comes as a brisk old man and innocent being, brings out a perfect rustic in his perspective.  The film housed him in an apartment, finds intolerable as his approach seems so naïve and provoking due to the residents indifferent attitude, only make console later when they all miss him to search.

Lakshmi Menon has nothing much to do rather being Vimal’s love affair, enhanced the usual commercial aspects that a heroine deserves at love unrelated subject but she tried to bring some beautiful expressions. Their introduction at the same traffic signal quite bores… I have watched few films in latter year with same situation. What I liked in the film was the emphasis given to relationship and sharing tendency amid neighbors. In today’s apartment culture not many know who’s in next door and coming across a smile is a hard thing, but the grandfather role in the film celebrates their events.

The film shot in and around Chennai has good cinematography and made colorful songs using simple backgrounds. NR Raghunanthan’s music plays a wonderful part of the film, where the expressions were fine tuned in lyrics which are written in an unusually way of later watching the videos. There’s nothing to complain about director (N.Ragavan) who has stitched carefully the yellow bag to bear enough, but what if the bag slipped from the hand is what the ending. Appreciate the team for a decent picture!

P.S. After long time writing a film review, watching it in drive-in last week