Friday Review: 49-O

The comedy king of Tamil cinema, Goundamani, has reappeared in a movie after long back and also led the film titled 49-O. The movie released in Sep 2015 deals with the state of farmers and fertile lands being transformed into housing plots though political satire. Goundamani as the protagonist haven’t come back to do a regular comedy role as hero, which most comedians prefer do to these day but acted prudentially in a serious character along his counter dialogues for what he’s famous for.

Goundamani is a genuine farmer and believes that fertile land is the future, oppose to the farmers decided to sell their fertile land to a real estate company but their poverty forced them to go ahead with the decision and later deceived by the company and local politician. The people realizes their mistake and to help farmers get back their lands, Goundamani come with a plan of promoting his own fertile land but instead of making housing plots he develops  graveyards, beside the lands of farmers to block the business of the company.

As another step to regain their fertile land, they decides to sell their votes instead of politicians fix the amount, usually, they come up with a sum to be paid for vote. Later they nominate their own candidate and propagate for his victory against the local politicians… but unfortunately he was murdered. At that moment, Goundamani starts a pioneering movement and how did that help them to regain their fertile lands is rest of the story. Like one man army, Goundamani bears the entire movie and his age isn’t an issue while his energy level on entertainment front is still adequate.

With simple story, Goundamani’s strong dialogue delivery and script writing upholds the farmer’s struggles and political satire as the highlight of the scenario. The land promoters has been excoriated a lot and much of illusions relevant to the fake promises by them has been revealed in fun manner. The music/songs and cinematography has been average, but nothing to complain about and many scenes have been straightforward so the film concludes in less than 2 hours. The movie is worth watching for the strong social message that supports the value system of farming and re-entry of Goundamani - for his political counter! 

Btw. 49-O is a rule referred to The Conduct of Elections Rules in Indian, a procedure to be followed when a valid voter decides not to cast his vote and decides to record this fact. 

Demonte Colony

Horror is the trend (successful trend) in the Tamil cinema and this year, number of films released under this genre and almost tasted the success.  I haven’t watched many films of this genre, but from the few I checked and heard about, humour has been the main source for the success of these films except the movies – Maya, Strawberry and Demonte Colony (which I watched last weekend) are suppose to be serious. Demonte Colony grips watching throughout without got to be disturbed by the commercial factors anywhere but it was entertaining in a different way and it has an interesting screenplay set between four friends fighting against the spirit within four walls of their bachelor room.

Though the film doesn’t expose any scary images but got to experience a real thriller through the characters expression and haunted feeling. Inspired from a real time rumour related to the Demonte Colony, in Alwarpet, Chennai, though I don’t know what history the colony holds, the director’s creation was superb and the time period he capture through the scene was another impressive part. Arulnithi dictated the leadership well, and the other three friend characters are greatly supported the venture and has put a realistic effect while exploring the ghost bungalow as well fighting against the fear of being killed. The director has put the story simple to understand by everybody and though intellectually played the scenario there are certain moves confuses the naive while the focus is on fatality or escape.

Demonte Colony is tremendous and gives a bit of realistic feel among the horror films!

Kaadu (Forest)

The Tamil movie I watched last night at home theatre is obviously based on the title Kaadu (forest) and the lives and way of living adjoining same. The movie wasn’t much interesting to watch, but I did plainly for the message it carries on forest conservation and the important of preserving the forest. The film shot in and around Dharmapuri, one of the most backward and drought prone district in Tamil Nadu, captured at its natural state.

Begin with a note dedicating to all nature lovers and forests activists, Kaadu makes it path clear and wants to point out the mindless behaviour of man toward deforestation. Even though the movie comes under usual drama, the main plot deals with Velu, who collects firewood in the forest and sells to the people in his locality. Being a believer in nature, he makes certain not to cut a single tree or plant in the forest to preserve it for future generation.

Velu’s friend Karuna, who aspire to become a forest officer couldn’t cope up the bribe that is needed by the selector. In desperate he smuggle sandalwood and get caught but he request Velu to replace him so that his dream don’t ruin. Velu in jail, Karuna becomes a forest officer by impressing the DFO and tries to take over the forest for his personal gain by removing the people of the forest. Velu on bail, fight against karuna, and smugglers on other hand, to save forest and its people.

Directed by newcomer Stalin Ramlingam, Kaadu ties to capture the views of people closely associate with forest and what/how it suppose to be and seen. The film travels on socio-political scenario (that well detail the lifestyle of the people in forest) has great remarks throughout, touching topics such as eco-conservation, unemployment and corruption in government engine and the important to rely on roots. Captioned as forest, the film doesn’t show any animals but stressed the need of them to be in the forest than in zoos.

Vithartha as Velu in the role of a rural man is apt, as he had done many similar roles in his carrier that began in Myna and his transformation into rebel is also convincing. The film also conveys communism at its fair bit, Samuthirakani in the role of political prisoner, with a mandatory reference to Che Guevara, spell out neatly the need to fight for one’s right. For a movie with great idealism, the romance and comedy comes as a flipside spoils the real cause of watching.

The film also indirectly mark the late encounter of red wood smugglers or loggers in AP, whom were mostly gone from nearby districts of Dharmapuri. Although the movie ends with message, it wasn’t sharp hitting rather it should be as it make mandatory that forest guards should be truly admirer of nature and forest activist to protect it entirely. And if we continue neglect forest and keep ravage, the after effect would be drastic that humankind would not survive. 

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.

Poriyaalan (Engineer)

Poriyaalanis a Tamil movie I watched this weekend at home theater and the film released in 2014 has a gripping story that explores the life of a civil engineer who aspire to become an outstanding builder but entangled by the dark side of real estate and loan shark. Next to IT field or perhaps in a way surpass the real estate and building constructions have grown a lot in attempt to touch the sky although sometime the buildings fall!  But keeping the message in limit, the movie develops into a thriller.

Saravanan is a dutiful engineer, working at a construction company decides to start his own and for his budget he could get plots only far away from the city. So with the guidance of his friend, who works under Sundar – a merciless loan shark and goonda, they decide to use his money, as he gone to jail, and replace it before he comes out of prison.  In the meantime, they got a nice plot (within the city) from a middleman and complete the registration.

But when they try to promote the land for construction, they learn it belongs to someone else and Shahstri, the middleman, made away with their money. And to make the situation worse, Sundar comes out on bail earlier than expected. What will happen if he comes to know his money was used without his knowledge? And when they learn he’s not just after the money but the women in their families. Could they track down the middleman before it is too late?

The movie begins from the middle; goes back and then front with one friend breakdown for their lost money and fear to be killed by the loan shark. The almost new faces give refreshing look to the scenario with lighter emotion which is more than enough for this kind of movie. Notably the two friends – Saravanan and Prabhu, acting, esp. towards the matter of love, when Prabhu come to know his friend romance his co-sister has been dealt decently and maturely when Saravanan confront his love in front of her father.

Though there isn’t a need for a track of romance, it only put us on intent to know what unveil next and helps the movie run for about 2 hours rather ending 20 minutes earlier to be quite thriller.  The songs aren’t memorable except Gana Bala’s usual song on alcohol! Mohan Raman, as Shastri had done an unexpected role to the finest and outshines as a realistic broker whether to believe he’s good or bad until his escape to Goa.

I find the vital of the movie has been voiced well from the stand of Saravana: that those landmarks are mostly buildings/structures built by a civil engineer and the design of future is also in the hands of same. The movie put us upright throughout, have a strong story and screenplay (written by NH4 fame Manimaran) and was directed by Thanukumar, a debutant and former assistant of Vetrimaran. Unlike VIP, which deals with obstacles during a building construct? The Vetrimaran team has spotlight into the area of real estate and loan shark that grips in every possible way. 

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.  

Tamizhuku En Ondrai Azhuthavum

I watched this interesting Tamil movie called Tamizhuku En Ondrai Azhuthavum (Press 1 for Tamil) in Home theatre is also a good entertainer. Released at the beginning of this year, the movie has a unique plot which is based on science connects various angles in a single core device called cell phone. Technology has developed a lot and we live in a science world where lives depended on it, whether it is used for good or bad the film captured it quite well.

The movie begins with a deadly bomb in a call taxi that comes around the Chennai city and an 80 tonne solid rock (vaasthu kal) hangs from a multi-storied building (as the crane struck halfway) with a woman trapped beneath the scrap where the rock suppose to fall anytime. The film goes behind the scenes where a terrorist in intend to disturb the Independence Day celebration, plants a remotely controlled bomb in a call taxi and follows the car for an apt place to blow up.

In the mean time, all the mobile networks in the city fails due to a solar flare and an hyperactive science geek Vasanth tries to activate a part of the mobile network and once the lines are restored the terrorist will activate the bomb which was connected via a cell phone that is waiting for signal. And also Simi, who is struck under the scrap, will be rescued only if the text message she had sent reach his beau Mukil. Though the bomb blast and rock falls down at last, how do they escape becomes the exciting part of the whole.

Nakul as science geek impresses everyone by his technical knowledge and innovations, also creates projects for the engineering students which land him on restoring mobile network. His relation with his mother (Urvashi) is something heeds, and makes a different family perception where science prevails very much. But more than Attakathi Dinesh, in his usual easy going attitude and as a property promoter who falls in love with Bindu Madhavi – a counsellor, whose expressions conveys lot. Sathish as taxi driver has done a decent yet realistic comic role and although he loses his phone he deal was amusing.

I usually don’t write about movies I watch at home theatre, if the movie isn’t worth or interesting to watch. But TEOA (Tamizhuku En Ondrai Azhuthavum) wants me to write as I find the concept being very different and experimental, so that others could watch it if haven’t. Though it is movie not quite scientific or love story – which is a part that doesn’t work well, but still worth watching for its unique subject and sequences that carries logic.

The movie doesn’t have songs except a single track that bend with the story; Thaman’s BGM has worked well and produced a great feeling towards the ending. Cinematography at other hand is also good and captured the cityscape in a beautiful and colorful manner. And to put above all, I admire the direction (by Ramprakash Rayappa) for taking science as main subject and making it realistic and simpler to appreciate by commoner that to in a light-hearted way feels healthy. TEOA – a movie for those enjoy science and humor. 

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.

Nerungi Vaa Muthamidathe - A Novel Script

I usually write on movies only that I watched in theatre, but Nerungi Vaa Muthamidathe (which means “come close, do not kiss”) is a 2014 road movie in Tamil that I watched last weekend in a Tamil channel. I was looking forward to watch this movie as downloaded, but glad I come to know the movie being relayed 2 hours early to watch and it was interesting and gives a new experience.

The actress-turned-director, Lakshmy Ramakrishnan - who's popular with her mother characters, has written the story (that based on a road journey and background as petrol/diesel crisis) and screenplay in a novel way i.e. each character has been depicted in brief, that encounters along the journey, makes it more interesting watch. The movie drove from three different paths/situations has intertwined so well, leading all the way towards ending, the ride has been kept at thrill with anticipation of what come next.

Chandru is a lorry driver, although he the son of a petrol bunk owner, he choose his life to be like that and who drive trucks and Lorries for thrill, decides to smuggle 2000 litre of diesel for the same amidst fuel crisis. On the other hand, a runaway couple joins him for life whose love has been opposed by the relatives for being different religion/caste and a girl from wealthy family, going through distress and misunderstanding with her mother for not telling who he father is. But once understand her father as an injustice to her mom, the girl tries to reach her and fall into accident.

At one phase and in unexpected situations, all boards the lorry to get down at their destination and how Chandru comes out of the crises for smuggling diesel that could sentence him at national level. The movie settles for a light-hearted entertainment and taking a serious issue in hand, where the price and demand for petrol/diesel has been at rise to protest, ‘Nerungi Vaa Muthamidathe’ has utilised it well and also got closer but didn’t strike a chord!

The new comer Shabeer (Chandru) has a look needed for a lorry driver and also being adamant he quite understands later. But however upright, a driver could not drive straight forwardly. Lol! The pretty Piaa as Maya has been left with a face of confusion and anguish almost the movie, is enough describe her mindset and as her mother, Viji Chandrashekar, has recorded a bold statement that being odd is nothing wrong. As a young (runaway) couple in love they represent a familiar identity yet strongly

‘Nerungi Vaa Muthamidathe’ is a phrase I myself have seen on a lorry back, is perhaps the inspiration for the director and being a woman, has set a theme/trend which is pretty new, creative and ideology to inspire other. There aren’t many songs and also haven’t taken separate scenes for songs, which go along the subject.  Although I am content with the technical background, I wish I was watching this film in theatre to appreciate quite overall. NVM is must watch if you want a change in watching pattern and novel way of storytelling! 

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!

Kayal and Anegan (Music Feel)

For last few days I have been listening to the songs of an upcoming Tamil film, Kayal.  The successful combination of Prabhu Solaman and D Imman, who stroked the hearts with the reverberating Mynaa and Kumki, has once again come together for Kayal, to continue their passion for melody. But I couldn’t avoid the feel that few songs in the album resemble their early compositions. For example Paravayaa Parakkurom exist the feel of listening to Neeyum Naanum from Mynaa! Initially I don’t like this song as it begins with grief but listening two more times in energetic voice of Haricharan holds grip.

Yenga Pulla Irukka is another song that comes close with my favourite from Kumki, Onnum Puriyala. But I don’t complain as I enjoy it on the line of melody and shades of Onnum Puriyala, I only find the loud instruments as little noisy. Unna Ippo Pakkanum is beautiful melody rendered by Haricharan and Vandana Srinivas, and Yengirindu Vandhaayo is a solo solely attribute to Shreya Ghoshal. Apart, Deeyaalo Deeyaalo, which is a thoughful folk and one of the best in the album according to me personally, Yen Aala Paakkaporaen (listen it below) is my most favorite song and feels so evergreen.

Begins with charming strings, followed by chimes chanting the motto of the song soon captures the attention in the sweetest voice of Shreya, singing in fluent. The song travels on a melodic folk track tuned in the traditional clay instrument, Ghatam, was later joined by K.G.Ranjith, taking the song to another step on the soothing front and both emphasis the lyrics into a very beautiful song.  Surprisingly all the songs were written by Yugabharathi!

Along with Kayal, I was also listening to songs of Anegan, a newly realised audio album of Tamil film Anegan. This is also a successful combo following Ayan, Ko and Mattran, Harish Jayaraj and KV.Anand goes hand-in-hand for this already chartbuster on FM radios.  Though I liked the songs of entire album, Aathadi Aathadi (listen below) fascinated me lot! I simply love the melody sung by Bhavatharani, Abhay Jodhpurkar and Dhanush. Among the instruments played, just like Yen Aala... from Kayal, Ghatam has embraced a lot along the gently flow of the song, which also has a bit of Chinese interruption.  

Few other songs that I enjoyed in the Anegan: Roja Kadale is an energetic and stylish song I would go with following Aathadi. Thodu Vaanam is quite melody and does feel usual Harish music. But what surprises me in the album was his attempt on very local song or gana (Danga Maari) that he wasn’t familiar with. No matter what (though it make little embarrassing) the song was enjoyable at the moment of listening and a good change from being totally melody.  

Ai (I) Audio

The hypes are something normal when it comes to big personalities in film and music industries. But many a time it doesn’t stand up to its faith. And anticipations are high normal when an enormous budget film is on news, comprising people renowned for their grandeur in filmdom. “Ai” has been in progress for a long time in filmmaking, under a budget which is ever so high in Tamil film industry. Don’t anyone will wonder, what would there be in a film to cost so much?  Yet, the film hadn’t released (but I hope it suppose to be terrific), the audio is out last week, witnessing the Hollywood and Kollywood superstars – Arnold Schwarzenegger and Rajini Kanth. 

The film has actors in best, Vikram, and Emy Jackson of Madrasapattinam; and directed by ace director Shanker and music by Oscar winner AR. Rahman. Shanker films always spoke for songs and his way of shooting is something unique and quite impressive. With ARR music they transport us to a difference world! Though the audio of Ai is released, I couldn’t go completely denying the album despite being disappointed with the songs composed which perhaps could go well on movie front or the film needed so, but I don’t feel content with the way it was loaded. It was an album blended with various genre of music. 

Let me go first with my favorite in the album, Pookkalae Sattru Oyivedungal. The song is penned very simple, yet rendered beautiful in the soothing voices of Haricharan and Shreya Ghoshal. The lyric by Karky has really done justice to the song by relating the title Ai so well. Simply love the song.

On the line of melody, following Pookkalae, Ennodu Nee Irundhaal is a song with romantic feels thought it sounds like singing on path of pain and craving to unite. Among the two versions of the same, the reprise sung by Chinmayi and Sid Sriram was very pleasant and moderate at flow rather the other version that feels lag between the rhyme and rhythm.

Ladio is very stylish song defines the beauty of a perfect lady, and according to Karky’s lyrics the number 32 22 32 seems to be perfect.  The song sounds like an intro to the gorgeous Emy in the film.  Initially it felt like listening to a pop number from a popular English album, but slowly feels familiar as I find it sound similar to Irumbile oru Idhaiyam from Enthiran. Nikita Gandhi has a sexy tone and she emits words like delicate tidbits.

Mersalayitten is a fast track and in company of Neeti Mohan, the soup boy Anirudh has given voice a man who seems mesmerized (what “Meral” sounds like) meeting a most beautiful woman (of course who other than Emy) and sings a song with words he was familiar. Kabilan has written lyrics (in fun mode) giving emphasis to the local madras Tamil, which sure to strike across chennaities. I find my bro have this song as his ringtone.

Aila Aila sounds like a sort of stage play and Natalie Di Luccio gives a rustic voice, which seems to provoke agitation, as well something unpredictable astonishment. This is something offbeat to Tamil audience.  But great attempt by ARR, which isn’t new for him. 

Ai (I) Trailor: 

Irumbu Kuthirai – Unfit to Run

It was another thunderstorm rain in Chennai last evening and night. I was almost out got ready to visit drive-in for a Tamil feature film Irumbu Kuthirai (Iron Horse) and looked at the sky and it was almost pretty dark with clouds glooming around. As expected it performed so well, and interrupted greatly on movie watching. Though it doesn't matter literally, the real disappointment was already waited for us abundantly being a damn blunt movie. The lightning was spectacular, as we watching the screen fluorescent cracks flashed across the sky were striking much than the flicker.

The AGS entertainment has produced number of quality films in past, but this is something out with great disappointment. I wonder how they decided to produce a film with nothing worthwhile to watch and quite boring rather being really racy apt to the title – iron horse – the film can’t even fit into a wood or paper horse. It lost to felt majestic! An effective camera work has gone nil due to lack of on-screen present and emotions. Having a super martial artist (Dong Lee alias Johnny Tri Nguyen) and reality bike racer (Alisha Abdhullah, India’s only female bike racer), the film couldn't live up to its action genre.

Atharvaa is a young bike racer, who stopped driving bikes after he lost his father in a bike accident but due to her mother’s (Devadarshini) force, he took job as a part-time pizza delivery boy so that she thought he regains inspiration for biking. Being a strictly follower of rules, he always makes free delivery as he couldn't be on time but things chance once he met his girlfriend (Priya Anand), who has been so passion about bikes put him back on track (I mean a jolly ride on ECR). Thus he encounters speed bikers who kick him out of bike and took away his girlfriend as hostage. Now standing at an intersection, how he reclaims his girlfriend and what their intention, remains. But there’s nothing to anticipate different!

Atharvaa looks handsome and perfect in physique attaining six-packs, doesn't have much chance to exhibit his ability, though being an action movie it was very limited.  Priya Anand is a lovely lady to romance; though Atharvaa come closer there is something miss fell. Lakshmi Rai acted as his friend. But a report says both the heroines were at conflict whose photo should appear on the ads, for a movie where there part wasn't interesting. The films greatest speed brakes are the songs, dragging along the surface. Wished the film was quite action, but it lags romance and superficial. The film could turn into a messenger if they let the hero die at the climax with a footnote: speed thrills but kills!  

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 

Raja Rani - Entertainment Rule

A newlywed couple, experience indifference in their marred life from the day one and both were only intend to agonize  each other through silent acts of conflict. The flashback reveals their past, parting the film equally half with enough dose of love, comedy and tragedy making it a wholesome entertainment. After longtime, Nayantara had appeared in a Tamil film and along with Arya - both were seen paired in Boss En Bhaskaran - had ruled each other as Raja and Rani (King and Queen) on screen.

Directed by debutant Atlee, had done a decent job by giving not much important to alcohol and such like comedy scenes had warm up with beer! The way he handled the post breakup scenes is appreciable, without much despair. Jai been Nayan’s love affair, doesn’t look fair but rather he appear like a younger brother to her. As a customer care employ, he makes fuss with Nayan and begs for releasing him from being irritated by multiple callers dialing his number - the people who receive customer care calls will enjoy the scene.

The sweetest and cute part of the film for me personally was Nazriya Nazim’s role as Keerthana, makes cheery on the cake! She’s an example how sweet a girl could be… I like to add a line from Gautaman Bhaskaran of Hindustan Times, wrote: “the one person who caught my attention was Nazriya, who as an Arya’s lover, is absolutely gorgeous with a face that is so expressive that we do not need her to speak”. How true! Hehe… I have become a fan of her lately (check the lovely song of her on my sidebar from Tamil film Neram).

Sathiyaraj as father of Nayantara was emotionally well done and called him as darling by her sounds different. The music (by G.V Prakash) was wonderful overall and I esp. like the song Oday Oday, which is very peppy and stylish and the cinematography also involves creativity. Not to forget, Santhanam has been the minister of this kingdom of king and queen, but as a comedian he makes merely laugh for good rather constantly annoying. The indoor sequences look fair in soft light and the frames were all well composed in an artistic manner. Overall a decent modern family entertainment!

Footnote:

As usual watched the film in the Drive-in Theater here and seldom was it crowded on Monday, we could find number of families with kids parked their seats in front of their cars. It was just like a proof how well the film had reached and received. Despite interruption of rain, everyone seems enjoyed the movie.