Poraali

Poraali, lacks the punch that Samudrakani and Sasi Kumar have come to be known for

‘Man is a social animal,’ reads the tagline as ‘Poraali’ opens revealing a dark night dominated by sounds of animals. And the narrator states that there is an animal residing within each one of us only waiting to rise at the opportune moment. Coming from the stables of acclaimed actors- directors’ duo Sasi Kumar and Samudrakani, you wait expectantly for the story to unfold. Sadly Poraali disappoints. There is nothing new in the script. The age old vendetta for family property with a scheming step mom out to oust her step son forms the core of the story. Naturally there is enough gore and more. The script meanders aimlessly and when it realizes its futility, it raises its head to offer serious lines on humanity and how we are drifting apart in our quest for material pursuits. The first half of the story entertains as Kumaran and friend Nallavan make an honest living in a city like Chennai. Comedy in the form of Ganja Karuppu has you chucking occasionally. Add slapstick humor for roars. The film turns serious when the two friends are hunted by their villagers who claim they are insane. And viewers walk down memory lane. 

   

PLUS POINTS: Sasi Kumar as the protagonist Kumaran puts in a good performance. Allari Naresh as Nallavan shows potential though at times, he goes overboard. Swati’s versatility comes to the fore once again as a city bred girl. Nivedita on her debut in Kollywood impresses.

MINUS POINTS: A weak script with poor characterization makes Poraali a disappointment. Making the film a typical masala is the group dance to start with soon after the film opens. Sasi Kumar joins the league of super heroes who bash up a multitude of villains with ease. As if all this was not enough, the last scene meant for laughs at Ganja karuppu’s expense mocks at the viewer’s intelligence. Now where did Nallavan’s family spring from?
Even the music failed to linger in the mind.

CAMERAWORK: Kathir has done a good job, be it in capturing the villages and the city cacophony. 

VERDICT: ‘Subramaniapuram’ with all its violence had a soul, ‘Nadodigal’ carried a social message, ‘Easan,’ a hard hitting take on the powers to be was honest but ‘Poraali, lacks the stroke that Samudrakani and Sasi Kumar have come to be known for.

Pranayam

A poem on celluloid written in the signature style of Blessy

Achutha Menon, a retired man finds himself suddenly hurled back into the past, when he accidentally meets his former wife and lover, Grace in the apartment lift. The shock of meeting his wife forty years later takes its toll on the old man’s heart. Grace immediately admits him in a hospital. She is now caught in a quandary. On one hand is her husband, Mathews, whom she loves immensely and who needs her assistance for every little thing being wheel chair bound. On the other hand, her ties with her former husband often surface up with bobbing memories. She yearns now to bond with their son, whom she last saw as a two year old. But is greeted with animosity by him, a young man now working in the gulf. For he has grown up believing  his father’s words, that his mother had forsaken him for a new life. Deprived of a mother’s love, he holds onto a deep rooted anger towards Grace. Only one person understands Grace’s emotions, the juxtaposition of the past with the present, and that is Mathew. A former philosophy professor, Mathew’s zest for life is reflected in his saying, ‘Life is more beautiful than a dream. You just need to know how to live life.’ Trusting his wife, whom he loves very much and bonding with Achutha Menon, Mathew reveals the magnanimity of his heart. This love triangle breaks stereotypes with its sensitivity and poignant portrayal. Blessy’s in his inimitable style reveals the battle of emotions in Grace, who is torn between love and affection, often leaving a lump in your throat. 

Plus Points: Mohan Lal as Mathew, Anupam Kher as Achutha Menon and Jaya Prada as Grace essay a brilliant performance. It is hard to single any one actor as the best. The on screen chemistry between Mohan Lal and Jaya Prada is beautiful. Notable are other cast members for their impressive performance especially Anoop Menon as the son Suresh and Apoorva as the grand- daughter Megha. Music by M. Jeyachandran is melodious. I loved the song, “ I am your man,’ song by Mohan Lal. Several moments from the story linger in the mind, like the one where Achutha Menon takes Grace and Mathew across a stony incline to view a colony of butterflies.

Minus Points: The flash back sequences featuring a young Grace and Achutha Menon were quite melodramatic and uncalled for. 

Camerawork:  Satheesh Kurup’s work  is breathtaking. You have to see it.

Verdict: A clean family drama that tugs at your heart strings with its moving moments

Muran

This psychological thriller starring Cheran and Prasanna in lead roles entertains

Said to be inspired by Alfred Hitchcock’s ‘Strangers on a train,’ Rajan Madhav’s ‘Muran,’ brings two strangers together while on a road journey. Nanda (Cheran) is a promising guitarist who has signed his first film and is returning home. Enroute, his car breaks down thanks to a rowdy group of young men travelling alongside him. Arjun, a business tycoon’s only son and an arrogant playboy gives him a lift. Little does Nanda realize that his life will not be the same anymore, what with Arjun, who has a penchant for adventure and wild thrills. Initially Nanda is not keen in participating in such fun, but Arjun with his charm and easy banter manages to get Nanda to join him in such activities. As the story unspools, viewers learn about Nanda’s unhappy marriage. You also learn about Arjun’s past and his relationship with his father. And just when you start feeling that Arjun is not that bad after all, comes a new twist in the tale with the death of Nanda’s wife in a car accident.  Rajjan Madhav’s debut work keeps you engaged till the end.
Plus Points: Cheran and Prasanna walk away with the honours. Prasanna excels in his role as a real prick. Cheran impresses with his subtle performance. Playing his love interest is Haripriya who does a neat job. Music by Sajjan Madhav is good.
Minus points: A tad too long, the film could have done with some editing.
Camerawork: Padmesh’s camera is cool.
Verdict: Watch this psychological thriller for Prasanna, who  matches Cheran  step by step creating the perfect tango. 

Ra Ra

‘Ra Ra’ with all ingredients of a typical Kollywood masala fails to tickle your palate

Here is a recipe for a Kollywood masala.
First, open the film with lungi clad long haired goons walking in quick purposeful strides brandishing, yes you got that right, an aruvaal.
Next, introduce the hero attired in bright costumes with a group song. Dress up the extras, (I am obviously referring to the women),  in short outfits, better actually in those school pinafores with rising hemlines and let them shake their hips to a cacophonous number.
Third, a must ingredient, is a comedian. He is usually the hero’s best friend and ally in distress and gets to deliver those inane dialogues. Make them as crass as possible if you want to elicit roars of laughter from viewers.
Four, stir in a good dose of songs, one when the hero and heroine accidentally meet and lock eyes, another when they take off to fantasy land, a third when they are separated, a fourth sees them rejoicing together with family holding hands. Is there any dearth of situations?
Five, tip in the spice container a bit as you mix in suspense and drama with a little secret tucked away and just waiting to tumble down towards the end. Your brew is ready.
Well, Ra Ra,’ refers to Royapettah Royapuram and  has all these ingredients in good  measure, tweaked anew with references to Thirukural. In the acting department, Udhaya needs to work hard. Shwetha Basu makes a pretty arm candy. Ponvannan stands out among the cast. A good actor like Aadithya has been wasted. 


Verdict: With unbelievable and illogical situations, (for instance the idea of tying up the old Iyer couple), this film takes the audience’s intelligence and time for granted.

Vaagai Sooda Vaa

A simple story sincerely told. With brilliant visuals and refreshing music, Sargunam’s second outing is a must watch

With Vimal in the lead once again, Sargunam takes you on a trip to the sixties when the radio ruled instead of the idiot box and the net was unheard of as people waited for the snail mail to arrive.
Veluthambi (Vimal) arrives in a little known village of Kandeduthaan Kadu, home to a community of brick makers. Velu’s dream is to get a government job. His plan is simple. As suggested by his father, he hopes that this teaching experience will earn him a certificate and ultimately lead him to his dream job. But from the word go, he falls prey to the children’s pranks. And try as he may, he is unable to lure them to his class.  Neither are their parents keen on their education. They would rather have them help in making bricks. Ruling over this illiterate community and exploiting them is the land owner. Seems like an old plot? Not really. For the difference lies in Sargunam’s treatment of the script. His characters are believable be it Velu or Madhi, the tea seller in love with Velu, or her father who derives a thrill stumping people with his mathematical riddles and of course the bunch of mischievous children. Nor does he rush through the plot. He lets the characters grow gradually and imprint themselves in the minds of the viewer.  Shot realistically with attention to little details, the director proves that one can still create a good piece of art, sans big stars, sans verdant locales, sans glamour, sans revealing costumes and that comedy can be healthy and humorous sans double entendres. Not to forget that there are few people who rise above material needs to follow their heart.

Plus Points: Vimal acquits his character brilliantly. With his naïve expressions and attired in neat costumes of yore, the role seems tailor made for him.  Supporting him is debutant Iniya as the love struck Madhi. She shows plenty of potential.  Cute is her impromptu jig for a song. Another plus point is the casting. Thambi Ramiah as Madhi’s father and the child actors leave a mark.

Minus Points: Sadly Bhagyaraj as Velu’s father fails to impress.

Cinematography: Om Prakash’s camera defies the notion that only lush and green can be breathtaking, Panning an arid landscape in hues of brown and orange, he has captured landscape and sky most beautifully leaving the viewer speechless.

Music: On his maiden venture M. Ghibran's music is refreshing, with rich notes and lilting melody that lingers long after.  

Verdict: ‘Vaagai soda vaa,’ leaves you with a warm good feeling. Not a film to be missed.  

I Am Kalam

No, this is not an autobiographical tale of the former President of India. But a tale that inspires a little boy, Chottu to dream big. With a widowed mother and an infant sister to support, Chottu works in a dhaba run by kind-hearted Bhatti, much to the chagrin of his co-worker, Laptan.  A quick and intelligent learner, Chottu impresses Bhatti with his tea making skills and his compassion for a sick camel that he restores to good health. Yet, deep inside, Chottu yearns to go to school like the Prince of the haveli next door. Chottu is fascinated by his uniform and the neck tie.  Motivating him further is Abdul Kalam’s address on TV. Modeling himself on the former President, Chottu gives himself a new name, ‘Kalam.’ On one of his visits to the haveli-turned resort serving foreign tourists, Chottu meets the Prince. Friendship blossoms between the two as they share joyous moments together and learn new skills too. The Prince teaches Chottu English and how to knot a tie, while the latter teaches the Prince Hindi besides climbing trees and camel riding. Not to forget the gifts the two friends exchange. Chottu after a visit to his village brings a kada for the Prince who in turn is ready with his present, a set of books and a neck tie for Chottu. Adding company to this twosome is Lucy, a French tourist (Beatrice Ordeix). Lucy helps the Prince with his French lessons and promises to take Chottu to Delhi. The kill joy however in Chottu’s life is Leptan, who loads him with chores. And in a fit of jealousy, he even burns Chottu’s books.  Yet, Chottu never once loses hope nor the ability to dream. That’s what this story is all about and the need to educate the less privileged.

Plus Points: The two child artistes score over the adults with their splendid performance. While it brought home the national award this year for Harsh Mayar as Chottu, Husaan Saad played the role of the Prince to the hilt.  The scenes with the two boys are really cute, especially the way they hail out to each other, with bird calls. What a change to see Gulshan Grover, the eternal baddie in a good role as Bhatti.  And he stands out with his understated acting.  Good work also by French actor Beatrice. Pitobash, (remember him in ‘Shor in the City’) impresses as a young man idolizing Big B. There is clean humour too.

Minus Points: Can’t think of any.

Camerawork: The sands of Rajasthan look appealing through the lens. There is a beautiful scene when an entire group of onlookers join in an impromptu jamming session led by Beatrice followed by Chottu. Another scene captures the desert sands at night under a moonlit sky, as Chottu weeps by the side of his camel. A poignant moment.

Verdict: A hit at international festivals, this cute story of a little boy’s dream touches the heart with its innocence, perseverance and humour. A film for the family. 

Bombay March 12 (2011)

This Malayalam thriller questions the innocence of a Muslim in the wake of bomb blasts. Sensitively told and realistically shot, it touches a chord with the audience.

What’s in a name? Plenty if it is Sameer or Shahjahan. You could be misconstrued for a terrorist and be handcuffed without any warning by the protectors of law.  Babu Janardhan’s debut film, ‘Bombay March 12, 1993’ set against the backdrop of the 1993 bomb blasts of the city is just that. 

Sameer, a Corporation sweeper in Allapuzha is viewed with suspicion by the police. Married to Abida with a little daughter, Sameer lives with his aged in-laws and cares for them like a son. Trouble starts when he is picked up by the cops from the hospital while attending to his ailing father-in-law. Thereafter his life takes a beating, when Abida believes in what the rest think, that he was responsible for the death of her brother, Shahjahan, an IT professional. As the true identity of Sameer unfolds, you travel in flashback between Alapuzha, Mumbai and Pochampally, learning more about this Hindu priest, Santhana Bhatt from Kasargod, who converted to Islam.

Plus Points: This is not just another film on terrorism depicting Muslim community in poor light but a sensitive story on the travails and insecurities of being a Muslim in India. Convincingly told, this racy narration gently prods the audience to think. The subtlety with which Mamooty portrays his two characters, that of Sameer and Santhana Bhatt, speaks volumes of his acting prowess.  Roma as his wife Abida   shows she is capable of serious roles, deviating from her usual bubbly self. Unni Mukundan, (last seen in the Tamil film, Seedan) slips into the character of Shahjahan, well.  Sadique as Abida’s father is good. Certainly a script that deviates from the mundane.

Minus Points: With too many flashbacks and narration back and forth, you are sometimes left trying to figure where exactly the story is heading. 

Camerawork: The hurried pace of Mumbai and the lackadaisical life of Allapuzha are well captured.

Verdict: Clearly a much better script than Karan Johar’s ‘My Name is Khan,’ that dwelt on how the world views Islam and the perils that accompany a Muslim surname. 

180 / Nootrenbadhu

This romantic story emphasizes on living each moment to the full instead of losing out on today’s joys while fretting about the morrow.

AJ (Siddharth) an NRI arrives in Chennai where he finds joy in making others happy, be it while delivering newspapers with the delivery boys or lending a hand to the ironing vendor and even spending time playing carom at an old age home.  Vidya, (Nithya Menen) a photo-journalist impressed with his attitude befriends him. Little does she realize that she is falling in love with this man of whom she knows very little. But when she opens her heart to him, AJ decides it is time to leave town. No, it’s not one of the run of the mill romance flicks. This cute and fresh story from duo writers SUBA and Jayendra holds your attention in the first half pulls at your heart strings in the second half and keeps you guessing towards the end. 

Plus Points: Nootrenbadhu is  a welcome break from those Madurai based stories spilling with blood as well as those rural scripts packed with kuthu songs and arresting visuals. In this urban flick the characters are real and their fears human. Siddharth as AJ delivers. His chocolate boy looks endears him to the audience and he emotes well, though at times, you feel he could have done better.  The onscreen chemistry he shares with Priya Anand (as Renuka) is great. Supporting the story are  Nithya Menen and Sricharan (last seen in M3V) with their performance that is not over the top. Technically the film speaks of style and class with respect to each shot. Some images linger in your thoughts, especially the scene in Varanasi, where a little boy performing his father’s rites is more engrossed with his toy car. 

Minus Points: If only more care was taken with respect to Nithya Menen’s wardrobe, she could have appeared slender. The film could have done with slick editing.

Music: Shareth’s music comes as a fresh breath of air. 
    
Camerawork: Visuals realistic meeting the demands of the script.

Verdict: Do watch 180. There is cute love, entertainment, clean humour and an underlying message on life’s uncertainties.  It’s a good start for ad film maker Jayendra.

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Avan Ivan (2011)

A tale of two stepbrothers who are into petty thieving, this cocktail from Bala fails to quench your thirst for good cinema

Kumbudren Samy (Arya) and Walter Vanangamudi (Vishal) are stepbrothers who follow the family business, petty thieving. Kumbudren is adept in his trade unlike Walter, whose heart beats for dance and acting. They both look upto the erstwhile zamindar, Highness (G.M Kumar), who basks in the former glory and with his kind nature commands the respect of the people.  Actually there is nothing much to write about in the first half of the film, where you are introduced to the characters and their idiosyncrasies. Enter a villain, RK, in the role of a cattle smuggler and there is bloodshed and revenge, the final concoction for the cocktail. But does it make a better drink?

Plus Points: Just like all Bala films, his characters live on the fringes of society and deviate from the usual. So is the case here with the stepbrothers. Vishal in his role as the squint eyed Walters is remarkable. Kudos to Bala for revealing to us the actor Vishal.  Arya is a perfect foil to Vishal lending support with his easy acting. G.M. Kumar delivers a good performance. And so does RK.

Minus Points: The narrative lacks a thread of continuity. And what was the story about, you can’t help asking yourself as you leave the hall. The women in the film can be ignored. Ambika and Prabha Ramesh as the mothers of the two stepbrothers are too loud and cantankerous. And the love interests of the two brothers played by Janani Iyer and Madhushalini, mere arm candy. Janani however makes an effort. The police force is once again ridiculed for its inefficiency. Have we not had enough of this?

Music: Yuvan’s music does not linger in the mind either.   

Camera work: Breathtaking visuals. 

Verdict: Touted as a comedy, this story seems to be ridiculing the viewer’s intelligence and time instead. Where is the Bala of Sethu, Pithamagan and Naan Kadavul? Evan Ivan? 
This is however a Vishal film all the way. 


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Azhagarsamiyin kudhirai (2011)

A cute story set in a rural milieu with the right dash of love, comedy, drama and suspense. And spiked with Illayaraja’s mesmerizing music. That’s Suseendran’s ‘Azhagarsamiyin kudhirai,’ a tale of two Azhagarsamiyis whose horses go missing.

Malayapuram, a village near Theni is gearing up for its annual fest, the thiruvizha, in order to appease the Rain Gods.  But one morning, the wooden horse on which Azhagarsamy, the village deity is carried around is stolen. So a Kerala namboodiri is brought in, who the villagers hope will solve the mystery using his astrological prowess. They fail to see that he is a conman. 

One night, a white stallion finds its way into the village temple and the namboodiri exploits the innocent villagers by insisting that Azhagarsamy’s wooden horse was back, but in its real form.  Subsequently, when several good things happen in the village, the people consider the horse a lucky charm. And they will not part with it, not even if it’s rightful owner, Azhagarsamy, (Appukutty of Venilla Kabadi kuzhu) hailing from the neighbouring village, comes in search of it. Appu, the horse is his childhood friend and he makes a living with it. Naturally, he wants his horse back. Finding Appu will also will get him his bride, the fair and pretty, Rani, (Saranya Mohan) as promised by her father. Woven into the main story is a parallel love story. 

Plus Points: This simple and straight forward narrative keeps the viewer engaged.  Excellent casting, be it the village President, or the naughty ‘Minor,’ with his dark glasses who goes about sowing his wild oats. Everyone essays their part to perfection without going overboard. New comers Advaitha and Prabhakaran as the young lovers acquit themselves well. Appukutty in the shoes of Azhagarsamy fits the role to the T. Saranya Mohan, though in a small role as his lady love, Rani impresses with her subtle acting. Another plus is the clean humour, sans double entendres and slapstick comedy. 

Minus Points: Only wish the editor had used his scissors with comedy tracks featuring the namboodiri and the policeman in mufti. By the way, why can’t Tamil directors get it right when it comes to dialogues in Malayalam? 

Music: Illayaraja’s score especially the playful strains of ‘kuthikira kuthikira kuthirakutty,’ follow you long after you leave the hall.  

Camerawork: Awesome! The lush environs around Theni captured by Theni Eashwar enhance further Bhaskar Sakthi’s story and Suseendran’s screenplay. 

Verdict: Azhagarsamyin kuthirai comes as a fresh breath of air, after a spate of urban centric clichéd stories shot abroad. 


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Memories in March (2010)

OFF THE BEATEN PATH


Film makers in the west have made films on alternate sexuality. But this subject is seldom touched upon in Indian cinema. Oh yes, we do refer to homosexuality with tongue in cheek humour (as in ‘Dostana’) or pass it off as cheap jokes (you see this in Kollywood films). Coming to mind also is Deepa Mehta’s ‘Fire,’ starring Shabana Azmi and Nandita Das, a film that dwelt on the lesbian relationship between two co-sisters. The director dared to broach a subject that was a taboo in 1996 earning the wrath of the moral brigade. 

Today, with the decriminalization of Section 377 of the Indian Penal Code, homosexuality is out in the open and no longer referred to in hushed tones. Yet, director Sanjoy Nag’s debut film, ‘Memories in March,’ did not linger in theaters for more than a week. Written by Rituparno Ghosh, the film talks about homosexuality, but does not make a big fuss over it. 

How does a single mother, who is trying to grapple with the sudden demise of her only child, come to terms with her son’s sexual leanings? This is what ‘Memories in March,’ tries to understand.
Siddharth, a young copy writer working in Kolkata dies in a car accident. His mother, Aarti Mishra, an art curator, flies down from Delhi. Post funeral, she stays for three days in his apartment. Besides, carrying his remains, she wants to take back with her his belongings. She  visits his office and expresses her desire to take Sid’s possessions left there. But Ornob, Sid’s boss does not immediately hand them over to her. He tells her he needs time to think, much to her chagrin. While trying to pacify an irate Aarti, Sid’s colleague, Sahana reveals the truth about Sid and Ornob; that the two shared a relationship.  Naturally, Aarti finds it hard to accept, she believes like every other mother, that she knows her child well. 

Deepti Naval as the bereaved mother remains with you long after the story is over. Her poignant expressions are perfect. You understand her anguish when she repeatedly questions Sahana and Ornob, ‘Why did no one bother to drive Sid home when he was drunk that fateful night.’
 And when she calls up Sahana late in the night to tell her about the condoms she found in Sid’s cupboard, (as if to assert that Sid was straight after all), you can’t help feeling sorry for this mother. You blink your tears, when she asks Ornob, “Why did you seduce my son. Why did you choose him?” You almost nod in assent when she tells Ornob, that had she known about Sid earlier, she would have taken him to a psychiatrist. Watching this talented actress of yore is a pleasure. 

Although the film moves at a slow pace, it keeps you engaged with its realistic touches to the story.  In an interesting approach, the director refrains from showing any photograph of Sid. He leaves it to the imagination of the viewers who get to know him through his letters and conversations with his mother.
As for Sahana, she is a young and smart woman of today whose love for Sid goes unrequited.   Dignified yet caring, Sahana takes it in her stride and moves on with life, even after his death. That was a commendable performance from Raima Sen. 

Rituparno Ghosh as Ornob, Sid’s gay partner is brilliant with his dialogue delivery. He reaches out to Aarti, whom he seems to know well, through Sid. Noteworthy is the fact that the director has not stereotyped him with costumes and mannerisms to emphasize his alternate sexuality.
As curtains down, Aarti realizes that Sid had left behind a little bit of himself in his two friends,  something that she could not take home. Sadly, even the urn containing his ashes is broken in a rain storm on the eve of her departure. So much for tangible possessions!
One thing I failed to understand was how could a mother within a short span of three days  reconcile with her son’s lover and even bond with him. That may have been possible over time though.

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