Kayal’ a compelling tale that makes you want to fall in love again

It’s a pain we can all identify with: the pain of being in love and missing your beloved.
For Kayal, a teenager working as a housemaid in a zamindar’s house, love is a new experience, something unanticipated in her life.  So when Cupid strikes his arrow, coming at a most improbable time and under implausible circumstances, Kayal is bewildered. 
She listens in disbelief when a stranger, Aaron openly professes his love for her in the presence of many.  She tries to understand the strange new feeling clasping her heart. But after a point, Kayal breaking down into tears, runs indoors calling out to her mother.

Her mother is a mere photograph on the wall that the orphan girl holds close to her bosom while her grandmother calms her down. The old lady does nothing you would expect another grandma to do. She urges Kayal to leave home and seek out her beloved.
The innocent Kayal looks up and asks, “Where? How?
After all, she had only met Aaron for the first time, the night before, when at  the insistence of her employer, she questioned him to find out the whereabouts of her employer’s daughter, who had eloped on the eve of her marriage.
And, in the stillness of the dark night, Aaron listening to her talk is completely besotted by her beautiful eyes that light up in the glow of a lantern. Aaron knew, like he had always believed, that love had caught him napping. 
When the family members douse him up in kerosene and ask Kayal to strike a match stick on him, Aaron is unmoved as he says, “It does not matter, for I have left my heart behind with her.”
Director Solomon builds up this love story gradually, introducing us first to Aaron and Socrates, two insignificant young men who feed their wanderlust by taking up temporary work. “Like the wind” as Aaron puts it, they have seen the snow- capped ranges of Ladakh, posed before the Taj Mahal, trekked through the rain forests of Meghalaya, rolled on the sand dunes of Rajasthan and now were bound towards Kanyakumari, the only place left to cover.
Enroute they unwittingly help a pair of lovers to elope which lands them into trouble. 
Solomon while scripting the story has carved his characters with immense love. It’s not just the lead players even the fringe actors have a definite identity, be it Socrates, (new comer Vincent) or the bride’s father and her uncle (Tamil journalist Yogi Devaraj).

Infusing good humour he keeps viewers chuckling and even makes you ponder over Aaron’s philosophy on life- that life’s journey is not merely chugging on all the time but stopping now and then for a relaxing break.
Amidst a high tension drama at the zamindar’s home with the bride disappearance, Solomon tickles your funny bone too.
Hilarious moments abound with an old woman’s speechlessness and a batty senior citizen who struts around in his new attire. More funny moments lie in store during the second half of the story when a group of college girls decide to help Kayal in her search for her beloved.
Yes, there is talk of violence and inter-caste marriage and there is anger, but it is not brutal nor heard in expletives.
With new actors playing the lead roles, Solomon’s story is believable. Chandran as Aaron rocks as he goes through a gamut of emotions. Anandhi with her innocent looks is every inch vulnerable. And as you follow her to Kanyakumari, your heart beats fast with one question: When will she unite with Aaron?
But then a tsunami strikes Kanyakumari!
So will ‘Kayal,’ go the ‘Mynaa’ and Kumki’ way, Solomon’s earlier two films?
Go watch ‘Kayal.’ And look forward for a visual extravaganza as cameraman Vetrivel Mahendran reveals Nature in her finery and while at it, do savour Imman’s melodious compositions. 

‘Iyobinte Pusthakam’ is sheer poetry in every frame

When  an acclaimed cinematographer like Amal Neerad directs a film, you can expect a visual treat. ‘Iyobinte Pusthakam,’ is Neerad’s eleventh film.
The story opens with Punnose, a communist comrade who has penned a book, ‘Iyobinte Pusthakam.’ Punnose is living in the seventies when the emergency period was declared in India. While he waits for the arrival of the police to arrest him, Punnose narrates this story from his life.
‘Iyobinte Pusthakam,’ a saga of Iyob and his three sons belongs to the pre-independence era of India and is set in Munnar tea estates. When we first meet Iyob, he is a young lad working in the tea estates of Harrison, an Englishman. Harrison rescues Iyob from being thrashed by his  supervisor and soon takes him under his wings.
In some time, Harrison’s wife fed up with the Indian life returns to UK. Harrison takes in Kazhali, a Toda tribal woman (considered a sorceress and feared by the natives) as his mistress. Kazhali’s good fortune ends with Harrison’s death.
Now, Iyob assumes charge over Harrison’s house and estate.  And wastes no time in throwing out Kazhali, who is pregnant with Harrison’s baby. From a docile servant, he changes to become an arrogant and dominating master in the estate and is most feared and despised. 
But his wife, Annamma is unhappy with Iyob’s attitude towards  Kazhali and extends friendship to her. Annamma contracts malaria and dies, leaving Iyob to bring up their three sons alone.
Dmitri and Ivan, the elder two sons are a chip of the old block, but .  Aloshy, their younger brother takes after Annamma and is soft hearted. After witnessing his older brothers kill their servant girl, a terrified Aloshy runs away from home. He joins the British Navy.
The film picks up steam when Aloshy is forced to return home after being indicted in a naval mutiny against the British Queen. He is shocked to find that his father and two brothers have not changed at all. They remained the domineering masters and harassed the commoners.
While Dmitri, indulged in sexual exploitation, not sparing any woman,  the egoistic Ivan was power hungry. Trouble brews when Aloshy reaches out to the poor and oppressed and with his two brothers baying for his blood following an argument, Aloshy leaves home again.
From the word go, each frame is sheer poetry not just in the realm of photography but in its screenplay as well, transporting viewers on an overwhelming journey back in time.
Co-writers Gopan Chidambaram and Syam Pushkaran grab the attention of viewers with their taut screenplay. The characters are solid, busting stereotypes, each distinct from the other as they emerge on this vast canvas. Amal Neerad’s unique presentation lies in its silent eloquence where a lot is conveyed with few spoken words. Not letting down the writers and director is the flawless performance of the cast. It’s a powerhouse performance without any self-indulgent give away from veteran actor Lal Sr. As Iyob, he is terrific.
Fahad Faasil, who surprises you with every new film is brilliant as the quiet yet determined Aloshy. Barely smiling, Aloshy speaks only through his eyes mostly. Fahad has co-produced the film with Amal Neerad.
Whoever thought that Chemban Vinod Jose last seen in ‘Saptamashree Tashkarha’ as Martin, a petty thief, could transform himself into Dmitri, the sadistic and impotent husband of Rahael? Jinu Joseph as Ivan is commendable on debut. Vinayakan as Chemban is another versatile actor. Watch out for Jayasurya, as a Tamilian businessman, Ankur Rawther, who devious ways are camouflaged behind his omnipresent smile and the steely glint in his eyes.
Among the actresses, Padmapriya is outstanding. As Rahael, Dimitri’s wife, she plays a seductress to the hilt, who switches loyalties to suit herself. Lena as Kazhali brings to the fore a tribal woman, who has been wronged.  Somehow Isha Sharvani as her daughter Martha, flits in and out of frames as a pretty picture. Even when in love with Aloshy, her expressions don’t come through. On the other hand, Cheeru, Chemban’s wife justifies the strong woman she personified.
But the most incongruent scene in this period tale was Amala Paul’s dance, thrust suddenly into the sequence of events.
Mind you, in this story of man eat man, there is a lot of gore and gruesome violence. Yet, this one is not to be missed if you love good cinema.

Kaaviya Thalaivan’ brings in a whiff of fresh air

What was life on stage, in the pre-independent era in India, particularly in Tamil Nadu, when the big screen was unheard of?
When entertainment meant squatting on the ground and watching  characters come alive on a stage in front; where men played female characters; where costumes and make-up was loud and actors raised their decibels so as to reach the man at the rear row; where music was  sweet melody, devoid of the trappings of digital age and loud instruments; where re- recording and retakes were never heard of.
Tamil director, Vasantabalan who is remembered for his ‘Veyil,’ (a national award winner that was screened at Cannes Film Festival in 2007) and ‘Angadi Theru,’ (another critically acclaimed film) takes viewers on an enchanting journey with his new film, ‘Kaaviya Thalaivan.’
This period drama is pivoted around a travelling drama group, managed by Sivadas Swamigal (Nasser). And in his group the lead players are Kaliappa Bhagavathar (Siddharth) and Gomathi (Prithviraj), who often perform together on stage as pairs and as the antagonist and protagonist. Kali and Gomathi having grown up under Swamigal’s care since childhood share a close bond, akin to siblings. While Kali is the playful yet earnest actor, Gomathi is a dedicated young man who strictly follows the dos and don’t’s of his guru, striving hard for his guru’s appreciation.  But Swamigal seems to have a soft corner for Kali and that gradually makes Gomathi jealous of Kali.  Fitting well into Gomathi’s skin is none other but the Malayalam star, Prithviraj known for his versatility. As emotions inside Gomathi shift between pride and jealousy, Prithviraj portrays it with a finesse, speaking a lot mostly through his eyes and before he realizes it, the green eyed monster has consumed him taking him on the road to doom. Playing the perfect tango to Gomathi’s character, Siddharth as Kali, allows himself to be submerged in his character. And what a performance he delivers! While ‘Kaaviya Thalaivan’ rides on the shoulders of Prithviraj and Siddharth,  the supporting blocks deserve equal applause. Veteran actor Nasser lives up to his reputation. Thambi Ramiah, Ponvannan and Singam Puli slipped into their characters with ease. Director Vasantabalan’s casting of Vedhika as Vadivambal, the only female actor in Swamigal’s group and Anaika Soti as Princess Rangamma in love with Kali is perfect.
Vadivambal’s character has been inspired by the legendary singer-actor K.B. Sundarambal. And Vedhika, who impressed with her performance in Bala’s ‘Paradesi,’ proves once again that in the hands of a good director, she is putty. Anaika is cute as Rangamma and a talent to watch out for.
Complementing the beautiful story is Rahman’s music. Nirav Shah’s camera work is just awesome.
Vasantabalan’s daring attempt to narrate a period drama is refreshing   and a pleasant change from the routine fare doled  out in Tamil cinema. Screenplay and dialogues transport you to another era and travelling with the drama group, viewers go through a gamut of emotions.
Indeed a class act. 

Nerungi Vaa Muthamidathe’ seduces with its brilliant narration

 Director Lakshmy Ramakrishnan returns with ‘Nerungi Vaa Muthamidathe,’ (Come closer but do not kiss), an intriguing title. 

When the film opens to reveal a dark night and a person swimming out of the sea, who subsequently makes a run on hearing an approaching police van with sirens on, you wonder if it is one of the regular films churned out. But then Lakshmy Ramakrishnan throws in surprises with her narration, that is clearly not the usual.
It does not take long before you hitch onto a truck ride onscreen, a journey that begins in Trichy at a go-down where women are sorting out onions. The truck is headed towards Karaikal port on a day marred by petrol strike.
As the truck chugs and meanders on its course, there are pit-stops, moments to laugh and unforeseen accidents adding to the thrill of the journey. Weaving several stories into this multi-layered script, Ramakrishnan introduces us to Subramaniam, the hard working petrol bunk owner with a son Chandru, who fails to meet his expectations. So when he discovers that Chandru has stolen large quantities of diesel from his bunk, angry would be to put it mildly.
As for Chandru, he is on a journey, driving a truck, transporting a load of onions that conceal cans of diesel for Kaleeswaran, (A. L. Alagappan) a devious MLA. What he is unaware though is Keeswaran’s wrong motives for transporting the diesel.
Enroute Chandru allows a young couple Maha and Pichai, who have eloped, to take refuge in his truck. The lovers, belonging to different castes, he the son of a barber and she an upper caste girl, are on the run, with her family baying for their blood.
At a pit-stop, Chandru is coaxed into giving a lift to a stranger (Thambi Ramiah). He is one of those pricks you encounter sometimes on a travel.
Narrated in a style that smacks of maturity, Ramakrishnan gently ushers in characters and their stories, all the while keeping the audience  guessing.  There is Maya, a young woman holding a grudge against her mother, a singer.
Complementing the brilliant narration is the performance of the cast. New comer, Shabeer, who carries the story on his shoulders, gets into the skin of Chandru, a truck driver, with an admirable ease. His acting is subtle and believable. We are never told that he is the hero though. No duets, no forced item songs, no silly humour nor double entendres. Humour is delivered by Chokku, Chandru’s friend played by Bala Saravanan, who is a remarkable performer, fondly remembered for his role ‘Pannaiyarum Padminiyum.’
Thambi Ramiah’s character is a real surprise though.  Pia Bajpai, known for her bubbly roles is another surprise. As Maya, the angry and disturbed young woman desperate to know who her father is, Bajpai emotes well. It is a poignant moment, when she learns the truth about her mother’s past. Only a woman director could have handled this scene with grace. No sickening flashbacks mind you. Y.G. Mahendran delivers his character with great aplomb. Viji Chandrasekhar as Maya’s mother fits the role well. 
‘Nerungi Vaa Muthamidathe’ takes many slices from people’s lives. Without being preachy, Ramakrishnan chides young lovers for their impulsive behavior asking them to focus on education first. And putting across the fact that parents only wish well for their children, she makes Chandru repent for trusting Kaleeswaran and ignoring his father.
Ramakrishnan plays a guest role and so does producer A.V. Anoop.
Madley Blues’ music is another strength for this film. Sabu Joseph’s camera work is splendid.
And if you are still curious about the title, I think it’s time you caught it on screen. Don’t forget to take the family along.
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‘Poojai’ an action film from the word go

‘Tamil director Hari’s Diwali offering, ‘Poojai,’ adheres religiously to his formula of film-making. From the moment the screen opens till the last scene, there is action and gore. And, if you have watched his earlier films, you know what to expect.
Vasu (Vishal) is a loan shark making a living in the markets of Coimbatore and with our first introduction to Anna Thandavam, (Mukesh Tiwari) a contract killer posing as a respectable businessman, Hari prepares the stage for the battle.
The story gathers steam after Anna Thandavam’s plan to kill the Deputy Commissioner of Police (Sathyaraj) goes awry. Vasu saves the cop. Now the foremost question in Anna’s mind is- ‘Who is this Vasu?’
Love blossoms between Vasu and Divya, (Shruthi Haasan) a young woman whom he meets in a mall. And they break into a duet at the slightest instance taking viewers with them to exotic locales.
Did I mention about the guest appearance of singer Andrea in a song sequence? Going by the trend, Tamil films seem to be incomplete without a booze scene, so Vasu and friends find an excuse to drink and with that they put on their dancing shoes. The result is a song sequence with Andrea.
Slapstick comedy does little to tickle the funny bone here. Where is the humour in Soori bashing up his junior, Black Pandi at regular intervals? This Soori joke has been done to death and its time he pulled out something else from the box.
Melodrama, another ingredient in all Hari stories exists here too. With a large family Vasu takes up cudgels for their welfare even travelling all the way to Patna to avenge his mother’s death.
It is a Vishal show all the way and undoubtedly the actor comes with an impressive performance. But the story is nothing new.  Radhika’s performance as Vasu’s mother was commendable. And Shruthi Haasan’s expressions are certainly improving with each film. She looks lovely in each scene, her costumes complementing her well.
‘Poojai,’ contrary to its title has aruvaals (sickles) flying all the way, (you had better duck) and is predictable to the core.
If you love action and are a Vishal fan, then this one is up your alley.

‘Kaththi’ barely razor sharp, woos Vijay fans with its double treat

Why is it that the prisons in Indian films are so easy to break out from?

And, why are cops reduced to a dumb force that seeks help from a jailbird?
Tamil film, ‘Kaththi’ opens with that premise. 
When a dreaded criminal escapes from Kolkata prison, the cops approach jailbird Kathiresan, (Vijay) to help them nab him.
And they justify their action with a Tamil proverb that goes like this: ‘mulla mullalethan edukkanam.’ (A thorn can be pulled out by another thorn).
Kathiresan is happy to oblige. He gives chase to the criminal with cops following him and eventually the criminal is caught.  But then Kathiravan goes missing. Before the cops realize it, Kathiresan reaches Chennai and surprises his friend Satish. Now the search for Kathiresan is on and with that, Murugadoss’ story gets rolling.  
To evade police arrest, Kathiresan decides to fly to Bangkok, but at the airport, the pretty looking Ankita (Samantha) stops him on his tracks when she borrows his pen. Kathiresan tears his ticket to Bangkok. 
Time now for a song. 
So Kathiresan goes singing and dancing right there at the airport. Giving him company are co-passengers and flight stewards. 
Don’t forget that the impossible is possible on our Indian screens. 
Now, that the love angle has been established, what’s next? 
Pop in the emotional quotient.
 Murugadoss brings in Jeevanandham, a look alike of Kathiresan, who is injured in a shooting while driving his van. 
And appropriately, Kathiresan and his friend are witness to the shooting. They rush Jeevanandham to a hospital in time. 
Next, the twist in the tale.
Kathiresan decides to switch places with Jeevanandham, a much loved social activist who is striving for the welfare of farmers in his village.
Subsequently, Jeevanandham finds himself in Kolkata prison when he regains consciousness while Kathiresan is enjoying the hospitality and love at an old age home that Jeevanandham managed. 
Bring in the villain next.
Viewers are introduced to Bollywood’s Neil Nitin Mukesh. A business tycoon, he is eyeing the very land that belongs to Jeevanandham’s villagers, where he plans to set up a factory. But then Jeevanandham is the thorn in his plans.
‘Kaththi,’ is an ideal Vijay film. You pay for one Vijay starrer and fans get to watch two Vijays: the sober looking Jeevanandham and a  messiah of the poor. The second role is Kathiresan, a petty thief who wins hearts with his cool attitude.
What perks up this masala laden narrative is the second half when Kathiresan in a change of heart takes on the mantle of Jeevanandham.
Playing a one man army, Kathiresan goes around beating goons, even taking on twenty and more. Like I said, anything can be conjured up on the Indian screen.
That one scene where Kathiresan addresses the media putting across in statistics the woes of farmers and their suicides makes audience sit up.   He also makes a dig at the media for their unsympathetic attitude in their quest for sensationalism. 
As for Samantha, she is pure eye candy with hardly any scope to perform.  All she does was oscillate  between a happy face and a sad face. Neil Nitin Mukesh also does not have much of a characterization, besides his sarcastic laughter and arrogant attitude. 
Catch Murgadoss in a brief appearance too. Comparisons with his earlier films is inevitable, especially when ‘Kaththi’ was looked forward to.  ‘Gajini’ even with its gruesome violence had a solid story with excellent characterization which was matched with splendid performances. That is missing here. Music was a another plus for ‘Gajini.’ ‘Kaththi’ s music hardly lingers in the mind. 
Even ‘Thupakki,’ his last film with Vijay was enjoyable and a story that convinced the invincibility of the hero.
Recently there was another small film, ‘Kurai Ondrum Illai,’ that also spoke on farmers and their suicides. Taking up their cause, it exhorted MNCs to include them in their technological stride. Sadly it did not get its due although it had a more realistic tale.
This ‘Kaththi’ is not razor sharp in its telling and could do with a whetstone in the form of a better story.  

‘Kurai Ondrum Illai’ appeals with its honesty and simplicity

Karthik Ravi’s debut film, ‘Kurai Ondrum Illai,’ (translated as ‘There are no flaws’) makes no tall pretensions.

This love story is told in a simple manner and in the process the director also put across the message of including our villagers, especially farmers, in our technological march.
Krishna (Geethan Britto) is a sales executive of large private company. When he suggests to his seniors that the company should extend their sales network to the villagers and include farmers too, his immediate boss brushes away the idea. But the company’s Vice-President likes it and gives Krishna a chance to try it out. Krishna arrives in his village where his grandmother lives. There he meets a young doctor, Sangeetha (Haritha Parokod) who has been posted in the village. Love blossoms between the two. The director has captured these moments in a realistic way and that is what makes the story convincing. Sangeetha is the more responsible kind, having grown up without her parents and brought up her little sister by herself. Krishna is the typical young guy, who does not bother about keeping his room clean, is late for a meeting, be at work or with his beloved and his motor-bike tank always runs short of gas. But he has his values intact.
Director Ravi has developed his characters well and his actors, despite being first timers, don’t let him down. Not just the lead players, the entire cast, especially the actor playing Krishna’s immediate boss. He comes across as a real prick.
A very poignant scene is the one where Sangeetha breaks down while sharing her feelings for Krishna with her younger sister. Sangeetha is in UK on training and has had a tiff with him. Feeling utterly lonely, she tells her sister, ‘I just feel like lying on amma’s lap now.’ That was a good performance by Haritha.
The same sentiment is later echoed by Krishna when his plans at work go awry. Disappointed and feeling lost, he calls up his mom when she least expects it from him.  Beautiful moments captured by Ravi, who has written the script.
The ‘kurai’ (flaw) with ‘Kurai Ondrum Illai,’ lies in the slow pace of the narration. And it t could have done with tighter editing.
Yet Ravi’s work is laudable for making a film that is shorn of exotic locales, cinematic romantic scenes, gory action scenes and loud music.
Incidentally this film was crowd funded the first in Tamil cinema.

‘Rajadhi Raja’ a mass entertainer for Mammootty fans

Shekharan Kutty (Mammootty) runs a restaurant adjacent to the petrol bunk he owns, the kind you see on the highways in India. With a pretty wife Radha (Lakshmi Rai) and a school going daughter, Kutty is a happy man.
When Radha’s cousin, Swami Ayyappan (Jojo) visits them, we get to see what a contrast he is to the meek and timid Shekharan Kutty, who shies away from any fight and prefers to mind his own business.
One day, Shekharan Kutty is taken into custody by the police who mistake him to be Raja, a notorious don of Mumbai. Kutty is released only after a sound thrashing by the cops.
Back home, life looks good once again for Kutty. But then Ayyappan’s attitude of throwing his weight around lands him in trouble with a bunch of goons from Mumbai.
With them baying for his blood, Ayappan seeks refuge in Kutty’s house. Kutty’s family is threatened and that’s when viewers get to see the real face of Kutty. With Kutty’s past catching up with him, the question in their minds now is ‘who is Raja?’
Ajay Vasudevan’s debut film entertains Mammootty fans who will whistle in glee as their idol goes about bashing goons. Not to forget the comic moments.
The story is not new and you wouldn’t call it one of Mammootty’s great films. Lakshmi Rai in a homely wife’s role is pleasant surprise. Bollywood actor Mukesh Khanna plays Raja’s close buddy while Raza Murad is seen as a head of a notorious gang that is into drug trafficking and terrorist activities. Joy Mathews play the bad guy again. Siddique comes in a dignified role as a DGP while Lena, his onscreen wife is an IAS Officer.
A predictable fare!

‘Yaan’ lacks a convincing screenplay

While a golden frame might draw attention to a painting it holds, what makes the art a masterpiece is its quality of the art. So too in the case of a film. Without a strong content, can a film survive?
‘Yaan’ the debut directorial venture of noted cinematographer Ravi K. Chandran carried high expectations. Chandran has worked in  Bollywood films like ‘Fanaa,’ ‘Rabne Bana Di Jodi,’ and ‘Dil Chahta Hai,’ to mention some. But it failed to deliver.
Sure, the visuals of ‘Yaan,’ are a treat but they end up like the golden frame of a painting.
Poor scripting is the major flaw, despite the story opening with a well-staged shoot out scenes. Amidst this violence, Chandru (Jiiva) falls in love with Sreela, (Thulasi Nair) when they both bump into each other at an ATM.
While Chandru is head over heels for Sreela, a driving school instructor, she does not take him seriously initially. Trying to build up their romance takes the first half of the story and even then, you just don’t’ feel they are in love.
Post interval, the story gets a thrust forward after Chandru is arrested in Basilistan for possessing drugs. Innocent and tricked into this situation by a travel agent, Chandru is now on the death row.
What next? The obvious! Send Sreela to Basilistan to rescue her lover. From then the narrative becomes a joke.  Predictable and with logic taking a backseat ‘Yaan,’ reminds you of those empty Bollywood films that boasted only of glamorous heroines, exotic locales and stylish action scenes.
Entertaining me during the second half were the guffaws from the audience around, who could not help themselves as they watched Chandru bash an intimidating prisoner guard and escape. It gets funnier when a fellow prisoner hands over a bunch of keys to open the main gate and lo behold, a two wheeler is parked there for Chandru to zip off. Is it really so easy to escape from a prison and that too in a country like Basilistan that has strong laws for possessing drugs? Chandru arrives spot on at the hotel where Sreela is staying and rings her room door bell.
But then ‘Yaan’ does not end with that, Chandru needs to settle scores with the travel agent who is in hand with a wanted terrorist. There is more to keep you chuckling. Let me leave that for you to discover.
 Jiiva looks dashing but the good actor has been wasted in a role that has nothing to offer. Even Nasser, a veteran suffers from the same fate. Thulasi Nair after ‘Kadal,’ is seen in a mature character, but she needs to work on her expressions.
‘Yaan’ fits well into the Bollywood template. Haven’t we watched similar stories before? ‘Yaan’ is another yawn.

‘Sapthamashree Tashkaraha’ a heist film that keeps you chuckling

Anil Radhakrishnan is back with a heist story in ‘Sapthamashree Tashkaraha.’
What begins as a confession by a petty thief Martin soon takes viewers to a prison where seven jail inmates bond together over a plan to rob rich bad man Pious Mathew (Joy Mathew). This scheming businessman has amassed wealth at the expense of others. One of the affected is Nobel (Nedumudi Venu) a former financier, now reduced to penury. Nobel has an axe to grind and he puts forth the idea to rob Pious. Krishnan Unni, also a victim of Pious’ mean ways joins hands. For the other five inmates, the promise of money lures them into this project.
So, when they are released from prison, they get into action with their plan.
Shuttling between the confession box at the church where the interactions between Martin and the priest are laced with humour and then to the jail confines, Radhakrishnan, gradually lets his characters grow upon the viewers. He has lovingly carved each one of them in great detail and they are hard to leave your minds. Be it Narayana kutty, (Neeraj Madhav) the mechanic with a brilliant mind or Shabab, the tough guy, (a cool looking Asif Ali) whom everyone fears, the characters are distinct from one another.
While this is not a racy thriller, it’s the presentation of the story that gets you hooked. The script written by Radhakrishnan is the hero and the dialogues keep you chuckling.
Justifying Radhakrishnan’s casting are the actors who have slipped on their character’s garb with great ease. Veteran actor, Nedumudi Venu is so perfect. Prithviraj as Krishan Unni is seen in a subtle role, sans his macho image. I won’t blame you if you wished for a priest like the one in the story portrayed well by  Lijo Jose Pellisery. Confession would be much easier! Joy Mathews as the bad guy fits in well. Dubai’s Renu Mathews does justice to her role as Krishnan Unni’s wife and so does Sanusha as Noble’s daughter, who becomes an accomplice in the mission to rob Pious. Mongolian circus artiste Flower Battsetseg surprises you with her antics. The comedy here is clean and although it does get to toilet humour towards the climax, it does not stink. You can’t just help laughing. The Puli Kali scene was hilarious.

But it’s the director who has the last laugh. Radhakrishnan has attempted a different genre from his earlier film, ’24 North Kaatham,’ and once again he scores with the audience.
Just don’t miss this clean entertainer. Go for ‘Sapthamasree Tashkaraha.’  

‘Sigaram Thodu’ fails to touch its own peak 

Cop Chellappa Pandiyan’s dream is to see his only son, Murali as a cop. But Murali  is not enamoured by the police services, having watched the trials that his father has gone through as a policeman. Chellappa lost a leg during a shoot –out. And, in a moment of shock, his wife dies.  Murali’s ambitions are pinned on a banking career. But Chellappa is unaware of it. Chellappa continues to cherish his dreams. And his dreams turn into a reality when Murali is selected for training at the police academy. 

Now Murali’s sole aim is to prove himself unfit for a policeman’s job. Not just to pursue his dreams but also to win the heart of his lady love, Ambujam, a medical student, who incidentally happens to be a policeman’s daughter. She also detests a policeman’s life.
Does Murali live up to his father’s dreams? Does he win Ambujam’s heart?
Spun around this emotional angle is a spate of ATM thefts happening in town. Director Gaurav Narayanan has researched well into this criminal activity and is an eye opener for the audience. You realize how vulnerable your money can be.
However interrupting this thriller quite often is silly humour and unconvincing romantic moments. How many of you would kiss a stranger, I mean you’re your beautiful co-passenger while on a flight that appears to be losing its bearings. When your life is in danger, the last thing on mind would be a kiss. Monal Gajjar as Murali’s love Ambujam is nothing more than eye-candy.
This is Vikram Prabhu’s first in a cop role and for once cops are shown in good light. Prabhu’s character Murali is so predictable. Sathyaraj lives up to his image of a good performer. Gaurav Narayanan plays an important role and does it well. Supporting him ably is partner in crime, Charandeep as the impulsive hot headed young man. Clearly an actor to look out for.  ‘Sigaram Thodu’ is a pucca commercial film and that’s just about it. It does not touch its peak though.

Leave your brains behind if you are out to grab this ‘Peruchazhi’

A telephone call from California’s Sunny Kurishingal (a marketing campaigner of Republican candidate, John Kory,) to his friend, Minister Francis Kunjappan in God’s Own Country sets ‘Peruchazhi’ rolling. 
Kurishingal an ambitious Malayali, rather known as the ‘emerging Malayali,’ requests Kunjappan to send someone over to help him improve Kory’s chances at becoming a Governor. Kory’s opponent is Democratic candidate George Hope.
Much against his wishes, Kunjappan is left with no other alternative but to send the wily Jagannathan, who becomes a political consultant in Kurishingal’s campaign. Accompanying Jagannathan on his USA mission are his two side-kicks, Jabbar (Baburaj) and Varkey (Aju Verghese).
Director Arun Vaidyanathan’s story is unpretentious as it takes a dig at Indian politics in particularly the Malayalis as well as American politics. Not to forget the Chinese and their finesse for duplicating products.
Viewers are clearly warned when the screen opens to leave logic behind.
So you have Kory gallivanting onscreen as a dumb clown while Jagannathan and his two aides go about tickling your funny bone. Be prepared for some amateurish comedy, sexist jokes and toilet humour. And a good sprinking of double entendres!
While ‘Peruchazhi’ is an out and out entertainer with Mohan Lal ruling the scenes, it cannot be counted among Lal’s great comedies. Celebrating Lal’s career are references to his hits of the 80s and 90s. Watch out for Poonam Bajwa’s item number, ‘Po Mone Dinesha,’ with Lal’s quick moves. Of course, our wily bandicoot, (Peruchazi, Jagannathan’s nickname) has a heart that beats for the less privileged when it comes to sports. 
Lal fans can rave over his antics onscreen including his knack for turning the US flag into a dhoti folded up in his inimitable style and bashing up the bad guys.  Didn’t we warn you about leaving your logic behind? Munch on the pop-corn in between chuckles and just don’t ask questions.
Mukesh as Minister Kunjappan and his stupidity plays the role to the hilt. Another impressive performance is from producer Vijay Babu as Sunny Kurishingal. English actor Sean James Sutton as John Kory entertains. Bollywood’s beautiful Ragini Nandwani keeps romance alive as Jesse the hooker who wins Jagannathan’s heart. Ramesh Pisharody, Baburaj and Aji George in supporting roles do well. However, the screenplay could have been worked on for a better satire though. That’s where the director of ‘Achchamundu Achchamundu’ disappoints.

‘Enna Satham Indha Neram’ a damp squib

Can a film survive on hype only without a proper script? That’s a question that comes to mind after watching ‘Enna Satham Indha Neram,’ a film that grabbed headlines as being the first Indian film to feature quadruplets.
With a title that piques your curiosity ‘Enna Satham Indha Neram,’ touted as an emotional thriller failed to live up to its expectations.
Four speech and hearing challenged children get lost in a zoo while on a school excursion. As their teacher searches for them frantically, the zoo watchman informs her that a huge snake has gone missing from the cage. With this basic plot, the story could have grown into an interesting thriller, but director Guru Ramesh probably got lost in the idea itself.
How do you expect viewers to react when they are anxiously following the search for the kids to be interrupted by silly humour. Zoo keeper Kathir (Nithin Sathya) comes up with comedy lines at the most inappropriate times and they do nothing to tickle your funny bone. As if that was not enough, you have comedian Mano Bala and his friend, attired outrageously, (for laughs supposedly) who are petty thieves in this story and are planning to kidnap the quadruplets.   Their jokes fell flat on their faces. Probably it has to do with the ready-made mould established for commercial stories in Tamil cinema that are dictated by the number of must have comedy tracks.
The snake with graphics looks magnified but least menacing. And viewers have the last laugh when the snake is put to sleep by a large dose of sleeping tablets. Completely lacking in conviction, ‘Enna Satham Indha Neram’ did make a lot of noise but is a case of empty cans.

‘Bangalore Days,’ a complete entertainer

When cousins get together, inevitably it’s a riot.
And that’s exactly what happens when childhood playmates and cousins Divya, Kuttan and Arjun, meet up in Bangalore.  There is loads of fun.
Divya (Nazriya Nazim) arrives in Bangalore following her marriage to Das, (Fahad Faasil) a corporate executive. Kuttan, (Nivin Pauly) an IT professional works there.  So does the other cousin, Arjun, (Dulquer Salman) a graffiti artist and a motor bike racer.
Living in a new city with her husband, who barely talks and is mostly away on official tours, Divya’s companions are her two cousins.  And the trio has a blast together. But once the picnic is over, they return to their own lives where they confront reality.    
Divya's vivacity is a contrast to Das’ aloofness and that comes in the way of their building a new relationship.  Her curiosity is piqued when Das pointing to a room in their apartment that he keeps locked all the time, tells her, “It’s all old stuff.” 
Arjun’s anger is directed at his divorced parents and the pain of loneliness is a constant thorn hurting him. Crazy over bikes, he has pinned his ambitions on the race track.
Kuttan is the typical Malayali rooted to his native soil and very traditional in outlook. When his father is seriously ill, he takes a flight home and on board he falls in love with an air-hostess (Isha Talwar).  It’s amusing to watch the love smitten Kuttan going through a make-over with spiked hair and a wardrobe change as he tries to fit in with the glamorous and beautiful air-hostess.
Anjali Menon narration is simple and straight. The bonhomie of the cousins is believable.  Nazriya, Nivin and Dulquer share a great comfort level together onscreen. Menon’s little touches add freshness to the story.  My favourite is the scene where Das meets Divya at her home the first time. It is the traditional boy meeting girl ceremony.  After the family introductions are done with they are left alone to chat. Das tells Divya that he wants her to know that there has been another woman in his life. And he would understand if she was not keen on the marriage. Did she have anything to share, he then asks her. Looking bewildered, Divya reveals to him that the sweets placed on the table were not prepared by her as claimed by her mother, a while ago. As the duo break into a laugh, Divya’s puppy runs in and the next scene shows the two bonding over the dog, much to the delight of the parents who enter the room at that moment.
With a multi-cast, who fit snug into their roles, Menon presents a story that will appeal to viewers of all ages. Every actor has put in a commendable performance. Yet one pair that remains with you for long is that of Arjun and Sarah, the physically challenged RJ, whose ebullience on air wins the heart of the ‘I don’t care a damn,’ Arjun.
Dulquer’s rugged charm matches his performance and Parvathy Menon is just brilliant. She is one actress whose eyes express before the words tumble out. Kalpana as Kuttan’s mom will have you in splits. Nithya Menon is a beautiful surprise. I even liked the bit about the Tamilian maid who does not seem to approve of Divya as Das’ wife.
Go for ‘Bangalore Days,’ a light hearted entertainer with family and friends. And if your cousins are around, don’t forget to take them along. 

‘How Old Are You’ inspires women to dream again

Manju Warrier returns with a bang after fourteen years, reinforcing herself as an actor of great calibre in How Old Are You.

Warrier is subtle and a natural as Nirupama Rajeev, an upper division clerk in the revenue department of the government. Her husband, Rajeev, is a news announcer at All India Radio station. They have a teenaged daughter, Lachu, who is doing well academically.

Nirupama’s story reflects the lives of those Indian women who are taken for granted and often find themselves on the receiving end of a blame game.

When Rajeev is told he must move to Ireland on work, Nirupama hopes to accompany him there. “But that is not possible,” Rajeev tells his wife, “due to the high cost of living in Ireland.”

So unless Nirupama finds a job there, she and Lachu will have to stay in India.

Nirupama attends an interview for a job in Ireland but is rejected because of her age. She is 36 years old, one year more than the prescribed cut off age limit. Lachu is upset having nurtured dreams of studying in Ireland. Holding her mother responsible, she asks her, “don’t you have any dreams?” And with that she cuts off all communication with her mother.

The same morning, while driving to work, Rajeev accidentally hits someone on the road. A case is registered against him. Since this accident could jeopardise his visa process, he asks Nirupama to tell the police that she was the one who drove the car that morning. Nirupama agrees but at the police station Rajeev and Nirupama are in for a shock when the officer points out that Nirupama ’s driving licence has long expired. Rajeev now accuses her of deliberately thwarting his travel plans to Ireland.

Things take a different spin when Nirupama is invited by the President of India on his visit to her town, Kochi, for breakfast with him the following day.

Why me? It’s a question that not only baffles this 36-year-old mother, but her family members and friends too.

There are several amusing moments leading to her meeting with the President. The clean and good humour will leave you chuckling.

Scriptwriting brothers Sanjay and Bobby take a dig at our obsession with Facebook and the influence this social networking site wields over our lives. Director, Rosshan Andrews, adds another feather to his cap after Mumbai Police.

Great care has been taken to give individuality to the characters: Busting stereotypes, Nirupama’s father-in law (Kunchan) understands her better than his son Rajeev. Another well-etched character is her office colleague, Rani, played perfectly by Thesni Khan.

You can’t help remembering an old film, Mitr My Friend, (in Hindi, directed by Revathy Menon) starring Shobana, in which a homemaker is sidelined by her husband and teenage daughter.

Sreedevi’s English Vinglish also comes to mind.

How Old Are You is about Nirupama ’s search for her forgotten self. Egging her on is her school mate, Susan David, (Kanika).

“Who decides the expiry date for a woman’s dreams?” And does age really matter?,” asks Nirupama. “You can still dream,” she tells the women in her neighbourhood as she launches a small business, supplying organic vegetables that are grown on their rooftops.

The best surprise comes from Kunchako Boban. Stepping into the shoes of a married man with a teenage daughter, Kunchako’s mature acting emphasises that he can go beyond playing lover-boys and action heroes. As Rajeev, the egotistic husband, he is just wonderful.

Amritha Anil shows great promise. She becomes Lachu, that teenager we all have to deal with.

How Old Are You will connect with Indian women, especially homemakers who are disregarded by their spouses and children for not being independent and confident.

But then, as Nirupama points out, women put their dreams on the back-burner for the sake of their families.

‘God’s Own Country’ takes you on an emotional roller coaster ride

What begins as another normal day in the lives of Manu, Mathew Tharakkan and Muhammed turns into an emotional roller coaster ride.
Manu (Fahad Faasil) is an NRI from Dubai who arrives in Kochi with his toddler daughter. His mission is to collect Rs. 75 lakhs that he has transferred through hawala services, so that he can pay off the blood money and free his jailed wife (Isha Talwar) for an accidental death in Dubai. Helping him in Kochi is his friend Abhirami, (Mythily) a writer and a local resident.
That same morning, Public Prosecutor, Mathew Tharakkan (Srinivasan) proceeds to court in his car and he is escorting an important witness Zarina (Lena) for a scandal involving a state minister. Zarina’s life is at threat and Mathew is determined to reach Zarina safely to court for the hearing.
At a hospital in Kochi,  Mohammed (Lal) and his wife are in a quandary. They need Rs. six lakhs for their daughter’s operation. How will this taxi driver arrange such a large sum?
The three stories are told in multiple narrative style and as new characters are introduced, their lives get intertwined.  Scriptwriters, Praveen Kumar, Arun Gopinath and Anish Francis have carved each  character with care. The screenplay holds viewers’ attention throughout and there is never a boring moment. 

Veteran actor Sreenivasan plays his role with an elan that reflects his  long innings in the industry. Cool and casual just like the Public Prosecutor, he is in the story. Lal’s subdued performance impresses and is unlike his other roles. 
With this film, Fahad Faasil pushes his boundaries further, as a father of a little girl and he is brilliant.  Baiju’s role is small yet significant to the story and on debut he clearly leaves a mark. His role of a lottery ticket vendor character remains in your mind even after the credits roll.  Kudos to Mythily who has performed few action scenes without a dupe.
As you travel on this road trip, there are moments to chuckle upon.  It’s quite an amusing journey that Manu’s missing cash bag undertakes as it switches hands. The question often cropping up in the mind is ‘How will it reach Manu? 
When the film opens, you stare at a jigsaw puzzle in disarray and as the scenes unspool you are left guessing. Look out for a terrific climax that reinforces the simplicity of those human beings who live on the lower rung of society. 

Directed by Vasudev Sanal, ‘God’s Own Country,’ is a film you would not want to miss. Go with family and friends.                                                              

Prithviraj’s ‘7^th Day’ is a good thriller that keeps viewers engaged

Prithiviraj steps into another cop’s shoes, this time as David Abraham, a suspended IPS officer in ‘7^th Day.’
The film opens on Christmas evening in a disco club where David is sipping  drinks and watching the night go by. On his drive home in his jeep, he accidently knocks a motor-bike. While the rider Shon is not hurt, Vino, his friend on the pillion suffers bruises.
On David’s suggestion, they get into David’s vehicle and reach a hospital for treatment. Vino is taken inside for dressing his bruises.  David and Shon wait outside. A little later, the nurse runs out to inform them that Vino had left the hospital from the rear entrance. Despite searching the neighbourhood, they are unable to find Vino.
After dropping Shon home, David returns to his van, where he notices a wallet on the seat. It belongs to Vino and has his id card inside. David drives to Vino’s house to return the wallet. To his shock, he finds the family mourning. Vino had committed suicide.
This sets rolling a series of investigations for David Abraham.
Who is Vino and why did he take his own life? Divulging beyond this would be a spoiler.
 Debutant director Syam Dhar works on Akhil Paul’s script, another newcomer to Malayalam films and the result is an interesting thriller.
Prithviraj takes measured steps as he plays David Abraham. Soft spoken and his subtle acting lends a cool appeal to his role, besides sustaining the suspense of the story.
Woven in this script is a story of a group of young friends and their bond, of failed love and deceit and how one man’s greed to make quick money lands everyone’s lives in peril.
‘7^th Day’ entertains.

Mr. Fraud’ an out and out Mohan Lal show, yet entertains

Bhaiji (Mohan Lal) is a professional thief known for easily duping his targets and robbing them of their wealth. But that is not his real name. And no one knows what his real name is either. All he shares is a professional relationship with his clients and it ends there.
Bhaiji is known to mastermind his heists smoothly. On one such project Bhaiji poses as a stage singer and performs at a wedding ceremony. (Don’t miss the Jamaican look that Lal sports). While the audience is still in raptures over his music, Bhaiji pulls wool over his hosts’ eyes and walks off with crores of cash. Helping him in his operations are his two accomplices, Abbas (Vijay Babu) and Priya (Manjari Fadnis).
Bhaiji now wants to quit his profession. But before that he is hired to rob a royal treasure that has been kept locked under court’s orders for  four decades and more.
Bhaiji prefers to execute this last project alone. But Abbas and Priya insist on joining him in this heist. They are fond of their mentor and wish to spend some more time with him. And they are not even looking at a share in the profits.
So the trio lands up at this family mansion in Kerala, where the treasure will be unlocked under government supervision. Bhaiji poses as an evaluator, Sivaram who has been appointed by the family to assess the treasure.
Mind you, the treasure is well guarded. Besides gun toting guards keeping vigil round the clock, the security system here boasts of the latest technology.
How will Bhaiji pull off this one successfully?  Not to forget the prying eyes of family members and a police officer, Sajan, who are studiously watching him.

This is Unnikrishnan’s third film with Mohan Lal. From the word go, it is a Lal show all the way. Bhaiji in his salt and pepper looks is quite a stealer and a far cry from George Kutty of ‘Drishyam.’ Lal, the versatile actor that he is, pushes away the hangover of George Kutty from viewers’ minds.
Other actors also deliver a commendable performance. My count begins with Sai Kumar as the corrupt policeman and Siddique as a communist activist. Playing Siddique’s adopted daughter, Saraswati is Mia George, who comes thumbs up too.
After playing mother to two children in the Mammotty starrer, ‘Silence,’ television actress, Pallavi Chandran proves that she can slip into the garb of a sensuous role too. As Damini Varma, a member of the royal family Chandran , in the little time that she is onscreen,  will not be easily forgotten. Her one liner when she meets Bhaiji the first time had viewers hooting.
Manjari Fadnis and Vijay Babu complement Bhaiji’s character well.
There are flash backs into Bhaiji’s  childhood but nothing is clear as to why he chose this path.
Well with a mass entertainer, you don’t ask questions. Predictable? Yes. High action scenes to match Lal's larger than life image? Yes.
But one thing you can be sure of Mr. Fraud,' he does not cheat you of fun and laughter.

‘Gangster’ barely leaves an impact

By Mythily Ramachandran

You kind of know what to expect from a title like this. As far as gore and bullets are concerned they rain in plenty, right from the word go. 
Mammooty plays Akbar Ali, the son of a don who slips into his father’s shoes with ease. 
As a little boy growing in Mumbai, where his father is the undisputed don, Akbar has seen power tussle and the consequences that follow, his father’s murder.
His life is saved thanks to an old faithful servant who rescues him out of Mumbai. Akbar grows into a man and returns to Mumbai to avenge his father’s death. He then settles in Mangalore to head an empire, calling the shots along with two other kingpins, Mani Menon (Kunchan) and Uncle Sam (John Paul). Nothing moves in Mangalapuram without the joint consent of this trio.
Trouble arrives in the form of Anto, Uncle Sam’s nephew, an ambitious young man returned from the US and harbouring dreams of making big money and that too at jet speed. He runs a pharmaceutical company and wants to venture into shipping medicines to India, particularly those that have been rejected abroad.
When he approaches Akbar with this proposal, it is rejected. But Anto is keen on seeing his plans work and the only way to execute that is to wipe off Akbar from the radar. So does Anto succeed in his plan?
‘Gangster’s is all about that.
Director Aashiq Abu relies on a plot that has been done to death several times, especially with a super star and his larger than life image forming the crux of the story. Obviously it couldn’t get more predictable right?  
Mammootty fans probably will love Akbar with his quiet demeanour and few words and of course the slow swagger. Dubai resident and RJ Nyla Usha plays Akbar’s wife, Sana and for the short while that she is around makes her presence felt. One person you will not forget even after you leave the hall is Anto.
Our first introduction to Anto is a towering obese figure under the shower and you can’t miss the tattoo ‘Obey’ on the back of his bald head.  Soon you learn of his sadistic games with women whom he buys for pleasure and you detest the creep.  Shekar Menon as Anto does it really well enough for viewers to hate the character. 
Well, the silver lining of this don tale is cinematographer Alby’s camera that treats you to some unusual frames. 

‘Inam,’ an emotional tale

By Mythily Ramachandran

He is washed ashore and when the children discover him, questions arise in every one’s mind. Who is he? Is he a militant or a government soldier, they wonder on finding a knife in his bag?  And, when they uncover his face, he tells them, he wants to go back to sleep. 
What’s your name? They ask. 
“I am Nandan,’ he mutters before going back to sleep. 
Nandan is given shelter at their orphanage in civil war torn Sri Lanka at the insistence of their caretaker, a mother figure, whom they fondly call tsunami akka (Saritha).
Every child here carries behind him a sad tale, of families lost in war. While tsunami akka tends to their daily needs, it is Stanley (Karunas) who imparts a basic education to the children. Stanley hopes that one day they will all migrate to another land for a better life. And he religiously prepares documents for every child here. Tsunami akka however believes in staying back in their homeland.
‘Inam,’ takes viewers to war torn Sri Lanka where following the departure of UN forces, the government stepped up its war against the Tamil Tigers. And, caught in this indiscriminate shelling were innocent civilians. 
What gives life to this otherwise morbid tale, are little moments of joy stolen from life. Seventeen year-old Rajini falling in love with Ravi, her companion, at the orphanage and growing up into a woman. Then the clandestine midnight meal the children cook after stealing Stanley sir’s rooster. There is more to life besides bullets and war smoke.
Director Santosh Sivan has crafted his characters with great care and their distinguishing traits sets each one apart.
Matched with a laudable performance by the cast ‘Inam,’ keeps the audience engaged. Bollywood actor, Sugandha Ram is brilliant as Rajini, the 17-year-old, who braves all odds to eventually finding refuge in India. Yesteryears Saritha returns with a neat performance.
Playing Nandan, a special child is Karan, a Downs Syndrome person himself. Beating stereotypes, Sivan has portrayed Nandan in a most endearing manner. You will laugh indulgently at Nandan’s antics without ridiculing him and love him for his innocence. His bag of treasures that he closely guards includes a skull, which he calls Mr. Friend. My favourite scene is the one where he lets free the tortoise that he has rescued in the war. Don’t miss the hundred dollar bill sticking to its shell.
With Sivan’s signature on every frame, ‘Inam’ is sheer poetry. Those poignant visuals surrounding animals, be it the little kittens playing or the chickens that scurry as bombs fly, they touch a tender chord in you. 
‘Inam’ takes you to the war zone, where man and animals struggle for survival.