‘O Kadhal Kanmani’ a breezy romantic story in true Mani Ratnam style 

Adi (Dulquer Salmaan) is a game developer who comes to Mumbai on work from Chennai. He finds  accommodation with an elderly couple, Ganapathy (Prakash Raj) and Bhavani (Leela Samson) as their paying guest. 
Adi meets Tara, (Nithya Menon) on the very first day of his arrival in Mumbai but under strange circumstances.
Adi is waiting at the station for his friend Ananya (VJ Ramya) to pick him up, when he notices a young woman on the platform across. She is in argument with a young man and after he walks off in a huff, Tara attempts to throw herself in front of an approaching train.
Catching glimpses of her in between two moving trains, Adi with his gestures tries to dissuade her from taking the extreme step.
But he forgets her the moment Ananya reaches the platform with a music band in tow playing, ‘Bambai pe aaya mera dost,’ an old Bollywood number.
Few days later, he bumps into Tara again; this time at the church where Ananya is getting married. Tara is a guest too.

From making small talk to becoming friends Adi and Tara are drawn towards each other. While they believe in love, they don’t believe in marriage. Not for them the hassles of bringing up babies and the pangs of parenting. 
Tara is an architect and keen on pursuing higher studies at Paris. Adi dreams of becoming the next Steve Jobs and Marc Zuckerberg.
When Tara moves in with Adi at the Ganapathy’s home, it takes their relationship to another level. But they are both clear that their relationship is not a commitment and that both would go their own ways in pursuit of their dreams.
So is the institution of marriage relevant among the new generation? That’s the big question.
Opening the film in his signature style, with a train entering the station (remember Mani Ratnam’s ‘Alaipayuthe’ with Madhavan running to the platform as a train pulls up)  and creating the perfect spot for two strangers to meet, Mani Ratnam loses no time in getting into the shoes of today’s young.

Adi and Tara are ordinary characters representing today’s youth, who are clear of their ambitions and make no pretensions about their views.
Understanding their pulse very well, the master director narrates a romantic tale that immediately  connects  not just with the young but the older generation too.
With couple of moments that viewers would identify with, Mani Ratnam is back into their hearts after ‘Kadal,’ his last film, that disappointed many. 
There is a scene where Ganapathy recalls about the first time he met Bhavani. He is praising her prowess as a noted Carnatic singer in the past as Adi and Tara listen and Bhavani quips, ‘Paarku eppidi irunthein sollanga,’ (tell them how I looked).  Mani Ratnam understands women like no other.
In all his films, the women are carved lovingly and are strong individuals with a mind of their own. Be it Divya of ‘Mouna Raagam’ ‘Roja’ of ‘Roja,’ or ‘Shakti’ of Alaipayuthe, Mani Ratnam gives women  due respect.
So is love just the union of two bodies?
Structuring Adi-Tara story to run parallel with another love story, that of the elderly couple, Ganapathy and Bhavani,  viewers along with Adi and Tara watch a caring husband who lovingly and patiently handles his Alzhiemer affected wife.
Prakash Raj’s subtle acting enriches his character. Leela Samson, (former Chairperson of Central Board of Film Certification, India) is a big surprise). Her portrayal of Bhavani is brilliant.
It’s a poignant moment when Bhavani asks her husband, “Ganapathy, Will I also forget you someday?”
There are fun moments aplenty, in fact the first half rests on that completely. With tongue in cheek humour by the lead pair and asides made by Bhavani, ‘O Kadhal Kanmani’ is a delight to sit through. The humour is in fact squeaky clean. No double entendres, no vulgar scenes and yeah, surprisingly not even the F…word in this story of GenX .
My favourite is the scene where Adi accompanies Tara to the gynaecologist. That was a scream. 
I wonder why the film was given a U/A certificate by the censors. And here is a film without any violence.
Who ever said that a good story cannot be narrated without the usual props that Indian cinema, especially Tamil cinema seems to rely upon?
Dulquer and Nithya with their beautiful onscreen chemistry are just awesome. You forget Dulquer and Aadi comes to the fore and his different moods. It’s the hospital scene with Tara, where he begins looking dumb and slowly his countenance changes to bewilderment and then fear, Mammootty’s son shows immense potential. Nithya Menon’s biggest asset is her eyes and she exploits them completely.
Rahman’s music is magical. The picturisation and choreography of the song, ‘Paranthu Selavaa,’ is brilliant. Shot entirely inside a room, with just the lead pair, this song begins with a single kiss and then the loopy application takes over.
Cinematographer P.C. Sreeram’s visuals be it inside the old house or the outdoors of Mumbai, each frame holds something special. Not to forget the mirror scenes and rain soaked frames, a common element in Mani Ratnam's films.  
Opening the titles with visuals of a video game establishes the tone for the story that will unfold. And when similar visuals were used later to denote a tension filled moment, when  Aadi’s sister-in-law follows Tara into his room with a questioning look. When her doubt is put to rest, the director points us to  the  protagonist in the video game who has just got a life. Hat’s off to you Mr. Mani Ratnam that was cool.
‘O Kadhal Kanmani,’ is a simple story of two young people, from life around told without any frills. Brevity in the dialogues is another plus. I loved the instances where the line, ‘Enna Ketta?’ (Why ask me?) was used.
No melodrama either, when we learn of Tara’s background nor when Bhavani goes missing. No villain or the other woman or overbearing parents.
‘O Kadhal Kanmani’ is unashamedly in tune to where its characters begin and where they are likely to be going. Just don’t miss this Mani Ratnam film.
Take your grandmother and your children too, for it cuts across generations. It will be an evening well spent.

‘Ennum Eppozhum’ a clean family drama

Vineeth N Pillai, (Mohan Lal) yes with the emphasis on ‘N’ is a senior journalist of a woman’s magazine ‘Vanitharatnam.’ A bachelor who is still searching for a woman with the bold traits of his mother, Pillai does seems out of place in the new order of things that is being planned by Kalyani, (UAE resident Reenu Mathews) the new editor.
London educated Kalyani is on a mission to revamp the magazine, until now under the management of her mother. Right from her first meeting she disapproves of Pillai’s attitude and style of working.
She is keen on removing him from her company but before that she assigns him a story. |Pillai is asked to interview Deepa, (Manju Warrier) a lawyer who grabbed headlines for protesting against the poor road conditions in the city after she falls into a pot hole while riding her two-wheeler.
Pillai meets Deepa but she refuses an interview.
Will Pillai file his story that is being slotted as the cover story for the new issue of ‘Vanitharathnam?’ That is a big question not only for Pillai, but for Kalyani too, who considers him an irresponsible reporter.
‘Ennum Eppozhum,’ is a typical Satyan Anthikad film, a clean family entertainer.
Manju Warrier on her second outing handles her role with maturity. Deepa, a contemporary woman and a divorcee with a child is a picture of strength yet graceful, reflecting the lives of quite a few women today. Playing Deepa’s close friend, Farah, a businesswoman is Lena. Farah’s marriage is crumbling, yet she bears it stoically.
Ranjan Pramod’s screenplay mirrors today’s woman, who takes life’s challenges in her stride without resorting to melodrama. We don’t get to see the husbands of the wronged women, leaving it to viewers’ imagination.
‘Ennum Eppozhum’ makes no lofty pretensions but narrates a simple straight story that could be yours, or your neighbour’s or maybe the lady up the alley.
Can a Sathyan Anthikad film be without humour? Remember his classic hits of the eighties, like ‘Thalayanamanthram,’ ‘Nadodikattu,’ ‘T.P. Balagopalan M.A and ‘Gandhi Nagar 2^nd Street.’
Innocent who has done the maximum number of films with Anthikad plays Kariachan, Deepa’s friendly neighbour. Kariachan and his wife are always there to help Deepa in times of need.
It’s fun to be treated to good clean humour, without wincing at double entendres and toilet humour that has become a constant staple in some of new gen films.
Mohan Lal and Manju Warrier’s pairing works well and the bond between the lead characters grows in a subtle way. Lal as the laid back journalist who seems to goof up things first is endearing. Supporting him during comic moments are Jacob Gregory and Minon who deliver good  performances.
Vidyasagar’s melodious music is a refreshing break from the loud numbers that have become the order of today.
For one who believes in making only one film a year, director Anthikaad  has always succeeded in touching a chord with the family.
To many more such films from the veteran, Ennum Eppozhum (Forever Always).      

‘100 Days of Love’ a feel good film

With a title like that, obviously you are in for a love tale.
And, like most love stories it begins with the boy meeting girl.
But before that scriptwriter-director Jenuse Mohamed gives us a peek into our hero’s life. BKN is a features writer with a local daily in Bangalore and has just been dumped by his girl-friend. 
He stalks her on FB only to learn that she has moved on and is in love with another guy. With the bottle for solace, BKN downs a peg too many and posts some unwarranted comments on her page. He realizes his folly only later, when he is woken up by a call from his ex, who is obviously mad at him.
To make matters worse that day, BKN loses his job owing to creative differences with his editor.

He is out on a walk that night, when it starts to pour. So he hails a cab. And that where he bumps into the heroine, Sheela, who also reaches out for the same cab.
BKN lets her ride on, but he can’t forget her. When he notices that she has accidentally dropped a package, he sure knows his next move. Get  the drift?
If the first half involves searching for Sheela and to return her package, the second half is BKN’s attempt to win her over. But then when was love ever easy?
Did I mention the villain? Well Rahul, a good looking business tycoon and a close friend of Sheela is sure about marrying her.
With all ingredients for a typical love story, Mohamed’s debut film is comparable to old wine in new bottle.
What then makes it worth a watch?
Mohamed’s narration which is set in contemporary times, and dialogues that will certainly connect with GenX.  
Dulquer Salmaan and Nithya Menon as the lead pair   share a wonderful onscreen chemistry.  
A pleasant surprise is DJ Sekhar Menon, last seen as the sadistic Anto in Malayalam film, ‘Gangster.’ As BKN’s close buddy, Ummer is a gaming enthusiast. Menon brings out the comedian inside him.
Jenuse takes a spoof at Indian cinema and its clichéd love stories. With situation humour woven into the script including a joke surrounding BKN’s name, Mohamed keeps viewers chuckling often.
Dulquer’s fine moment comes as a drunk BKN, who dares to open out his heart to Nithya. A well orchestrated comic moment. Nithya’s is a spontaneous actress and that shows in most frames. Rahul Madhav is clearly a talent to watch out for. However, Aju Verghese’s role stuck out like a sore thumb. His character was not defined well. 
Pratheesh Varma’s camera roves over Bangalore capturing the city most beautifully, especially the night frames.
‘100 Days of Love,’ is a feel good rom-com. Just go for it.

Mamootty’s ‘Fireman’ a tribute to our unsung heroes

When was a film made around a fire mishap in Indian cinema?
Cop stories, yes, military sagas yes, but a disaster tale on the lives of firemen remains untold, be it in Bollywood or regional cinema. If the Hollywood block buster, ‘Towering Inferno,’ was set around a high rise building, Malayalam director Deepu Karunakaran explores the hazards of a leaking LPG tank in ‘Fireman.’

In a freak accident, this LPG container gets dislodged from its truck. Landing on the road, gas leaks through cracks resulted from the fall. And looming ahead is the imminent danger of a fire explosion. Any tiny spark could trigger off that.  
Fireman Vijay (Mammooty) and team face their biggest challenge on thwarting this danger. Complicating the situation is the milling crowd of onlookers and an impatient media force to deal with.  Also breathing down his neck is a team of arrogant policemen.
Taking a stand, Vijay decides to evacuate the neighbourhood. But the gas continues to spread further, reaching the vicinity of the central jail.
Now how do you evacuate the jail birds?
Before you know it, the film goes into thriller mode, keeping you guessing.
Karunakaran’s screenplay is gripping and the opening scene least prepares you for what follows. Taking viewers to a disaster zone, he educates them on the hazards of a gas fire. Lauding the firemen who shrug off all emotions while in the heat of their job, he makes you doff your hats for these unsung heroes. For the fire-fighters, saving lives is of paramount importance be it of a human or an animal, in this case, a rooster that fell into a well.
Retired fire- chief Lakshmana Pillai (Sreekumaran) does not hesitate to don his uniform once more when soon after his farewell party he gets a call about this mishap.
Everything is in place for this ticking clock thriller. Karunakaran has woven interesting characters that stay with you.  There is the party leader, Sagaav Iqbal (Siddique) who rescues the injured. UAE resident, RJ Nyla Usha puts in a mature performance as IPS Officer, Sherin Thomas who supports Vijay’s decisions. Unni Mukundan as fireman Shah Jahan is wonderful, not just in the looks department but with his acting too. Comedian Salim Kumar plays a father of a cancer afflicted daughter. However, his character sketch is a not very clear, although he is the pivot around whom the story is pegged.
Mammootty slips on the fireman’s boots with great ease. And carries the heroic traits given to his character with elan. After ‘Munnairuppu,’ here is another film that brings out the fire in him.
‘Fireman’ is an effort that deserves applause.

 

‘Anegan’s racy screenplay keeps you hooked

As the title suggests, ‘Anegan,’  is a story of a man with many looks, in this case three looks. Complementing Dhanush’s three looks is new face Amyra Dastur from Bollywood. Connecting the  three love tales is the concept of rebirth.
The main story is pivoted around Madhu, an IT professional, who sees visions of her past. So she consults a psychiatrist and during her sessions reveals the story of her past incarnation in the sixties. She is Samudra, a native of Burma, who falls in love with Murugappa, an Indian labourer, after he rescues her in an accident.
As is wont in all love stories, her rich father is the villain and does not approve of their love. Daddy will go to any length to make his anger clear, even if it means scalding his teenaged daughter with a hot iron.

The love birds decide to flee to India but at the nick of time, her father discovers them on the ship about to leave the shores. Left with no choice, the lovers jump into the sea, holding hands.
Come to the present and Madhu bumps into Ashwin, also working in the same company. He bears a striking resemblance to Murugappa and Samudra is bent on winning his heart. But Ashwin is not convinced of her stories of the past and wonders if she is really sane.
As for the third love story it surfaces during a session that Madhu has subsequently with her psychiatrist. She reveals how her other incarnation, Kalyani, a Brahmin girl and her lover Kali, a slum rowdy were actually done to death contrary to what was believed. .The suspense around this story keeps the rest of the script rolling.
Dhanush is brilliant in all three roles. As Murugappa, he lends a simplicity and then turns real rustic as Kali, and emerges sophisticated in the shoes of Ashwin.
Playing the perfect tango to him is Amyra. Not merely being a pretty picture, Amyra packs in a brilliant performance and shows great promise.  The surprise actor is Karthik of 'Mouna Raagam' fame, as the easy going and friendly boss of Madhu and Ashwin.
'Anegan' opens with great promise especially the scene where Murugappa rescues Samudra in a mishap on a giant wheel ride. Although the characters of Dhanush and Amyra have been well etched, after a point the story gets predictable. It's a typical commercial film with all elements in place and clearly targeted at Dhanush's fans. It's been a while since Tamil cinema saw a story around a rebirth concept and the screenplay is interesting enough to hold attention. What I still cant figure are the characters of  Jagan and Aishwarya Devan being repeated once again in the contemporary story of Ashwin and Madhu. Or the link between Commissioner Gopinath and Kiran. And, including a gay character in the story for humour seems to be the latest trend. Director Shankar received flak for a similar character in his recent film, ‘I.’ Can cheap comedy impress?

‘Anegan’s racy screenplay makes it worth a watch one time. Not to forget the brilliant cinematography that takes you to exotic locales.