Ivide’ a crime thriller also carries an emotional story

Watch Malayalam’s fine talents, Prithviraj and Nivin Pauly lock horns ivide, sorry here

By Mythily Ramachandran

‘Ivide’ opens with a murder of an Indian techie, Nageshwar Rao. It happens in Atlanta. Following another techie’s murder, this time of Sunny Singh, Investigating Officer, Varun Blake (Prithviraj) believes that a serial killer is on the prowl.
Varun as his first name suggests is an Indian by birth who grew up in an orphanage but is later adopted by an American lady and her hippie boy- friend.
Raised in the US, Blake feels that his brown skin alienates him from the others. Consequently there is a deep seated anger that he is never able to let go.
Many a times, his anger gets the better of him. And, at one instance he is pointing his revolver at his wife, Roshini (Bhavana). That triggers the break of their marriage. Roshini leaves him taking along with her, their daughter, Trisha.
She takes up work at Infotech, an IT company where she meets her school mate Krish Hebbar (Nivin Pauly), a team leader much respected. Krish hailing from a middle-class home is an ambitious young man and his goal is the top post in the company. And, to achieve that, Krish will go to any length, even if it means manipulating situations.
Love blossoms between Krish and Roshini. While the main story probes the murders of Indian techies, underlying this is an emotional tale of three people, that of Varun, Krish and Roshini.
Ajayan Venugopalan’s script explores the lives of the Indian expatriates and the repercussions of outsourcing work to Indian companies. Naturally a greater part of the story is in English. Venugopalan’s crisp dialogues are the strength of the story. Shyamaprasad’s craftsmanship evident in every frame is well matched by cinematographer Eric Dickinson visuals.
The lead characters come with their own flaws and are more real. Prithviraj’s salt and pepper cool dude look will set many a heart flutter. The actor reinforces his talent once again with a brilliant performance. Bringing to the fore Varun’s insecurities and his cockiness, Prithviraj plays a caring father too. 
Matching step with him and playing the perfect tango is Nivin Pauly. Krish is a typical middle-class boy and a dutiful son who skypes regularly with his mom, but he does succumb to moments driven by ambition. Bhavana as a young mother brings out the independent streak in Roshini. Gopi Sundar’s music blends well into this tale of human emotions.
‘Ivide,’ takes viewers on a journey to the US where life is not as rosy as it appears.

Rating: 3/5 

‘Papanasam,’ remains faithful to ‘Drishyam’

By Mythily Ramachandran

How often do remakes receive the same appreciation as its original film?
Seldom.
When a good film is turned into another film in a different  language, the story often gets distorted so as to,  “suit the local sensibilities,’ and in the process the essence of the core is lost.
But with ‘Papanasam,’ the Tamil remake of ‘Drishyam,’ (Malayalam),  director Jeethu Joseph scores once again.  Joseph has made little changes leaving the soul of the story intact. And that’s why ‘Papanasam,’ clicked with viewers.
Joseph’s story is about an ordinary cable television operator who has not studied beyond class four. A loving husband and doting father to his two daughters, Suyambulingam (Kamal Haasan)  does not aspire big. All he cares for is the happiness of his family.
But when an outsider enters and disturbs their peace, this father will go to any extent, solely to protect his daughter. And, when faced with the law, he believes that the family can be saved only by staying together. This father who has always taught his children to speak the truth finds himself tutoring them to speak lies, manufacturing alibis and finally tampering with evidence.
‘Drishyam’ was the story of a Christian family, ‘Papanasam,’ is the story of a Nadar family based in ‘Papanasam.’ Mohan Lal played George kutty, the father in ‘Drishyam.’ Kamal Haasan is Suyambulingam, in ‘Papanasam.’ If ‘Drishyam,’ brought back the Mohan Lal we loved and remembered for his films of the eighties, ‘Papanasam,’ brings back the Haasan we have always admired.
Comparisons with ‘Drishyam’ are inevitable, but on one aspect viewers will be unanimous: Lal and Haasan have both played to perfection the doting father in their own style.
Haasan’s terrific performance in the climax scene is the cherry of the cake in ‘Papanasam.’
Cinema is a running sub-text in ‘Papanasam,’for Suyambulingam is a hard core film watcher. And when confronted with an issue in life, Suyambulingam resorts to film shots to sort it out. Joseph has beautifully woven this aspect into the major story.
Asha Sharath and Esther Anil who have reprised their roles from the original deliver performances that is one notch higher than in ‘Drishyam.’ Sharath as the mother agonizing over her missing son is a tough cop who uses power to intimidate Suyambulingam and family. Winning hearts again is Esther, as Suyambulingam’s little daughter who succumbs to police power and spills the truth. Gauthami makes a good comeback opposite Haasan as his onscreen wife. Nivetha Thomas, reprises Ansiba Hassan’s character and is remarkable. Surprising viewers is Bollywood’s Ananth Mahadevan, he plays the role Siddique did in ‘Drishyam,’ and the veteran director-actor is perfect.
‘Papanasam,’ is a gripping tale that is unpredictable and leaves you stumped in the end.

Vadivelu’s ‘Eli’ a big let-down

Weak script, long story and not at all funny

By Mythily Ramachandran

Eli Samy (Vadivelu) is a petty thief who makes money by conning people and when he trespasses into a cop’s house that’s the limit. Obviously he is caught but he is given a chance by the police to redeem himself. Which means he has to infiltrate a criminal gang, which is into smuggling cigarettes and assist the police in the project.
Did I mention that Eli is so named after his mother Elizabeth, a British tourist who met his father, Samy, a guide?
‘Eli’ with Vadivelu in the lead promised great laughs, but despite all the hype it sunk like a damp squib.
Vadivelu’s exaggerated acting did little to tickle the funny bone,  And his expressions often bordered on caricatures that you indulge in sometimes to entertain a little child. Dressing Eli as a sexy woman is neither funny. And, viewers have had enough of toilet humour.  But I must say that I enjoyed Vadivelu’s song sequence ‘Mere Sapanon Ki Rani,’ (from Rajesh Khanna’s ‘Aradhana’), the comedian imitates the late actor very well. Sada looks a pretty picture.
Yuvaraj Dayalan’s script is weak. The film is exhaustingly long. Don’t forget the joke is on us!
‘Eli’ clearly disappoints Vadivelu fans.