‘Theeran Adhigaaram Ondru’ salutes the police force

 

By Mythily Ramachandran

Karthi’s terrific performance and director Vinoth’s well researched racy screenplay makes this a must watch  

How do you find a needle in a haystack?
That old adage describes the story of this Tamil Nadu police officer who was determined to bring to book a group of criminals out on a rampage for almost a decade.
With just a fingerprint as a clue and goading him ahead, Theeran arrives in Rajasthan with a group of subordinates to nab the dreaded dacoit leader Oma Singh.

Director H. Vinoth takes viewers on this investigative trail that keeps you well hooked onto the screen with its gritty screenplay and a nail biting finish.
The story dates back to 1997 when a group of dacoits looted lone houses situated on the Chennai Bangalore highway leaving behind bodies gruesomely killed. Theeran (Karthi) following his posting in Ponneri begins investigating these cases but is given little support by his seniors until a local MLA’s house is targeted by dacoits and is killed too.
With the case now getting its due importance, Theeran’s long journey begins. Revealing more would be a spoiler.

Unlike the regular cop stories of Tamil cinema, Vinoth’s story is about an ordinary policeman who takes his duty seriously and with pride. Karthi’s Theeran is unlike the roaring Singham Durai of ‘Singham’ with loud dialogues and actions, but a lion that prowls business like in pursuit of its victim. And, that makes ‘Theeran Adhigaaram Ondru’ believable. It’s clearly a career defining role for Karthi, who projects Theeran with a neat and perfect performance.
I loved the scene where Theeran’s senior wants to take him off the investigation as Priya, his wife is hospitalized, but Theeran argues that he wants to continue on the investigation as he was proud to be a policeman and it was not out of vengeance. Theeran’s eyes well up as he remembers his late father, also a policeman who died on duty, yet his mother never reminded him of the hazards of a policeman’s life.

Vinoth’s research into the history of the dacoit gang dating to the British era is commendable. Drawing his characters with utmost care Vinoth’s narration is engaging. Despite the ruthless killing by the robbers, the scenes reveal little gore yet convey the impact of violence well. 

Director H. Vinoth

While the focus is on the investigation, Vinoth occasionally gives us a peek into Theeran’s love life. The onscreen chemistry between Rakul Preet Singh and Karthi is cute with a freshness in their romance. 

Cinematographer Satya Sooryam’s frames elevate Vinoth’s story. The night visuals of the dacoit while in robbery bring an intimidating feel and the action shots are awesome, especially the one where Theeran follows a gang member atop a moving bus. Stunt director Dilip Subbarayan deserves special mention for staging well orchestrated action sequences. 

A hero’s heroism is better defined by making the villain loathsome. Abhimanyu Singh as the dacoit leader, Oma surpasses his earlier roles. Oma is more visible in the second half and as the camera pans over him for a while, it comes down to his eyes. We see the terror lurking inside. Singh’s magic lies in his eyes and he uses them magnificiently.

‘Theeran Adhigaaram Ondru’ entertains while saluting those police officers who place duty before their family.  Sadly these officers were never given their due recognition.

‘Aval’ : Engaging and captivating 

This horror film stumps you with its engaging narration, fantastic performances, surreal visuals and an unpredictable twist

By Mythily Ramachandran

Sarah looking out of the window intently (while her family is busy with guests at their housewarming ceremony) catches the attention of Dr. Krish (Siddharth). Moving closer to her, he looks out at the object of her gaze and is surprised to see Jenny, her older sister standing on the brink of a well in the garden. And, before his very eyes, Jenny walks into the depths of the well. Krish rushes out after alerting Paul, Jenny’s father. He jumps into the well and rescues Jenny out. But when she wakes up she cannot remember anything about the mishap.
From an innocent scene picturised around a child, director Milind Rau leads us indoors into Paul’s house where bizarre are waiting to happen.  With ‘Aval’ a trilingual, ‘Gruham’ (Telugu) and ‘The House Next Door,’ (Hindi) Rau’ shows promise as a sensible filmmaker.

Rau’s writing is solid in every scene. The different players inside have been treated with utmost care. There is a freshness in the detailing of the characters-Dr. Krish, a neuro-surgeon noted for his skills and his wife Lakshmi (Andrea) are enjoying their extended honeymoon phase; Paul (Atul Kulkarni), their new neighbor with two daughters, wife Lissy and his old dad reveal a happy family. Jenny (Anisha Victor) is today’s teenager. She lost her mother but is at ease with her stepmom. And, yes, she can down a few pegs and smokes on the sly. Sarah, her step-sister is a cute innocent child she loves.

Rau’s tale is based on real incidents and he narrates it with a gradual pace. He is in no hurry to scare you with a spook at the next dark nook. And, when the scares pop up, they are well planted in the screenplay and also well executed. Some even bring a smile, like the dictaphone that plays a tune in the dead of the night. Rau’s attention to small details lends a realistic touch.

Co-written with Siddharth, ‘Aval’ has romantic moments in good measure reminding viewers of a life outside the paranormal activities. Evesdropping into the two homes of Krish and Paul you watch queer happenings. As we linger in each scene and the dread grows, you don’t see the twist in the climax.

Of course, few scenes remind one of ‘Exorcist’ and few other films, but not many horror films have this level of commitment to setup and presence. Nothing seems staged in ‘Aval’ thanks to the perfectly calibrated performances from a well-chosen cast; understated and neat. 

A cute moment is found in the most unexpected moment. When Lissy tells Paul that she wants them to leave the haunted house, an angry Paul gives his reason for not being able to leave. Little Sarah quips then: ‘There is something good in everything.’ 

Debutant Anisha Victor is the scene stealer who holds her own pretty well in the midst of veterans. As Jenny, she juggles between playing a normal teenager and a woman possessed with remarkable ease. 

Cinematographer Shreyaas Krishna’s visual texture augments Rau’s narration all through. The splendor of the snowcapped mountains in the backdrop is matched by the golden glow of night sequences with the focus on the corridor inside Paul’s home where a cross is lit by a red light. 

Girish Gopalakrishnan’s background is not loud and dramatic as in other Indian horror films, but ushers in the right measure of unease. Preeti Sheel, Bollywood’s make-up artist with her prosthetic make-up for the ghost like apparitions of ‘Aval’  are way removed from the regular pan-caked powder faces of other Indian films. The scenes with Jenny in the bathroom and another inside the operation theater where Dr. Krish is performing a surgery, send a shiver down the spine.

‘Aval’ impresses. 

'Thondimuthalum Driksakshiyum’ a hilarious tale 

By Mythily Ramachandran

What if you were a fly on the wall inside a police station or a bird perched on a tree in one of those small towns of Kerala? You could spend the entire day watching people around and their life stories unfold.

‘Thondimuthalum Drikshasakshiyum’ (The Mainour and the Eye Witness) is one such story that director Dileesh Pothan narrates in his inimitable style. Marked by realistic frames and exemplary performances, Pothan and Fahad Faasil return with another winner. Their last film, ‘Maheshinte Prathikaram,’ won two Kerala state and two national awards this year.

At the core of the plot is a simple knot, when a small time thief (Fahad Faasil) steals a chain from the neck of a young woman while travelling in a bus. Srija, (Nimisha Sajayan) the victim had dozed off but wakes up in time to catch the thief in his act. The thief outsmarts her by swallowing the chain. Srija raises a hue and cry. Her husband Prasad (Suraj Venjaramoodu) sitting on the other side of the row rushes towards her. The thief vehemently argues that he never took her chain. ‘She must have dreamt it while in her sleep,’ he suggests.

Co-passengers come to Srija’s aid. Some even slap the thief. Soon the bus is driven to the nearest police-station. What happens at the police-station over the next few days? Does Srija get her chain back? 

With a chain snatching plot one would expect a lot of drama that could have turned into just another thriller. ‘Thondimuthalam Drikshasakshiyum’ does not follow that route. It makes its own path as the story progresses and keeps you guessing all along. 

With hilarious situations captured inside a police station that is enhanced with touches of realism and natural performances from the entire team, director Dileesh Pothan proves that ‘Maheshinte Prathikaaram’ was not a mere flash in the pan.
 Sajeev Pazhoor has written the story and screenplay. Syam Pushkaran, who won the national and Kerala State Award for Maheshinte Prathikaaram, is credited with the dialogues.  

You can see the love with which each character has been sketched. The lead players, Srija is an ordinary young woman yet with a mind of her own. Her relationship with Prasad begins on a wrong note when he notices her purchasing a pregnancy testing kit. Through a common friend, he relays this to her father. An angry Srija confronts Prasad who is embarrassed on his goof-up and before they know it the young couple is in love. Srija’s parents disapprove of the inter-caste match and they leave town to make a new beginning in Kasargode.

Suraj Venjaramoodu is a brilliant performer whose talent only a few directors have explored. Dr. Biju revealed another side to the comedian in his national award winning film, ‘Perariyathavar.’ Pothan brings that out again here.
With his subtle acting, Venjaramoodu convincingly draws out the simple guy Prasad, who cannot harbor malice for anyone including his father-in-law.
No one could have been as convincing as the versatile Fahad Faasil. He is brilliant as a thief, cocky and confident even when in the wrong and takes life’s situations most casually. 

Newcomer Nimisha Sajayan matches step with the two veteran actors and is a bundle of promise. Her eyes are her strengths and she exploits them well. Her grim expressions, her anxiety at the loss of her ‘thali’ (wedding chain), her angry looks darted now and then at the thief are spontaneous. The Mumbai raised actress slips into a lower middle-class Srija’s skin with ease. 

A host of characters make up ‘Thondimuthalum Driksakshiyum’ and they stay with you long after curtains fall-Sudhakaran, the trouble maker who is confined in prison till the temple festivities are over, the writer at the police station who is always in mufti, the Sub-Inspector keen on delivering justice and the Head Constable (Alencier Ley), on a punishment posting. In fact, 23 real policemen have made their cinema debut.  Sibi Thomas as the SI impresses. The casting is so perfect. Even the chemistry between Srija and Prasad so well played out. 

The mystery around the thief keeps the story engaging too. He has no identity nor does he reveal his real name. He takes on Prasad’s name. And boasts about his paratha making skills in a nook side hotel that is greeted with asides and banter by the policemen. Fahad Faasil plays the wily trickster to the T.

Complementing the beautiful narration and seamless flow of the story is Rajeev Ravi’s brilliant camera work. The national award winning cinematographer hovers around the police station, now and then stepping outside, sometimes capturing a temple celebration mood in bright colours or lighting up in twilight frames when watching over Srija and Prasad in their home. The long chase scene through the woods that ends in a canal with Prasad holding onto the thief, whom he has finally caught is remarkable.

Realistic shots and attention to finer details add to the film’s strengths. When everyone is heading to the hilltop where the thief is being taken for his morning ablutions, Srija also joins her husband. Suddenly Prasad turns to her and tells her-‘you don’t have to accompany me here.’ You smile with Srija. Humour is squeaky clean.  

Bijibal’s music complements the narrative.
‘Thondimuthalum Driksakshiyum’ finds itself a place among the beautiful gems of Malayalam cinema.

Rakshadhikari Baiju Oppu: A feel good entertainer  

By Mythily Ramachandran

Biju Menon is back and once again he bowls you over with his charm and versatility

Menon carries ‘Rakshadhikari Baiju Oppu,’ on his shoulders, a simple tale set in a nondescript village and like his character Baiju, Menon endears himself to the audience.  This is Ranjan Pramod, noted Malayalam screen-writer’s third directorial venture.

The village of Kumbalam could be any village of Kerala that is untouched by today’s growth. Baiju (Biju Menon) who grew here lives with his family. And, his main distraction is Kumbalam Arts Club that he founded in his young days. Much water has flown under the bridge since then, yet this father of one and a government employee in his early forties is often found hanging in the company  of its club members that includes school kids, teenagers and young men. The Kumbalam Brothers and their passion for cricket is enough to draw Baiju out onto the vacant land of the village, a space shared by the young and the old.
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While the story is pivoted around Baiju, Pramod has woven little stories into his screenplay. Baiju is that uncle you would run to when your father refuses to get you a cricket set and dismisses your love for the game. Baiju is also the neighbour, whom a father approaches when going through a personal tragedy and wants him  to talk to his grieving son. Baiju, howeveris not portrayed as a larger than life figure. He is an ordinary guy who prefers life’s slow lanes unlike his friend,  George (Dileesh Pothan) who has emigrated to the USA and realizes what he is missing during a visit to the village. Baiju is the rakshadhikari, the patron or mentor you could rely on.
Besides, the story is not about cricket only, there is love too and many moments to smile at. The humour is understated and situational. Pramod’s story free from loud drama and action beautifully captures the uncomplicated life of this small community where time stands still and the residents savour life’s little joys.

Menon is terrific and a natural. Complementing him are the supporting team members. Despite the three hours duration it seldom sags; its host of characters keep the wheels going.

Hannah Reji Koshy plays his wife Ajitha, an ordinary woman who yearns for her husband’s attention. When she feels ignored, she does not turn into a nagging shrew but a cute sulking child. Aju Verghese is Unni, Baiju’s friend determined to marry a fair-skinned woman but is pursued by Sreekala, a dark complexioned young woman. A love story brews on the side-lines of matches as team member Manoj runs into the garden of Rose, where the cricket ball often lands into. Wonderful is veteran actor Janardhan’s role as an annoying old man from the neighbourhood who becomes a party pooper when the children come out to play on the vacant space.

Without shouting himself hoarse, Pramod slips in a social message as curtains come down. ‘Rakshadhikari Baiju’ is a refreshing film with its characters leaving behind a nice feeling. You may relate to some or maybe reminded of someone if you have had your roots in those small villages of Kerala.

Georgettan Pooram: Lacks magic

Story about an important kabaddi match is let down by weak writing

By Mythily Ramachandran

Matthayi Parambu, a vacant ground in Thrissur, carries an interesting history in the film Georgettan Pooram. This land was given to national kabaddi player Mathayi by the government in recognition of his achievement in the sport. Mathai in turn donated it to his village as a public playground to encourage kabaddi. However, kabaddi never found any place there, or for that matter any other sport either.

Over time, Mathayi Parambu became a space for everyone to meet and watch time go by. In particularly, it was the favourite haunt of George (Dileep) and his friends, Vava (Vinay Forrt), Pallan (Sharfudheen) and Chullan (Thiru Actlab). It was their second home actually, where these four idle men spent time mostly with alcohol for company.

Trouble brews when Peter, Mathayi’s son (Chemban Vinod Jose) takes claim over his father’s piece of land. He has a plan for this space. Obviously that plan conflicts with the welfare of the villagers, That prompts George to wake up from his idle life. It now becomes his life’s purpose to protect Mathayi Parambu so that it can remain with the villagers.

Deciding the destiny of Mathayi Parambu is a kabaddi match to be played by the villagers led by George against a team of veteran players.

Directed by K. Biju, George Ettans Pooram is a typical Dileep film with comedy and a couple of obscene jokes. The story had potential to become a good sports drama but the weak writing takes it downhill.

C/O Saira Banu: Celebrating motherhood

By Mythily Ramachandran

A beautifully made family drama with personal  struggles lending an interesting twist

Malayalam film C/O Saira Banu lauds maternal love as it dwells on two mothers who will go to any length for the sake of their sons.

With a cast tailor made for each character and marked with effortless performances, this debut venture of scriptwriter R.J. Shaan and director Antony Sony impresses with its poignant moments.

Single mother Saira Banu’s (Manju Warrier) life revolves around her son Joshua (Shane Nigam), an aspiring photographer. So when his life and dreams are threatened, Banu is not going to watch mutely or wallow in self-pity. This small town post-woman who has not studied beyond high school takes up his case even if it means standing up against Annie John Tharavadi’s (Amala) stature, the infallible lawyer with a reputation for winning her cases.

Annie, a single mother with a school-going son, gives in to the boy’s whims leading to an unfortunate incident. How far will the two mothers go to protect their sons?

Without becoming a melancholy drama, C/O Saira Banu is a tale of tiny joys of life interspersed with humour and love.

If Warrier’s How Old Are You? brought her back with emphasis, C/O Saira Banu is a David-versus-Goliath tale that shows there’s a lot more to be drawn from actresses.

Warrier walks with ease as Banu, be it in attitude and in the endearing moments she savours as Joshua’s mother.

It was a well-conceived scene where Banu, with eyes bristling with eye drops, is asked by Joshua to open them as he has a surprise to show her — his scholarship letter from National Geographic.

Amala’s fans are in for a treat. The Ente Suryaputhiri actress returns in a role marked with a brilliant performance. Her Annie John is mature and debonair. Known for her adherence to truth and justice, Annie finds herself seeking cover under her lawyer’s cloak in a bid to save her son.

Amala’s little nuances of expression make moments from Annie’s life so convincing — Annie’s fear and insecurity as she watches Banu interacting with her son and later in court when facing Banu. Bringing layers to her character, she reveals the shade of gray in all of us that sometimes raises its head.

Complementing Warrier’s performance is Shane Nigam. As Joshua, the law student searching for his identity as Peter George’s son, Nigam’s acting is in the right measure; not even once does he go overboard.

Shan’s powerful writing breathes life into his characters. The screenplay is commendable; it does not slacken nor is it interrupted with inane comedy and songs.

The film opens into the kitchen of a lower middle-class home to reveal a pan of milk simmering over a stove that will boil over any moment, while a pressure cooker on the adjacent burner raises alarm with its whistles.

We are left to our imagination as we hear voices in conversation, a mother waking up her son as she goes about with the morning chores, in between hailing the fish vendor outside through the window.

I liked the way Banu’s single motherhood is woven into the story. Without glorifying Banu’s sacrifices, her relationship with Joshua’s father is revealed in a beautiful episode termed as the Hand of God.

Shaan’s writing celebrates the contemporary woman, independent and clear in matters of love. When Banu meets Arundhati (Niranjana Anoop), Joshua’s college mate presuming that they are in love, Arundhati clearly tells her that she was Joshua’s friend and nothing more. Anoop in the short space she occupies leaves her mark. Kanchana who won this year’s state award winner plays a small role, that of an Iyer woman who eats bread and omelette on the sly. Director Sony has drawn out a terrific performance from his team.

The film while informing the layman of a few basic rights in the Indian law, it raises questions on the identity of the many migrant workers today in Kerala.
Who are they? What is their security? What is the value attached to their lives?

It is a touching ode to motherhood when Banu arrives in Malda (West Bengal) carrying Ram Kishan’s (a migrant worker) letter to be delivered to his mother. As she inquires about the address, someone shouts “That is Janaki’s son” reminding us of a mother waiting for her son’s homecoming.

C/O Saira Banu is a beautifully made family drama with personal struggles lending an interesting twist.

Singam3’ an entertainer that Surya’s fans will love

By Mythily Ramachandran

Durai Singam, the Sub-Inspector from Thoothukudi (Tamil Nadu) is in action again.
‘Singam3’ fits well into director Hari’s template of a mass entertainer-an honest policeman while taking on criminals also finds time to romance with beautiful women amidst breathtaking visuals that transport viewers fancy-free to distant lands.
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Tamil actor Surya returns as Durai Singam,  and the star delivers his role with aplomb, in true singam style. His screen presence is a commanding picture throughout and not even once does he go overboard.  

Singam, the Sub-Inspector from Toothukudi, is deputed on work to the neighbouring state of Andhra Pradesh to investigate the murder of a senior police officer Ramakrishna (Jayaprakash).

Durai Singam is in pursuit of the suspects and we soon learn that Vishakapatnam port is under the control of Reddy, a goon. Reddy is also hand in glove with an Indian billionaire, Vithal (Thakur Anoop Singh) from Australia in an illegal activity, that Singam unveils.

Singam’s ire is provoked and he charges roaring to make the kill-

Oru Thavaru Seithaal, Athai Therinthu Seithaal, Athu Devan Endraalum, Vida maaten (One mistake made, and if that is done deliberately, even if it is God, I will not spare him).

Hari’s story is, of course, predictable. As long as you don’t question Durai Singam’s invincibility, who with his bare hands flicks off adversaries very easily, you have an entertainer that makes you forget the world outside.

The fast pace of narration and breathtaking visuals by cinematographer Priyan prop up the film. Anushka Shetty playing Singam’s wife Kavya and Sruthi Haasan, as an investigative journalist in love with Singam, lend glamour, designer clothes et all.

What slows down the fast pace of the story is comedian Soori as Singam’s constable and his dry humour. Soori’s style of beating people has repeated again and certainly does not tickle you in any way. It’s getting annoying actually. The jokes fall flat on their face.
Another thing lacking was a really powerful antagonist. Vithal’s character could have been written better.   

‘Singam3’ is a mass entertainer and a Surya show all the way.
Of course, the star lives up to his image.

‘Enakku Vaitha Adimaigal’ a light-hearted story

By Mythily Ramachandran

This is not a story about finding love, but about coping with life after a break-up.
Directed by debutante Mahendran Rajamani, EVA dwells on the lives of four friends, in particularly about Krishna, (Jai) who has been ditched by his lover, Divya (Pranitha) for another man.
Krishna contemplates suicide and he informs his close buddies over the phone of his intentions. 

How do they react? Are they able to stop Krishna from ending his life?
As long as you don’t take EVA seriously it’s a fun ride. EVA also does not pretend to be otherwise.

Why is a good actor like Thambi Ramaiah reduced to a joker in film after film?
Here he plays Jai’s counselor and his mannerisms are a repeat of what we have seen in earlier films. His scenes barely provide humour. 

EVA is a time-pass.  Take your friends along. There are many laugh aloud moments.  Not all jokes are clean, though! 

‘Bogan’ a fast paced thriller is a good watch

By Mythily Ramachandran

Any ideas who a Bogan is?’

In Tamil, it refers to a person addicted to the pleasures of life.
And, that best defines, Aditya (Arvind Swamy), belonging to an erstwhile princely family of south India. Booze and babes are Aditya’s  twin pleasures and he enjoys life like no other.

So what does this ‘Bogan’ do for a living?’
He pulls off heists without even pressing a trigger. His modus operandi is unique. 

Aditya has learned an ancient Indian science of the siddhars (Shaiva saints of yore) who had the ability to swap their bodies with another. He uses this technique and mesmerizes people into committing a robbery. While he drives away with the bag of loot, it’s the employee at the jewelry store and the bank manager who are hauled up by the police.  

However, the bank manager’s son, IPS Vikram (Jayam Ravi) is not going to rest till he proves his father’s innocence. With that begins a cat and mouse game between Vikram and Aditya.
Vikram finds evidence enough to arrest Aditya and puts him behind bars.

Is the story of ‘Bogan’ as straight as that?
Not really.
Not one to give up, Aditya swaps his body with that of Vikram’s. And in the guise of Vikram's physical self,
Aditya walks out of prison. leaving behind the real Vikram trapped inside Aditya’s body and in prison. 

Now begins round two of the cat and mouse game.

‘Bogan’s first half is engaging. It's racy screenplay and new concept keeps you hooked.
Director Lakshman also has woven in a romantic story around IPS Vikram and Mahalakshmi (Hansika Motwani) his fiancée.

Arvind Swamy and Jayam Ravi lock horns again after ‘Thani Oruvan.’ But the likeness stops there. 

The story is completely different and the two actors are challenged in the second half as they juggle between the characters of Aditya and Vikram.
Swamy’s versatility as an actor comes to the fore again. Ravi matches step with him in a brilliant performance.

Stunt scenes deserve mention especially one action sequence from the first half of the story, where Ravi chases a criminal. You watch in awe.
Lending good support to the story are young actors, Varun, Akshara Gowda and Nagendra Prasad as Vikram’s subordinates.

‘Bogan’ entertains, though the last seven minutes gets a bit exaggerated.
And, we hear that Bogan 2 is on the cards too. 

Jomonte Suviseshangal’ an endearing family drama

By Mythily Ramachandran

Satyan Anthikkad, the master story- teller of Malayalam cinema returns with a family drama that warms up to you with its bond of a father and son.

The story is not new and different versions of the prodigal son rising to the occasion have been narrated before, yet ‘Jomonte Suviseshangal’ wins your heart with its natural performances put in by a cast that sits snug in its roles. 

‘Jomonte Suvisheshangal’ is scripted by Dr. Iqbal Kuttipuram, a homeopathy doctor in UAE, remembered for his scripts for Malayalam hits, ‘Meghamalar,’ and ‘Diamond Necklace.’
Here he brings in a nice blend of good humour and family emotions, (without getting melodramatic) and the dialogues hitting the right note.

Anchoring the story in its place are the lead players, the charismatic Dulquer Salmaan,  (that smile of his always bowls you over) and veteran Mukesh with his mature performance.  

Vincent (Mukesh), a business tycoon of Thrissur is a widower living with his extended family of two sons and two daughters. His youngest son, Jomon (Dulquer Salmaan) with his easy going attitude towards life seems to stick out like a thorn in the happy household. Jomon is yet to clear his MBA, but has no qualms about blowing up his father’s money on a bike that costs 18 lakhs. Jomon carries the tag- irresponsible and unreliable.

Bad times pull down Vincent’s business and overnight he loses his home and everything. When the rest of his children guilt trip Vincent, Jomon steps in and takes his father with him to Tirupur. Jomon is managing a business in Tirupur with his friend (Jacob Gregory) and hopes to salvage things slowly.
Do things go as planned by Jomon?

The effective casting makes the different characters relatable. And they are not painted in all black or white. Vincent, a shrewd businessman does not hesitate to strike a deal at a funeral, but he is not a complete shark either. Having climbed up the ladder from the lowest rung, he takes his loss in his stride and from a Benz car gets to riding a bicycle with the same ease.
Jomon is that kid brother who can be annoying often, yet you can’t stop indulging him. If Jacob Gregory’s Mustaq exploited his friendship with Jomon, it does not take him long to turn over a good leaf and become Jomon’s trusted partner. Not to forget the ever faithful friend of Vincent, Raavunni.

While the story gets predictable in the second half and there seems to be a hurry to tell the tale, it’s the father-son bond that holds the film upright. The warm chemistry shared between Salmaan and Mukesh is the mainstay ere. Mukesh delivers the right measure of emotions. Salmaan keeps pace well with Mukesh and a delight to watch in every scene.

Anupama Parameswaran as Catherine and Aishwarya Rajesh as Vaidehi in their brief space deliver a good performance. It’s a relief seeing Tamil actor Manobala play a role that is not his stereotypical comic self from Tamil cinema where his thin frame is always the butt of ridicule. Innocent who is a regular in Anthikaad’s films keeps the chuckles going.

Watch ‘Jomonte Suviseshangal’ with your family, a neat drama made without the frills of action and inane romantic scenes.

                                                                 

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Vijay Sethupathi plays a mass hero in ‘Rekka’

By Mythily Ramachandran

If Tamil actors Vijay and Surya and many others can play the super-hero why not Vijay Sethupathi?

Tamil film ‘Rekka’ directed by newcomer Rathnasiva brings out this element of the versatile actor Sethupathi who has won hearts by his portrayal of the ordinary man with great ease.

Sethupathi plays Siva from Kumbakonam whose main job appears to be uniting lovers, even if it means abducting the bride from the wedding mandapam. 

When his path crosses with that of David, (Harish Uthaman) a much- feared goonda, Siva is left with no option but to abduct Bharti, (Lakshmi Menon) the daughter of a gangster leader from Madurai.
Oh not again! I can hear some of you say that. 

Be prepared for Siva’s larger than life character who sends, flying goons in large numbers with a flick of his hand and mind you without even a scratch on himself, all the while holding onto Bharti's hand. 

As for Bharti, she is the loosu ponnu (dumb girl) and Lakshmi Menon plays it to the hilt.
Which woman would walk off with a stranger on her first meeting with him? Only a loosu ponnu!
And, when Bharti conveys this to her mother, her mother tells her to say goodbye to her grandmother before she leaves.
How much more preposterous can this get? 

The flashback story does little to move your heart. The good moments, however, are the scenes between Siva and his father. Director K. S. Ravikumar. Ravikumar as Siva’s father is wonderful.
You feel sorry for a wonderful performer like Kishore wasted in the role  of Selva. It’s time Harish Uthaman looked for a changeover from his villain roles. He is another actor who can do better than play the growling antagonist.  

‘Rekka’ lacks logic but then Sethupathi’s fans are not going to complain. 

   

‘Remo’ is another mass entertainer 

By Mythily Ramachandran

Sivakarthikeyan’s ‘Remo’ made a lot of noise over his appearance in this film as a nurse but beyond that look, there is nothing much in this romantic comedy.  

Siva (Sivakarthikeyan), an unemployed young man is an aspiring actor who ends up using his acting skills to win the love of his heart. 

Directed by debutant Bakkiyaraj Kannan, this story sits snug into the template of a Tamil mass entertainer. Targeted at people of all ages, ‘Remo’ with a love story at its core is served with doses of action, (there is a villain obviously, the fiancé) and sentiments to woo children and family. Not to forget laughs. 

So hero, Siva, after experiencing that aaha moment when cupid strikes his arrow decides to win Dr. Kavya’s (Keerthy Suresh) heart. So what if she is already engaged to a doctor and is not even aware of Siva’s existence, the hero is determined to make her fall in love with him. As nurse Remo he gets quite close to Dr. Kavya.  

‘Remo’ appears to be telling Sivakarthikeyan’s fans that it is ok if you are uneducated and in love and it doesn’t matter to what extent you go to win the heart of your woman. You can bug her until she becomes yours. 

Sivakarthikeyan as Remo looks quite stunning so much that his close buddy desires to hug Remo. There is even a rowdy (Yogi Babu) in love with Remo. Remo is irresistible to the old men recovering in the hospital where she works. 

Lacking good writing and with a run of the mill story, ‘Remo’ joins the ranks of films that are easily forgotten.  

Aandavan Kattalai’ entertains with a simple story  

By Mythily Ramachandran

Tamil director Manikandan is back with another entertainer that while tickling viewers also send home a few points on the existing system in society. 

Manikandan had explored the effects of globalization on two little slum boys, in his debut film, ‘Kaakka Muttai.’ Now he takes on a story that reveals the hurdles in procuring a London visa or for that matter even a simple Indian passport.  

Gandhi, (Vijay Sethupathi)  debt-ridden, leaves his home near Madurai and arrives in Chennai to get a London visa so that he can bring home the proverbial pot of gold. His friend Pandi (Yogi Babu) accompanies him with the same London dreams.

When a travel agent suggests that a married status on their passport application form will increase their chances of getting a visa, Gandhi, much against his wishes, mentions a name of a fictitious wife, Karmegha Kuzhali. However, during the visa interview, a simple honest answer leads to the rejection of Gandhi’s visa, while Pandi’s London visa comes through.

Gandhi finds work in Chennai in a theater company and when his employer, (Nasser)  decides to take him to London for a show, his married status comes in the way. And, to undo one lie, Gandhi is caught in a mesh with lawyers who have no qualms of distorting facts further.

The screenplay written by Arul Chezhiyan, Manikandan and Anucharan dwells on Gandhi’s travails, told in an engaging and humorous manner.
The comedy is not in the face forcing you to laugh. Humour is drawn from the daily humdrum of life, be it at the travel agent’s office; or in the exchange between Karmegha Kuzhil and her mom; or the family court where couples seek a divorce.
I particularly enjoyed the scenes with Gandhi's two lawyers. Actors George and Nandhini were wonderful.

‘Aandavan Kattalai’ is not only about the protagonist’s journey- the supporting characters leave an indelible impression.
Nesan, the Sri Lankan refugee living incognito in Chennai, who comes up with solutions to solve Gandhi’s predicament, reminds you of that friend who gets you into trouble without intending to. Aravindan plays this role with conviction. Yogi Babu keeps the laughs coming. Rithika Singh after impressing us with ‘Iruddhi Suttru’ emphasizes again that her debut performance was not just a flash in the pan. Sethupathi carries his Gandhi effortlessly and is a treat to watch. Give Nasser any role and the veteran does justice to it.

Without shouting hoarse over a social message, Manikandan stresses the importance of avoiding middle- men, like agents and touts and instead follow the direct procedure for procuring a document.

Go for ‘Aandavan Kattalai’ and take your family too. It’s a clean and fun film.  And, believe it or not, there was not a single duet or song, though composer K’s background score sometimes came in the way of some dialogues.