‘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.