‘Puli’ fails to make the roar one expected from a Vijay film

Weak script, poor characterization and bad editing makes ‘Puli’ a big disappointment

For all the noise it made, ‘Puli’ fails to make the leap into viewers’ hearts.
Chimbu Devan’s script was well loaded for a Vijay fan: Marundheeran, a larger than life hero, his beautiful lover, Pavazhamalli, (Shruthi Haasan)  two side –kicks (Thambi Ramiah and Satyan) to become the butt of the hero’s jokes and a villain, Thalapathy Jalatharangan (Sudeep) to egg  Marundheeran into action duels. Besides, there is Bollywood’s diva, Sridevi making a comeback into Tamil cinema, in a queen’s role and the glamorous Hansika Motwani her daughter. Yet ‘Puli’ fell down like a pack of cards.
Devan’s story touted as a fantasy tale for children lacked conviction. After all children ask questions mind you.
Marundheeran who is introduced as a simple guy and not a bravado to take on the powerful Vedhalams, (a clan of people with super human powers) saves his people from their tyranny by merely holding tightly onto  a Vedhalam chief’s leg. How ridiculous can that get?
And when Marundheeran’s lover, Pavazhamalli is abducted by the Vedhalams, he risks his life to find her. Of course he will eventually  (remember this is a Vijay film) but before that he has to cross an ardous path and the guide on this journey is a huge turtle known for his wisdom.
‘Puli’ reminds viewers of ‘Bahubali,’ in many ways. The story opens with a baby floating down the river and is rescued by a villager. And he turns out to be the rightful heir to a kingdom which has been confiscated by an evil chieftain. So that brings Vijay in a double role (more treat for fans). But the actor fails to impress in this role. His poor character sketch and bad hairdo a big letdown. 
Just how much of a children’s film is ‘Puli’ you wonder. The nuptial night jokes centred around Thambi Ramiah’s character is certainly not for little ones. What’s funny about licking the back of a frog now and then?
After waiting eagerly for Sridevi, the actress makes an appearance in the second half. She plays a queen under the spell of her chieftain. Sudeep as the baddie is ok.  ‘Puli’ drags real slow. The editing could have been crisper. Except for the ‘Yendi Yendi’ song sung by Vijay and Shruthi Haasan, none of the songs linger in the mind. 

What you will love though in ‘Puli’ is the breathtaking visuals shot by cinematographer Nataraj Subramaniam. The colour palette is vibrant. T. Muthuraj’s sets are a pretty picture too. In the special effects section the turtle and the bird Soora are a delight. If only Soora had a more chirpy voice and less adult sounding.

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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Vaagai Sooda Vaa

A simple story sincerely told. With brilliant visuals and refreshing music, Sargunam’s second outing is a must watch

With Vimal in the lead once again, Sargunam takes you on a trip to the sixties when the radio ruled instead of the idiot box and the net was unheard of as people waited for the snail mail to arrive.
Veluthambi (Vimal) arrives in a little known village of Kandeduthaan Kadu, home to a community of brick makers. Velu’s dream is to get a government job. His plan is simple. As suggested by his father, he hopes that this teaching experience will earn him a certificate and ultimately lead him to his dream job. But from the word go, he falls prey to the children’s pranks. And try as he may, he is unable to lure them to his class.  Neither are their parents keen on their education. They would rather have them help in making bricks. Ruling over this illiterate community and exploiting them is the land owner. Seems like an old plot? Not really. For the difference lies in Sargunam’s treatment of the script. His characters are believable be it Velu or Madhi, the tea seller in love with Velu, or her father who derives a thrill stumping people with his mathematical riddles and of course the bunch of mischievous children. Nor does he rush through the plot. He lets the characters grow gradually and imprint themselves in the minds of the viewer.  Shot realistically with attention to little details, the director proves that one can still create a good piece of art, sans big stars, sans verdant locales, sans glamour, sans revealing costumes and that comedy can be healthy and humorous sans double entendres. Not to forget that there are few people who rise above material needs to follow their heart.

Plus Points: Vimal acquits his character brilliantly. With his naïve expressions and attired in neat costumes of yore, the role seems tailor made for him.  Supporting him is debutant Iniya as the love struck Madhi. She shows plenty of potential.  Cute is her impromptu jig for a song. Another plus point is the casting. Thambi Ramiah as Madhi’s father and the child actors leave a mark.

Minus Points: Sadly Bhagyaraj as Velu’s father fails to impress.

Cinematography: Om Prakash’s camera defies the notion that only lush and green can be breathtaking, Panning an arid landscape in hues of brown and orange, he has captured landscape and sky most beautifully leaving the viewer speechless.

Music: On his maiden venture M. Ghibran's music is refreshing, with rich notes and lilting melody that lingers long after.  

Verdict: ‘Vaagai soda vaa,’ leaves you with a warm good feeling. Not a film to be missed.