Poraali

Poraali, lacks the punch that Samudrakani and Sasi Kumar have come to be known for

‘Man is a social animal,’ reads the tagline as ‘Poraali’ opens revealing a dark night dominated by sounds of animals. And the narrator states that there is an animal residing within each one of us only waiting to rise at the opportune moment. Coming from the stables of acclaimed actors- directors’ duo Sasi Kumar and Samudrakani, you wait expectantly for the story to unfold. Sadly Poraali disappoints. There is nothing new in the script. The age old vendetta for family property with a scheming step mom out to oust her step son forms the core of the story. Naturally there is enough gore and more. The script meanders aimlessly and when it realizes its futility, it raises its head to offer serious lines on humanity and how we are drifting apart in our quest for material pursuits. The first half of the story entertains as Kumaran and friend Nallavan make an honest living in a city like Chennai. Comedy in the form of Ganja Karuppu has you chucking occasionally. Add slapstick humor for roars. The film turns serious when the two friends are hunted by their villagers who claim they are insane. And viewers walk down memory lane. 

   

PLUS POINTS: Sasi Kumar as the protagonist Kumaran puts in a good performance. Allari Naresh as Nallavan shows potential though at times, he goes overboard. Swati’s versatility comes to the fore once again as a city bred girl. Nivedita on her debut in Kollywood impresses.

MINUS POINTS: A weak script with poor characterization makes Poraali a disappointment. Making the film a typical masala is the group dance to start with soon after the film opens. Sasi Kumar joins the league of super heroes who bash up a multitude of villains with ease. As if all this was not enough, the last scene meant for laughs at Ganja karuppu’s expense mocks at the viewer’s intelligence. Now where did Nallavan’s family spring from?
Even the music failed to linger in the mind.

CAMERAWORK: Kathir has done a good job, be it in capturing the villages and the city cacophony. 

VERDICT: ‘Subramaniapuram’ with all its violence had a soul, ‘Nadodigal’ carried a social message, ‘Easan,’ a hard hitting take on the powers to be was honest but ‘Poraali, lacks the stroke that Samudrakani and Sasi Kumar have come to be known for.

Pranayam

A poem on celluloid written in the signature style of Blessy

Achutha Menon, a retired man finds himself suddenly hurled back into the past, when he accidentally meets his former wife and lover, Grace in the apartment lift. The shock of meeting his wife forty years later takes its toll on the old man’s heart. Grace immediately admits him in a hospital. She is now caught in a quandary. On one hand is her husband, Mathews, whom she loves immensely and who needs her assistance for every little thing being wheel chair bound. On the other hand, her ties with her former husband often surface up with bobbing memories. She yearns now to bond with their son, whom she last saw as a two year old. But is greeted with animosity by him, a young man now working in the gulf. For he has grown up believing  his father’s words, that his mother had forsaken him for a new life. Deprived of a mother’s love, he holds onto a deep rooted anger towards Grace. Only one person understands Grace’s emotions, the juxtaposition of the past with the present, and that is Mathew. A former philosophy professor, Mathew’s zest for life is reflected in his saying, ‘Life is more beautiful than a dream. You just need to know how to live life.’ Trusting his wife, whom he loves very much and bonding with Achutha Menon, Mathew reveals the magnanimity of his heart. This love triangle breaks stereotypes with its sensitivity and poignant portrayal. Blessy’s in his inimitable style reveals the battle of emotions in Grace, who is torn between love and affection, often leaving a lump in your throat. 

Plus Points: Mohan Lal as Mathew, Anupam Kher as Achutha Menon and Jaya Prada as Grace essay a brilliant performance. It is hard to single any one actor as the best. The on screen chemistry between Mohan Lal and Jaya Prada is beautiful. Notable are other cast members for their impressive performance especially Anoop Menon as the son Suresh and Apoorva as the grand- daughter Megha. Music by M. Jeyachandran is melodious. I loved the song, “ I am your man,’ song by Mohan Lal. Several moments from the story linger in the mind, like the one where Achutha Menon takes Grace and Mathew across a stony incline to view a colony of butterflies.

Minus Points: The flash back sequences featuring a young Grace and Achutha Menon were quite melodramatic and uncalled for. 

Camerawork:  Satheesh Kurup’s work  is breathtaking. You have to see it.

Verdict: A clean family drama that tugs at your heart strings with its moving moments

Muran

This psychological thriller starring Cheran and Prasanna in lead roles entertains

Said to be inspired by Alfred Hitchcock’s ‘Strangers on a train,’ Rajan Madhav’s ‘Muran,’ brings two strangers together while on a road journey. Nanda (Cheran) is a promising guitarist who has signed his first film and is returning home. Enroute, his car breaks down thanks to a rowdy group of young men travelling alongside him. Arjun, a business tycoon’s only son and an arrogant playboy gives him a lift. Little does Nanda realize that his life will not be the same anymore, what with Arjun, who has a penchant for adventure and wild thrills. Initially Nanda is not keen in participating in such fun, but Arjun with his charm and easy banter manages to get Nanda to join him in such activities. As the story unspools, viewers learn about Nanda’s unhappy marriage. You also learn about Arjun’s past and his relationship with his father. And just when you start feeling that Arjun is not that bad after all, comes a new twist in the tale with the death of Nanda’s wife in a car accident.  Rajjan Madhav’s debut work keeps you engaged till the end.
Plus Points: Cheran and Prasanna walk away with the honours. Prasanna excels in his role as a real prick. Cheran impresses with his subtle performance. Playing his love interest is Haripriya who does a neat job. Music by Sajjan Madhav is good.
Minus points: A tad too long, the film could have done with some editing.
Camerawork: Padmesh’s camera is cool.
Verdict: Watch this psychological thriller for Prasanna, who  matches Cheran  step by step creating the perfect tango. 

Ra Ra

‘Ra Ra’ with all ingredients of a typical Kollywood masala fails to tickle your palate

Here is a recipe for a Kollywood masala.
First, open the film with lungi clad long haired goons walking in quick purposeful strides brandishing, yes you got that right, an aruvaal.
Next, introduce the hero attired in bright costumes with a group song. Dress up the extras, (I am obviously referring to the women),  in short outfits, better actually in those school pinafores with rising hemlines and let them shake their hips to a cacophonous number.
Third, a must ingredient, is a comedian. He is usually the hero’s best friend and ally in distress and gets to deliver those inane dialogues. Make them as crass as possible if you want to elicit roars of laughter from viewers.
Four, stir in a good dose of songs, one when the hero and heroine accidentally meet and lock eyes, another when they take off to fantasy land, a third when they are separated, a fourth sees them rejoicing together with family holding hands. Is there any dearth of situations?
Five, tip in the spice container a bit as you mix in suspense and drama with a little secret tucked away and just waiting to tumble down towards the end. Your brew is ready.
Well, Ra Ra,’ refers to Royapettah Royapuram and  has all these ingredients in good  measure, tweaked anew with references to Thirukural. In the acting department, Udhaya needs to work hard. Shwetha Basu makes a pretty arm candy. Ponvannan stands out among the cast. A good actor like Aadithya has been wasted. 


Verdict: With unbelievable and illogical situations, (for instance the idea of tying up the old Iyer couple), this film takes the audience’s intelligence and time for granted.

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.  

I Am Kalam

No, this is not an autobiographical tale of the former President of India. But a tale that inspires a little boy, Chottu to dream big. With a widowed mother and an infant sister to support, Chottu works in a dhaba run by kind-hearted Bhatti, much to the chagrin of his co-worker, Laptan.  A quick and intelligent learner, Chottu impresses Bhatti with his tea making skills and his compassion for a sick camel that he restores to good health. Yet, deep inside, Chottu yearns to go to school like the Prince of the haveli next door. Chottu is fascinated by his uniform and the neck tie.  Motivating him further is Abdul Kalam’s address on TV. Modeling himself on the former President, Chottu gives himself a new name, ‘Kalam.’ On one of his visits to the haveli-turned resort serving foreign tourists, Chottu meets the Prince. Friendship blossoms between the two as they share joyous moments together and learn new skills too. The Prince teaches Chottu English and how to knot a tie, while the latter teaches the Prince Hindi besides climbing trees and camel riding. Not to forget the gifts the two friends exchange. Chottu after a visit to his village brings a kada for the Prince who in turn is ready with his present, a set of books and a neck tie for Chottu. Adding company to this twosome is Lucy, a French tourist (Beatrice Ordeix). Lucy helps the Prince with his French lessons and promises to take Chottu to Delhi. The kill joy however in Chottu’s life is Leptan, who loads him with chores. And in a fit of jealousy, he even burns Chottu’s books.  Yet, Chottu never once loses hope nor the ability to dream. That’s what this story is all about and the need to educate the less privileged.

Plus Points: The two child artistes score over the adults with their splendid performance. While it brought home the national award this year for Harsh Mayar as Chottu, Husaan Saad played the role of the Prince to the hilt.  The scenes with the two boys are really cute, especially the way they hail out to each other, with bird calls. What a change to see Gulshan Grover, the eternal baddie in a good role as Bhatti.  And he stands out with his understated acting.  Good work also by French actor Beatrice. Pitobash, (remember him in ‘Shor in the City’) impresses as a young man idolizing Big B. There is clean humour too.

Minus Points: Can’t think of any.

Camerawork: The sands of Rajasthan look appealing through the lens. There is a beautiful scene when an entire group of onlookers join in an impromptu jamming session led by Beatrice followed by Chottu. Another scene captures the desert sands at night under a moonlit sky, as Chottu weeps by the side of his camel. A poignant moment.

Verdict: A hit at international festivals, this cute story of a little boy’s dream touches the heart with its innocence, perseverance and humour. A film for the family. 

Bombay March 12 (2011)

This Malayalam thriller questions the innocence of a Muslim in the wake of bomb blasts. Sensitively told and realistically shot, it touches a chord with the audience.

What’s in a name? Plenty if it is Sameer or Shahjahan. You could be misconstrued for a terrorist and be handcuffed without any warning by the protectors of law.  Babu Janardhan’s debut film, ‘Bombay March 12, 1993’ set against the backdrop of the 1993 bomb blasts of the city is just that. 

Sameer, a Corporation sweeper in Allapuzha is viewed with suspicion by the police. Married to Abida with a little daughter, Sameer lives with his aged in-laws and cares for them like a son. Trouble starts when he is picked up by the cops from the hospital while attending to his ailing father-in-law. Thereafter his life takes a beating, when Abida believes in what the rest think, that he was responsible for the death of her brother, Shahjahan, an IT professional. As the true identity of Sameer unfolds, you travel in flashback between Alapuzha, Mumbai and Pochampally, learning more about this Hindu priest, Santhana Bhatt from Kasargod, who converted to Islam.

Plus Points: This is not just another film on terrorism depicting Muslim community in poor light but a sensitive story on the travails and insecurities of being a Muslim in India. Convincingly told, this racy narration gently prods the audience to think. The subtlety with which Mamooty portrays his two characters, that of Sameer and Santhana Bhatt, speaks volumes of his acting prowess.  Roma as his wife Abida   shows she is capable of serious roles, deviating from her usual bubbly self. Unni Mukundan, (last seen in the Tamil film, Seedan) slips into the character of Shahjahan, well.  Sadique as Abida’s father is good. Certainly a script that deviates from the mundane.

Minus Points: With too many flashbacks and narration back and forth, you are sometimes left trying to figure where exactly the story is heading. 

Camerawork: The hurried pace of Mumbai and the lackadaisical life of Allapuzha are well captured.

Verdict: Clearly a much better script than Karan Johar’s ‘My Name is Khan,’ that dwelt on how the world views Islam and the perils that accompany a Muslim surname.