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.