‘Pon Magal Vandhal’ a story with an important message

While parents teach their daughters how she should behave, dress and whom to befriend, they ought to also teach their sons how to treat women and to respect them,’ says lawyer Venba in this courtroom drama

By Mythily Ramachandran

A tranquil misty morning’s beauty is shattered by gun shots and a child’s cries, ‘Amma Amma.’ News reported on television talks about the arrest of Jyoti-a psycho killer who has been abducting little girls in Lovedale, Ooty. The next breaking news is about Jyoti’s death in a police encounter and recovery of dead bodies of children in the yard around her house. According to media reports Jyoti was a wanted criminal from Jaipur. This case of 2004 thus solved is closed.

Jyotika plays a lawyer Venba

Cut to the present- fifteen years later. We meet Pethuraj (actor director K. Bhagyaraj) better known as Petition Pethuraj for his many petitions against small crimes filed in court. He lives with his daughter Venba (Jyotika).

When Pethuraj files a petition reopening the case of Jyoti who he believes has been wrongly implicated by the police, it is Venba who takes up the suit-her first case as a lawyer. But then, she earns the wrath of the local community for pleading the case of an inhuman killer.

Why does Venba take on this case? Who is Jyoti?   

The team-Pandiarajan, K. Bhagyaraj, Pratap Pothen, director J J Fredrick, Jyotika and Parthiban

Debutant director J.J.Fredrick’s ‘Pon Magal Vandhal’ is a court-room drama that spills skeletons out of the closet while unearthing the truth about Jyoti. Child sexual abuse being the plot point here, the film closes with Venba saying-‘While parents teach their daughters how she should behave, dress and whom to befriend, they ought to also teach their sons how to treat women and to respect them.’ According to National Crime records India ranks seven and Tamil Nadu occupies the third place with respect to child sexual abuse.

The producers actors Surya and Jyotika deserves a pat for taking on this subject along with the director who instead of a formula story around a star preferred the less beaten track. Fredrick makes a good start. Of late portraying north Indians as criminals has become the norm in Tamil and Malayalam cinema. I liked that point made here and rebuking us for making presumptions about north Indians. But, the story required better writing.

‘Pon Magal Vandhal’ is more of an investigative thriller and less of a court room drama. There are some unwarranted scenes supposed to evoke laughter and characters having little to contribute. Jyotika playing a dual role is not a good idea either.

Jyotika who has been selective about roles in her second innings is earnest and sincere in championing the cause. She has dubbed for herself in Tamil-which is not her mother-tongue. She is in fine form as Venba. 

Director Fredrick with actor Thiagarajan on the sets 

Parthiban plays lawyer Rajarathinam countering Venba in court. He is in his usual element delivering lines with a play on words.

What makes ‘Pon Magal Vandhal’ worth a watch is its important message and Jyotika’s performance. Cinematographer Ramji’s visuals are a treat.
And, yes like Venba says-‘Let’s teach our sons a couple of things too.'

Debutant director P.R. Arun poignant sports drama is led by Rajisha Vijayan and Niranj Pillai

By Mythily Ramachandran

Theater director and scriptwriter of ‘Jamna Pyari’ (2015) P. R. Arun rides into Malayalam cinema with a poignant story of a national cyclist champ and her father’s dreams. But this is not a regular story of an underdog battling against all odds to eventually emerge triumphant. It is about two men and their love for a woman who goes through a tragedy. How do they deal with it?

Alice Verghese (Rajisha Vijayan) was in primary school when she got her first bicycle-a gift from her father (Suraj Venjaramoodu). Since then she has enjoyed riding, especially challenging her close friend, Manuel-living next door- into a race with her. While he sprinted on foot to school, Alice sped on her cycle.

Soon cycling becomes a passion for Alice. Egged on by her father- Verghese a former athlete- she put the little town of Katappana in Iddukki on the national map as a national champion. Alice is now gearing up for the Tokyo Olympics. A mishap punctures the dreams of this father and daughter.

Another filmmaker would have chosen to follow the time tested template and make it a story of Alice’s return. Arun- recipient of G. Sankara Pillai award (2003) for Best Playwright in Malayalam for the drama ‘Phaeton’- follows his own path. Without going the ‘Chakde India’ or ‘Dangal’ way, ‘Finals’ wheels on its solo track with a simple story told without cinematic frills and elevated with an astounding performance from its cast.

This story of an ordinary family has several moments that the audience will relate too. In the absence of her mother, Alice and her father share a close bond. The scene where Alice takes permission from her father to express her love for Manuel is beautiful. Vijayan’s   Alice is unlike her earlier films, yet full of life. Vijayan does not go overboard with her portrayal.

Suraj Venjaramoodu is the show stopper here. Speaking little, his Verghese is a man defeated in life but finds meaning in life through his daughter and her dreams.  Venjaramoodu speaks more through his eyes-Verghese’s disappointment, sadness and anger is tapped through glances. Venjaramoodu wins hearts.

Surprising viewers is Niranj, who has worked in other films earlier. This is clearly his big break. With well etched characters, director Arun makes viewers invest in their lives. Manuel with full sleeved shirts and flip flops undergoes a sea transformation in the second half of the story. His love for Alice is free from valentine moments. Their love is  felt in moments together-when Alice goes on her morning sprint and hails out to Manuel who is busy distributing newspapers-in a challenge to overtake her-a ritual that goes back to their school days. Manuel’s love is the kind every woman yearns for -unselfish, caring and so true. Niranj meets his director’s vision completely as he delivers Manuel.

And as Arun takes his story on a different route, he also raises voice about politics in sports and step-motherly treatment meted out to sportspersons. There is a lot of warm vibes and good will with respect to the fringe characters. Shot in Kattappana  district of Idukku, DOP Sudeep Elamon’s frames are a feast for the eyes.

‘Finals’ proves again that a good story told from the heart will reach far and near. Certainly not the loud noise made by a starry cast. Don’t take the audience for granted. 

‘Love Action Drama’ a cocktail that has little to applaud for

By Mythily Ramachandran

Dhyan Sreenivasan’s directorial debut ‘Love Action Drama’ disappoints with an insipid and unconvincing film. Touted as a rom-com, ‘LAD’ came with great expectations with its lead pair-Nivin Pauly and Nayanthara,’ but ends as a case of talent wasted.
 

Dinesh (Nivin Pauly) pines for his cousin, even on the eve of her wedding. He has been in love with her since childhood, despite her making it clear that she was not interested. She is now marrying another man.

An incurable alcoholic who smokes too, Dinesh believes that life is a party all the time.  With a family business and enough wealth to bank on, he does nothing beyond annoying others with his uncouth attitude and irresponsible ways.  

So, it is really hard to believe when a beautiful and confident woman like Shoba (Nayanthara) who is managing an NGO in Chennai-falls in love with Dinesh. They meet at his cousin’s wedding in Kerala. Shoba is his cousin’s friend. 

When Dinesh’s ploy to take revenge on his cousin’s groom goes wrong on the wedding eve, it’s Shoba who ends injured and in hospital. Love was just waiting to happen or so it seems. Dinesh is entrusted to take care of Shoba. And, instead of being angry with him for her situation, she finds him innocent. On her return, she even sends him a ‘missing you’ message on Whatsapp. Reason enough for Dinesh to pack bags and reach Chennai to win her love. Assisting him in this endeavour is his friend Sagar (Aju Verghese)- playing accomplice and advisor in this love game.

The audience is forced to believe that love brews between the two. That this love story applauds stalking is another matter. Here love is more about impressing through deceit and less about honesty in a relationship. There is nothing compelling about the characters that makes you invest in their lives and their relationship. Clearly the script required better writing and seems to be hastily done with an urge to fill it with as many commercial elements possible. The resulting cocktail tastes insipid.

Pauly succeeds in making Dinesh as someone with no redeeming trait to be worthy of Shoba’s love. His scenes with Aju Verghese are often loud and drenched in booze banter.  Verghese’s expressions are exaggerated. Humour is completely forced and slapstick.

It is Nayanthara who keeps the sagging script afloat completely. Looking stunning in glamorous attires, it’s a change after her recent experiments in Tamil cinema, where she has played more performance backed characters. 

When Shobha slaps Dinesh in a scene, he tells her that even his mother has never done that. I was almost tempted to say aloud-‘that’s where she erred Dinesha.’ 

LAD gets long drawn out with scenes of barely any significance to the story. Like the scene where a foreigner consoles Dinesh in her accented Malayalam after he leaves Shoba. And, why are children shown in romantic relationships? Seriously it’s not funny.  

 
The screenplay is erratic, new characters surface to add drama to the love tale and there is action, as promised in the title-winding up the story in a hurried manner. 

LAD is all frills with little substance.

‘Bakrid’ a heart- warming tale of man and animal bond

By Mythily Ramachandran

Not every director conceives of a film centered around a man-animal relationship. Jagadeesan Subu who debuted with the sensitively told ‘Sigai’ –a crime thriller -returns with ‘Bakrid.’ This simple story of a man’s compassion for his camel wins hearts. Subu’s courage and self-confidence is commendable for making a film that does not tick the boxes of a regular formula film. 

Rathinam (Vikranth)- a farmer’s son- after winning a legal tussle with his older brother over their family land is eager to build back the land his father has left him. When a bank loan takes time in coming through, he seeks the assistance of a Muslim money-lender for funds. 

What catches his eye at the money-lender’s home is a young camel that has been brought to Chennai from Rajasthan. Rathinam, a father of a little girl brings it home and raises it. His daughter christens it Sarah and the young camel is welcomed into the family lovingly.

One day Sarah falls ill. The veterinary doctor points out that her loose system was caused by the food given at Rathinam’s home. This animal, a native of Rajasthan was not used to the food of Tamilians. When Rathinam realizes that Sarah’s life is endangered due to her diet, he decides to send her back to Rajasthan. He seeks help from a lorry driver, Veerender (Rohit Pathak) who agrees to transport the camel to Rajasthan for a fee.

‘Bakrid’ follows Rathinam and Sarah on their road trip from Chennai to Rajasthan. Though the pace of the narration is slow and the loud background music interferes in the telling, it is Vikranth who holds the story up with his subtle performance. Taking a break from the regular roles he plays a loving father and a conscientious farmer with a love for the land and Nature. Vasundhara as his onscreen wife Geeta is spontaneous. Child actor Vasuki is cute. Rohit Pathak the villain of ‘Theeran Adhigaaram Ondru’ reveals a different side to him as a truck driver- Veerender.

Subu shot live with three camels that were brought to Chennai from Rajasthan. Besides writing the script and directing the film, this former cinematographer has handled the camera himself.  

‘Bakrid’ is a story for every animal lover. Without being preachy, Subu’ conveys a relevant message. Watch ‘Bakrid’ with the family.

‘Nerkonda Paarvai lives up to the original ‘Pink’

By Mythily Ramachandran

‘No’ means ‘No’-exactly that. This single word does not require more explanation, says lawyer Bharath Subramaniam (Ajith) in Tamil film, ‘Nerkonda Paarvai,’ the official remake of Hindi film, ‘Pink.’
‘It does not matter who it is-she could be your girl-friend, lover or wife, but when she says No, you got to stop,’ emphasizes the lawyer with a shock of white hair.

Directed by H. Vinoth, this social drama rings loud the message of consent, a relatively new word in Indian society that rides on the saddle of male chauvinism and has been taking women for granted.

Director H. Vinoth on the sets with Ajith

 
‘Nerkonda Paarvai’ speaks out for women with this small word that gives her the power to protect herself and to be in her space with a choice. And, when a mass hero like Ajith with a large fan following delivers this message, it surely helps.

Vinoth’s script is well written, retaining entirely the soul of the original and brilliantly executed by a team that scores high on performances. Poignant moments leave you misty eyed; -a father watching his daughter’s personal life laid thread bare as she fights in court, friends holding hands together despite knowing that they stand little chance in a world dominated by men and clout and an aging lawyer’s fight for justice.

                         Andrea, Abhirami and Shraddha Srinath 

‘Nerkonda Paarvai’ is a faithful remake of ‘Pink’ with small changes. While ‘Pink’ opened with an accident that left a young man bleeding severely, ‘Nerkonda Paarvai’ begins with a rock concert. The protagonist Meera Krishnan (Shraddha Srinath) is one of the dancers and after the evening is over, she and her two friends, Famitha Banu (Abhirami Venkatachalam) and Andrea (Andrea Tariang) join a group of young men for dinner. Over a few drinks, trouble brews turning over the lives of the three young women. And, the three ordinary working women find themselves charged with prostitution and murder. They become targets of a bruised male ego and brought into court by the men who have political clout.

‘Nerkonda Paarvai’ rests on the collective gaze of Indian society where a woman is judged always. And, that rules are different for men and women is laid open in a court room.

‘Nerkonda Paarvai’ takes the story of ‘Pink’ a notch higher. 

Ajith as an aged lawyer with a bi-polar disorder- shines in a role that is completely different from earlier films. His acting is subdued and he does not deliver the regular punch lines. However, the makers could not resist the temptation to show his mass image. And, that brings us to the scene where he single-handedly bashes up dozen men. But this  interruption does not steer the story away from its track. While Bharath’s past with his wife (Vidya Balan) brought in relief from the tension of court room drama, it got a bit too stretched with a song sequence.

Shraddha Srinath tackles a wide gamut of emotions as Meera Krishnan. She is Meera in every frame exposing the vulnerability and helplessness of a woman wronged. Srinath is terrific and her scenes are intense leaving you misty eyed.

Abhirami Venkatachalam is Famitha, the mature one in the group. She carries a look of concern and anxiety all the time. Venkatachalam stuns you in the court-room, when her Famitha eventually caves in to the verbal torment of the opposing lawyer. That was another unforgettable scene. Andrea reprising her role from ‘Pink’ is wonderful. 

Surprising everyone on debut is Rangaraj Pandey. He plays Satyamoorthy, the opposing lawyer with a smug look on his face and a cocky grin surfacing now and then. Arjun Chidambaram effectively brought out male chauvinism as Adhik Ravichandran, the man who refused to understand Meera Krishnan’s  ‘No.’

‘Nerkonda Paarvai’ is also about friends bonding together, about right winning over wrong and about empathy for our loved ones.
Even if you have watched ‘Pink’ this remake is still worth a watch.

Thamaasha’ celebrates imperfections and that is no laughing matter

There is no stopping Vinay Fort in this entertainer twhich opens the career of Ashraf Hamza and has its heart in the right place

By Mythily Ramachandran

Remakes come with the burden of living upto the original. Comparisons are inevitable between the two and many a time, remakes fall short of expectations. 

Malayalam film ‘Thamaasha’ wins hearts with its adaptation of Kannada film, ‘Ondu Motteya Kathe’ that was directed by Raj B Shetty. 

Written and directed by debutant Ashraf Hamza, ‘Thamaasha’ surpasses the original with its seamless narration and lifted high by terrific acting. As curtains come down, jokes apart, ‘Thamaasha’ works its magic on the audience.

‘Thamaasha’ follows Srinivasan (Vinay Fort)- a Malayalam language professor- who at 31 years is still looking out for a bride but is rejected on account of his baldness.  Quite frustrated with his family’s concern, he decides not to go the traditional way of matrimony alliances anymore. Instead he wants to try his luck by bonding with three women he meets -  his colleague Babita (Divya Prabha); Safiya (Grace Antony) who comes into his life through a chance encounter and Chinnu, (Chinnu Chandini), a young woman very much comfortable in her Plus size. 

Grace Antony as Safiya 

Ashraf Hamza’s writing is too good. Creating every character with utmost care he makes them distinct and real. What I loved is his sketch of the three women-Babita, Safiya and Chinnu and giving enough space to each. They may have their human failings yet bring in an air of positivity to their scenes. Of course Chinnu who demonstrates her ability to take in her stride the body shaming ridicule she encounters makes viewers reflect on the lens through which society views and accepts us. It is Chinnu who nudges Sreenivasan to rethink. 

Divyaprabha's Babita teacher is a picture of poise

Hamza’s narration is seamless unlike in ‘Ondu Motteya Kathe’ where the narration staggered with Rajkumar’s songs that were played in to reflect the protagonist Janardhan’s state of mind. Hindering the flow further were dialogues that denoted Janardhan’s loud thinking. It was a wise decision to do away with these two aspects in ‘Thamaasha.’

Vinay Fort with Chinnu Chandini 

In ‘Ondu Motteya Kathe’ the characters appeared more cinematic but in ‘Thamaasha,’ every actor brought alive his character with an unmatched spontaneity. Vinay Fort clearly carries the film on his shoulders. As Sreenivasan, he is completely believable and his body language, bring out Sreenivasan’s insecurities perfectly. Raj B Shetty’s Janardhan was timid and unsure of himself unlike Sreenivasan, who is more spirited. Playing the perfect tango opposite Fort is Chinnu Chandini, while Divya Prabha and Grace Antony match steps very well. 

‘Thamaasha’s other strength is the friendship between Sreenivasan and Rahim (Navas Vallikkunnu)-a sub-staff at his college. There is more depth to this friendship than in the Kannada story. Hamza has given Rahim more space and Vallikkunnu is spot on every time.  

Anil Kurian who plays Sreenivasan’s younger brother cannot be forgotten either. While remaining in the background, his role is one to reckon with.

‘Thamaasha’ with its clean humour keeps you chuckling and will make you ponder too.

‘Unda’ brings back the Mammootty we adore

By Mythily Ramachandran

What is the fate of a contingent of Kerala policemen who have been deployed to Chattisgarh (Madhya Pradesh)-a Maoist dominated area- to assist the Indo-Tibetan Border Police (ITBP) during election time?

Director Khalid Rahman who won hearts on debut with ‘Anuraga Karikkin Vellam’ returns with his sophomore film, ‘Unda,’ (Bullet). Loaded with good humour ‘Unda’ fires a couple of shots at the Indian political system and its police department while entertaining with its slice of life moments.

Mammootty has played several policeman roles, but his Sub-Inspector Manikandan in ‘Unda’ is an antithesis to all the earlier characters. Mani, the leader of the unit is more real. Neither is he burdened with a larger than life image. Don’t miss Mammootty’s introduction scene-there is no loud music though!

 If Mani and his group of policemen had set out on this assignment with pride and the feel of a picnic outing, they confront a different  ground reality at Chattisgarh.  They soon realize how ill-equipped they were-bullets that can be counted and poor safety gear-to tackle a Maoist ambush. From their polling booth located in the wilderness with underground mines hidden, ensuring a fair election was no easy task. Despite being in the police force, many of them had never handled a rifle or even fired one. Mani who gives instructions to his subordinates on how to shoot, confesses that he has never tracked a thief or caught a murderer.

Mani sends word to his office in Kerala for reinforcement of bullets.  Will the ‘unda’ arrive in time before the elections? That is the big question.

There are no romantic moments in ‘Unda,’ yet many moments touch you while it explores personal stories through some characters. Jojo (Shine Tom Chacko) is a domineering team leader, whose wife has filed for a divorce; Girish (Arjun Ashokan) is missing his wedding preparations being planned back home; Biju (Lukman) a first generation policeman from a tribal background is the butt of jokes. We also learn a bit about Mani’s family-his wife played by Tamil actress, Easwari Rao in a cameo.

‘Unda’ brings back the Mammootty we have always admired. It’s sheer delight watching the veteran in full form. Mani’s concern for his juniors; his sympathy for the villager Kunalchand, (Omkar Das Manipuri of ‘Peepli Live); his apology to his subordinates for not rising to the occasion during the Maoist attack one night, make Mani endearing. 

Another pleasure was watching director Ranjith in a brief role. With his spontaneous performance he leaves a mark. ‘Unda’ is complemented by a talented cast-Shine Tom Chacko, Lukman, Bhagwan Tiwari-as Kapil Dev-an ITBP and Chien Ho Liao, the ITBP officer.

Prashanth Pillai’s lilting music blends well with the raw environment of Madhya Pradesh.

During the salvo of shots that Mani and team fire to safeguard their booth, ‘Unda’ raises the question- ‘Who is the real enemy to a fair election?