Ivide’ a crime thriller also carries an emotional story

Watch Malayalam’s fine talents, Prithviraj and Nivin Pauly lock horns ivide, sorry here

By Mythily Ramachandran

‘Ivide’ opens with a murder of an Indian techie, Nageshwar Rao. It happens in Atlanta. Following another techie’s murder, this time of Sunny Singh, Investigating Officer, Varun Blake (Prithviraj) believes that a serial killer is on the prowl.
Varun as his first name suggests is an Indian by birth who grew up in an orphanage but is later adopted by an American lady and her hippie boy- friend.
Raised in the US, Blake feels that his brown skin alienates him from the others. Consequently there is a deep seated anger that he is never able to let go.
Many a times, his anger gets the better of him. And, at one instance he is pointing his revolver at his wife, Roshini (Bhavana). That triggers the break of their marriage. Roshini leaves him taking along with her, their daughter, Trisha.
She takes up work at Infotech, an IT company where she meets her school mate Krish Hebbar (Nivin Pauly), a team leader much respected. Krish hailing from a middle-class home is an ambitious young man and his goal is the top post in the company. And, to achieve that, Krish will go to any length, even if it means manipulating situations.
Love blossoms between Krish and Roshini. While the main story probes the murders of Indian techies, underlying this is an emotional tale of three people, that of Varun, Krish and Roshini.
Ajayan Venugopalan’s script explores the lives of the Indian expatriates and the repercussions of outsourcing work to Indian companies. Naturally a greater part of the story is in English. Venugopalan’s crisp dialogues are the strength of the story. Shyamaprasad’s craftsmanship evident in every frame is well matched by cinematographer Eric Dickinson visuals.
The lead characters come with their own flaws and are more real. Prithviraj’s salt and pepper cool dude look will set many a heart flutter. The actor reinforces his talent once again with a brilliant performance. Bringing to the fore Varun’s insecurities and his cockiness, Prithviraj plays a caring father too. 
Matching step with him and playing the perfect tango is Nivin Pauly. Krish is a typical middle-class boy and a dutiful son who skypes regularly with his mom, but he does succumb to moments driven by ambition. Bhavana as a young mother brings out the independent streak in Roshini. Gopi Sundar’s music blends well into this tale of human emotions.
‘Ivide,’ takes viewers on a journey to the US where life is not as rosy as it appears.

Rating: 3/5 

‘Papanasam,’ remains faithful to ‘Drishyam’

By Mythily Ramachandran

How often do remakes receive the same appreciation as its original film?
Seldom.
When a good film is turned into another film in a different  language, the story often gets distorted so as to,  “suit the local sensibilities,’ and in the process the essence of the core is lost.
But with ‘Papanasam,’ the Tamil remake of ‘Drishyam,’ (Malayalam),  director Jeethu Joseph scores once again.  Joseph has made little changes leaving the soul of the story intact. And that’s why ‘Papanasam,’ clicked with viewers.
Joseph’s story is about an ordinary cable television operator who has not studied beyond class four. A loving husband and doting father to his two daughters, Suyambulingam (Kamal Haasan)  does not aspire big. All he cares for is the happiness of his family.
But when an outsider enters and disturbs their peace, this father will go to any extent, solely to protect his daughter. And, when faced with the law, he believes that the family can be saved only by staying together. This father who has always taught his children to speak the truth finds himself tutoring them to speak lies, manufacturing alibis and finally tampering with evidence.
‘Drishyam’ was the story of a Christian family, ‘Papanasam,’ is the story of a Nadar family based in ‘Papanasam.’ Mohan Lal played George kutty, the father in ‘Drishyam.’ Kamal Haasan is Suyambulingam, in ‘Papanasam.’ If ‘Drishyam,’ brought back the Mohan Lal we loved and remembered for his films of the eighties, ‘Papanasam,’ brings back the Haasan we have always admired.
Comparisons with ‘Drishyam’ are inevitable, but on one aspect viewers will be unanimous: Lal and Haasan have both played to perfection the doting father in their own style.
Haasan’s terrific performance in the climax scene is the cherry of the cake in ‘Papanasam.’
Cinema is a running sub-text in ‘Papanasam,’for Suyambulingam is a hard core film watcher. And when confronted with an issue in life, Suyambulingam resorts to film shots to sort it out. Joseph has beautifully woven this aspect into the major story.
Asha Sharath and Esther Anil who have reprised their roles from the original deliver performances that is one notch higher than in ‘Drishyam.’ Sharath as the mother agonizing over her missing son is a tough cop who uses power to intimidate Suyambulingam and family. Winning hearts again is Esther, as Suyambulingam’s little daughter who succumbs to police power and spills the truth. Gauthami makes a good comeback opposite Haasan as his onscreen wife. Nivetha Thomas, reprises Ansiba Hassan’s character and is remarkable. Surprising viewers is Bollywood’s Ananth Mahadevan, he plays the role Siddique did in ‘Drishyam,’ and the veteran director-actor is perfect.
‘Papanasam,’ is a gripping tale that is unpredictable and leaves you stumped in the end.

Vadivelu’s ‘Eli’ a big let-down

Weak script, long story and not at all funny

By Mythily Ramachandran

Eli Samy (Vadivelu) is a petty thief who makes money by conning people and when he trespasses into a cop’s house that’s the limit. Obviously he is caught but he is given a chance by the police to redeem himself. Which means he has to infiltrate a criminal gang, which is into smuggling cigarettes and assist the police in the project.
Did I mention that Eli is so named after his mother Elizabeth, a British tourist who met his father, Samy, a guide?
‘Eli’ with Vadivelu in the lead promised great laughs, but despite all the hype it sunk like a damp squib.
Vadivelu’s exaggerated acting did little to tickle the funny bone,  And his expressions often bordered on caricatures that you indulge in sometimes to entertain a little child. Dressing Eli as a sexy woman is neither funny. And, viewers have had enough of toilet humour.  But I must say that I enjoyed Vadivelu’s song sequence ‘Mere Sapanon Ki Rani,’ (from Rajesh Khanna’s ‘Aradhana’), the comedian imitates the late actor very well. Sada looks a pretty picture.
Yuvaraj Dayalan’s script is weak. The film is exhaustingly long. Don’t forget the joke is on us!
‘Eli’ clearly disappoints Vadivelu fans.

‘Premam’ is a delightful entertainer with Nivin Pauly in the lead

By Mythily Ramachandran

‘Premam’ obviously is a love story, as the title suggests. Written and directed by Alphonse Puthran, viewers are treated to not just one love story but three love stories within one film. ‘Premam’ traces the life of George (Nivin Pauly) from his teens when he falls in love with Mary (Anupama Parameswaran), belonging to the same parish and how he pursues her to give her a love letter. This phase will connect with the young generation and takes others down nostalgic road of being in love and heart break.
George faces his first rejection when Mary introduces him to her lover and even seeks his assistance to keep her father at bay.
In college, George falls in love again, this time with Malar, (Sai Pallavi) a young lecturer, who reprimands him on her first day at college.
George is unlucky in love again.
George is well past his prime and in his thirties and managing a cake business when he meets Celine (Madonna Sebastian). Celine happens to be the little girl from the neighbourhood who accompanied Mary to school. Is she the woman meant to be in his life?
Puthran’s signature is visible from the minute the curtains rise and the credits roll. You are reminded of his debut film, ‘Neram,’ and the expectations for a good evening soar.
Puthran’s unconventional style of narration and the freshness in the humour that abounds in plenty throughout is amusing.
Nivin Pauly does a brilliant job. He transforms himself completely, going through each phase perfectly. Undoubtedly ‘Premam’ rests on Pauly’s shoulders. From a giddy headed teenager to a tough college goer who is edging for a fight to finally emerging as a mature and responsible man, Pauly has packed in quite a punch.
Vinay Fort plays a lecturer who is besotted with Malar. His scenes with Soubin Sahir as the PT instructor are a roar. Several new comers have acquitted themselves and are a talented bunch. Krishna Shankar and Shabareesh Varma as George’s close buddies lend the right support to Pauly. Their chemistry onscreen rocks. New find Anupama Parameswaran has few lines to deliver and conveys mostly through her eyes and her smile. Her curly locks give her a distinctive and attractive look.
On the other hand, Malar is talkative and brimming with energy with a smile always playing on her lips. Sai Pallai on debut steals the thunder. There is a positive air about Malar and Pallavi’s natural performance enriches the beauty of her character.
Madonna Sebastian as the third woman in George’s life is another talent to watch out for. Don’t miss Puthran making a guest appearance as Roney, Celine’s groom.
Cinematographer Anand C Chandran’s camera captures beautifully the small town ambience as well as the classy interiors of George’s restaurant.  
‘Premam’ is a fun entertainer, a simple love story of the boy next door. Like it’s tagline reads ‘nothing extraordinary in it.’
However ‘Premam’ stretches a tad too long, often indulging in itself, especially in the second half and with not so funny jokes. It called for better editing.   By the way, why bring Malar back just when all seems to be going well?

‘Vai Raja Vai’ a typical masala entertainer

By Mythily Ramachandran

It’s that hunch, a premonition of knowing what can happen next, which lands Karthik, (Gautham Karthik) a middle class boy and an IT professional into trouble.
When his senior colleague Pandu (Vivek) notices this special trait in him, he decides to use Karthik to rake in moolah.
With his sister’s wedding approaching and egged on by Pandu, Karthik joins a cricket betting circle to make quick bucks.
It’s just that one time, he says, but then quitting this group is not that easy. Ranthe (Daniel Balaji) the man managing this vicious circle is not going to let him off so easily. He coerces Karthik into joining him on board a cruise, where he intends using Karthik’s supernatural powers of premonition for a bigger game on the roulette board where the stakes are high. And the victim in this ploy becomes Karthik’s lover, Priya (Priya Anand) kidnapped by Ranthe.
Got the drift? ‘Vai Raja Vai’ is a typical commercial entertainer with all elements in place. Karthik’s premonition powers is the new peg for director Aishwarya Dhanush’s second film. 
Like Aishwarya stated in her interview, “Don’t watch ‘Vai Raja Vai,’ keeping ‘3’ (her debut film) in mind,”  this film is a different cup of tea altogether.
The first half is fun with humourous scenes delivered by Satish (Satish), Karthik’s friend.  However, Gautham Karthik could have worked on his expressions better. Comedian Vivek certainly needs to think out of the box. Viewers are tired of his dressing up like a woman. It’s just not funny. Despite not marking his villain role with anything quirky, Daniel Balaji is impressive. 
Stylishly packaged and racy, this thriller is a one -time watch.

 ‘Uttama Villain’ a tad too long but a story that touches the hearts

By Mythily Ramachandran

With death imminent, matinee idol Manoranjan, (Kamal Haasan) who has acquired fame and glory in ample measure has one last wish. He wants his mentor Margadarshi (K. Balachander) to direct him in a story that he has written.
It was Margadarshi who had discovered the actor in Manoranjan. He believes that if made this film would be a memorable one for him. Margadarshi is not keen initially but when he learns that Manoranjan’s life is threatened by brain tumour, he gives in.
So, the film, ‘Uttaman,’ gets rolling. It’s set in the 8^th century with Manoranjan playing the lead role of Uttaman. Ironically Uttaman has survived death on several counts. He is now recognized as ‘mrityunjayan,’ (the man who overcame death) by the villagers.
With a film inside the main film, Haasan’s script alternates between the sets of Uttaman and the life of Manoranjan, the actor.
You learn about Mano’s past lover Yamini and their daughter,  Manomani (Parvathy Menon). Manoranjan is now married to Varalakshmi and they have a son, Manohar. But that does not stop the actor from straying outside marriage and finding a lover in his doctor, Arpana (Andreah Jeremiah).

If Kamal Haasan makes you smile now and then with his comic and naïve behaviour as Uttaman, he also makes you blink your tears when Manoranjan wrestles emotional moments with his two children. The scene between Manoranjan and Manohar tossing the cricket ball was well conceived.

Haasan the versatile performer comes to the fore in these scenes and you can’t help remembering his old hits, ‘Raja Parvai,’ ‘Silangai Oli,’ and ‘Moondram Piravai,’ to mention a few.
At sixty, how many actors can take on a theyyam dance with that heavy headgear and emote too? Haasan is adept as Uttaman the folk artiste. Naïve and sometimes bordering on clowning, Uttaman connives  with the beautiful Jasmine (Pooja Kumar) to kill the wicked Mutharasan, (Nasser) the king of the land and one who desires Jasmine.
It’s a Kamal Haasan show all the way no doubt, but one worth watching the actor in different moods and forms. And look out for the scenes between Haasan and late K. Balachander.
‘Uttama Villain,’ does drag in places though and the frills could have been trimmed. Like the portions revolving around Jasmine and Mutharasan as well as the intimate moments between Manoranjan and Dr. Arpana.
Hats off to Nasser who delighted viewers with his antics as Mutharasan. Not many are aware that this splendid actor was going through a difficult phase in his life during the filming of ‘Uttama Villain.’ His eldest son was critically injured in hospital and the sets gave him the much needed respite from agonizing. Nasser had revealed this during the audio launch ceremony of ‘Uttama Villain.’
Comedian M. S. Bhaskar as Manoranjan’s Manager acquits  his part well. So did Urvashi as Manoranjan’s wife, she was natural and spontaneous. Among the young brigade, Parvathy Menon and Ashwin shine in their roles as Manoranjan’s son and daughter. A pleasant surprise was actor Jayaram who lent a quiet dignity to Jacob Zacharia, his character.
Haasan’s characters cannot be separated into black and white. They are normal humans with failings, be it Chokku Chettiar, who holds back a secret from Manoranjan, or Dr. Arpana, the other woman in Manoranjan’s life.
‘Uttama Villain’ is a thorough entertainer and at its core lies a poignant story. 

‘Oru Vadakkan Selfie’ a mere time pass 

By Mythily Ramachandran

What can possibly go wrong with a selfie?
A lot, especially if it is taken of a young woman and without her knowledge.
Umesh, (Nivin Pauly) an engineering student with a backlog of 42 arrears, (yeah you heard it right)  realizes that a bit too late. The young woman here is Daisy, (Manjima Mohan) his new neighbour who is least interested in his advances.
The first half of ‘Oru Vadakkan Selfie,’ does not take itself seriously. Just like the characters, the young men in this story, rather boys who have still not grown up and have their college hangover still, it meanders aimlessly. Slapstick comedy rules and after a while you can’t help wondering what’s the joke all about.
The story picks up steam and braces itself on a serious note, when Umesh is determined to prove his innocence as far as Daisy’s disappearance is concerned, who is believed to have eloped with her lover.
What happens to Daisy? Who is her lover? Are questions bothering Umesh.  Helping him in tracking Daisy is his close buddy, Shaji (Aju Verghese) and Jack Tracker, (Vineeth Sreenivasan) a private detective from Chennai whom they hire.
Directed by newcomer G. Prajith and based on Vineeth Sreenivasan’s script, ‘Oru Vadakkan Selfie,’ could have been made into a better film. The humour is loud and in your face. Aju Verghese’s talents has not been well exploited here. Verghese has delivered better hits and you can’t help remembering his ‘Peruchazhi,’ and the last Biju Menon starrer, ‘Vellimoonga.’ Shaji’s character has been poorly sketched.
Sreenivasan gently sends home a message on how vulnerable young women can be owing to the anonymity of the world –wide- web. There is some melodrama in the second half, when Umesh and company land up in Madurai in search of Daisy’s lover. How do the young men without a penny on them manage to survive on this journey and that too in a car. So long as you don’t ask questions and if you are not looking for something serious, you could check out ‘Oru Vadakkan Selfie.’ 
An evening peppered with laughs and you don’t take back home any of the characters to dwell upon. Quite a predictable fare.