Pranav Mohan Lal’s ‘Aadhi’ a gripping thriller

Director  Jeethu Joseph takes viewers on a roller coaster ride as he follows the life of Aadhi- an aspiring musician falsely implicated in a murder    

Directed and scripted by Jeethu Joseph (of ‘Drishyam’ fame), ‘Aadhi’ brings Pranav Mohan Lal back into cinema.
Lal Jr.  made his beginning as a child actor in 2002 with ‘Onnaman.’ With his second film, ‘Punarjani’ he won the Kerala State award for Best Child Artiste.
‘Aadhi’ marks his debut in the lead role- a film that he will look back with fondness. Lal Jr. with his performance proves his acting genes.

‘Aadhi’s plot is simple though not new.
Aditya Mohan, (Pranav Mohan Lal) the only child of his parents, (played by Siddique and Lena) is an aspiring music composer looking for that big break into films.
At the suggestion of a friend, he gets an opportunity to perform inside an elite club of Bangalore- a place frequented by Tamil and Telugu music directors. Aadhi as he is fondly called hopes to impress one of them. There he bumps into Anjana, (Aditi Ravi) an old school mate and it’s the regular catching up with her.

An unwarranted incident at the hotel overturns his life there. Aadhi finds himself falsely implicated in a murder-Arjun Reddy, son of Reddy, a notorious business magnate meets his end from the roof of the hotel.

With Reddy (Jagapathi Babu) out to avenge his son’s death  Aadhi goes on the run. 
Does Aadhi prove his innocence and escape from Reddy’s clutches?

Joseph’s neat writing rolls out a screenplay that is slickly executed and keeps viewers fixed on the screen.
Pranav Mohan Lal’s  Aadhi is the boy next door without the trappings of a super hero image.
Aadhi shares a close and informal equation with his parents- mother Rosy (Lena) is a Christian who eloped with Mohan, his father ( Siddique) a Hindu.
Unlike Mohan, Rosy believes in Aadhi’s choice of career and supports him.  When Mohan expresses his anxiety to Aadhi, telling him that he has no knowledge about the cinema industry he probably spoke for many parents out there.  Yet he gives Aadhi two years to pursue his ambition. Moments shared between Aadhi and his parents are beautifully portrayed by Lena and Siddique-the two natural  performers make their characters real.      

With Reddy’s goons on his heels, Aadhi finds shelter in a stranger’s home. Sharath (Sharafuddin), a Malayali, living in Bangalore sees a common enemy in Narayana Reddy. He is all out to help Aadhi.

Aadhi’s parkour training comes to his rescue while on the run. Giving an adrenalin rush are well choreographed action scenes as Aadhi races through alleys, leaps over walls and jumps across roof-tops. You watch mesmerized. Mohan Lal surprises with a cameo appearance. That’s an amusing scene actually.

Joseph’s supporting characters have are well created. Sharafuddin’s  Sharath is someone you trust wholly. His elder sister, Jaya is all bark with no bite-the sharp tongued chechi, who slowly warms up to Aadhi. Joseph’s little details are visible. Consider the scene where Jaya walks into the room, to find Aadhi tending to her bedridden mother. Anusree, the versatile actress, beautifully conveys Jaya’s gratitude through her eyes.

Jagapathi Babu easily slides into the villain’s shoes-it’s not a new role for him, but here it’s less loud and subdued.
 Siju Wilson  and Meghanathan (as Mani Anna who helps Aadhi) lend ample support.

Satheesh Kurup’s cinematography complements Joseph’s story and as curtain fall, the splendid climax is captured brilliantly.

Thaanaa Serndhu Kootam: a light hearted entertainer and a Pongal treat

By Mythily Ramachandran

Surya’s ‘Thaanaa Serndhu Kootam’ is a clear entertainer  with its right mix of action, romance and humour.

Directed by Vignesh ShivN, TSK borrows its core plot from Bollywood film, ‘Special 26’ but is tailored neatly  to suit the Tamilian palate. 
ShivN’s  good writing and screenplay that never sags lends it an originality.  Clean humour dominates along with foot tapping music from Anirudh.

The story is happening in the 80s when unemployment was an issue to reckon with. Educated middle class and lower class young men lose out on jobs despite being meritorious, due to a corrupt bureaucracy that thrives on greased palms.

Iniyan (Suriya) aspires to join the CBI (Central Bureau Of Investigation) where his father (Thambi Ramiah) works as a clerk. But he is humiliated by the Bureau Chief Uthaman (Suresh Menon) who does not see eye to eye with Iniyan’s father and is obviously not keen on employing Iniyan.

When Iniyan’s close friend also dreaming of a police career takes his own life out of frustration, Iniyan steps into a new role. Protesting against the system, Iniyan plans a heist with five others.

For Suriya, it’s a role that he can sleep walk in- of course he is given those ‘mass hero’ moments with dances and action stunts-yet ShivN ensures that nothing is over the top.

Ramya Krishnan as Azhagu Meena, one of the con artists in Iniyan’s team might remind you of Anupam Kher’s role in ‘Special 26,’ but as the story rolls, Meena finds  her own identity. Kudos to ShivN for envisoning  a female character in place of Kher’s role. If Krishnan’s Sivagami from ‘Bahubali’ left us in awe,  her Azhagu Meena is a joyful experiment-revealing another side of the talented actress.

Unlike Kajal Aggarwal, who played arm candy to Akshay Kumar, Keerthi Suresh’s role is filled with amusing moments. Look out for the scene where she proposes to Iniyan.

Humour is a major strength here unlike ‘Special 26.’ There are several laugh aloud moments. Anand Raj as the Minister whose house is raided by this con team sets the tone with his ‘mind talk.’

Besides, ShivN has a detailed back-story for Iniyan  and his motives for organizing the heist, making the story far more convincing than the original.

While ‘Special 26’ gave the feel of a racy thriller with its background music playing continuously, Anirudh’s peppy numbers makes you sit back and relax.

Even if you have watched ‘Special 26’, ‘TSK’ is worth a watch. It’s not another remake. TSK is a sweet Pongal delicacy.

‘Gulaebagavalli’ a comic caper that keeps you in splits

By Mythily Ramachandran

‘Gulaebagavalli’ makes no pretensions about its motive. It’s an entertainer and succeeds in doing just that. As long as you don’t take it seriously nor look for something to ponder upon or analyse critically, ‘Gulaebagavalli’ is ideal to keep your stress at bay. The slapstick comedy will keep you chuckling. Well, sometimes, one needs that kind of a film to let the hair down. 

Directed by Kalyaan S ‘Gulaebagavalli’ takes viewers on a treasure hunt to the eponymous village where lies hidden a treasure chest packed with gems dating to the British era.
Badri (Prabhu Deva) a thief, whose skill lies in smuggling antique idols is on a new mission to Gulaebagavalli. He soon has company with three others joining him on this quest-Viji, (Hansika Motwani) a young woman, whom he falls in love with at first sight;  Maasha (Revathy) a middle aged woman and a trickster and Munish (Ramdoss) who is sent to keep an eye on Badri.

If the content lacks on anything new and interesting and even defies logic, it makes it up with its humour. The jokes are sometimes silly too, but it’s not easy keeping a straight face.

Revathy surprises in a never before seen role and the veteran has played it out well. Prabhu Deva’s dance moves keep you enthralled. Director Kalyan also takes a dig at the must have formula followed in our cinema. Look out for the scenes with comedians Sathya- a policeman who is easily conned and Mottai Rajendran –on his amma (mother) sentiment. It’s a laugh riot.  

Sketch-an action drama set in North Madras

Sketch-an action drama that does not impress

Old wine in a new bottle best describes this Vikram starrer.
Vijay Chandra, who last directed ‘Vaalu’ returns with a story set in north Chennai-a neighbourhood known in Tamil cinema for its goon culture.

Jeeva, (Vikram) better known as Sketch is an uneducated tough guy working under Settu, (played by Malayalam actor Hareesh Peradi),  a loan financier for cars. When the owners default on their EMI payments, it’s Sketch’s job to lift the car. Sketch prides on his ability to do a thorough job and he can never go wrong with a ‘sketch’ he has planned.  No wonder the name!

Settu also manages a garage and car servicing unit where he employs young boys.  Settu, however has an old score to settle with a ruthless gangster Royapuram Kumar (Malayalam actor Baburaj). So he instructs Sketch to lift Kumar’s favourite car-an archaic red Fiat car.

Sketch succeeds in his mission earning Kumar’s wrath in the process. Sketch and his friends become Kumar’s targets to kill.

There is nothing new about Vikram’s character here.
‘Sketch’ with a larger than life portrayal of his role, indulges  completely to his star image.  As for the romance in the story, you don’t have to guess. It’s the routine stalking by the hero of his lady love, Amuthavalli (Tamannah) -the college going young woman, who inevitably falls for his tough exterior looks that seemingly hide his soft nature. 

Isn’t it time to let go off this obsession for a fair skinned lover and glorifying it? Not to forget that in our cinema love blossoms with ease between an educated woman and an uneducated  rowdie. Amuthavalli is brazen about her choice.
Tamannah is mere eye candy here while ‘Sketch’ is all about wooing Vikram’s fans. And what was that inane comedy track with Soori? His jokes fell flat.

What makes one sit up and ponder awhile is the unexpected twist in the climax. With a message on juvenile criminals delivered ‘Sketch’ could have been a sensible story.
For now, ‘Sketch’ remains a mere sketch which needs a better screenplay and less frills.
And, I couldn’t help missing Vikram, the intense performer of ‘Anniyan’ and ‘Pithamagan,’ to mention some of the feathers in the actor’s cap.

‘Theeran Adhigaaram Ondru’ salutes the police force

 

By Mythily Ramachandran

Karthi’s terrific performance and director Vinoth’s well researched racy screenplay makes this a must watch  

How do you find a needle in a haystack?
That old adage describes the story of this Tamil Nadu police officer who was determined to bring to book a group of criminals out on a rampage for almost a decade.
With just a fingerprint as a clue and goading him ahead, Theeran arrives in Rajasthan with a group of subordinates to nab the dreaded dacoit leader Oma Singh.

Director H. Vinoth takes viewers on this investigative trail that keeps you well hooked onto the screen with its gritty screenplay and a nail biting finish.
The story dates back to 1997 when a group of dacoits looted lone houses situated on the Chennai Bangalore highway leaving behind bodies gruesomely killed. Theeran (Karthi) following his posting in Ponneri begins investigating these cases but is given little support by his seniors until a local MLA’s house is targeted by dacoits and is killed too.
With the case now getting its due importance, Theeran’s long journey begins. Revealing more would be a spoiler.

Unlike the regular cop stories of Tamil cinema, Vinoth’s story is about an ordinary policeman who takes his duty seriously and with pride. Karthi’s Theeran is unlike the roaring Singham Durai of ‘Singham’ with loud dialogues and actions, but a lion that prowls business like in pursuit of its victim. And, that makes ‘Theeran Adhigaaram Ondru’ believable. It’s clearly a career defining role for Karthi, who projects Theeran with a neat and perfect performance.
I loved the scene where Theeran’s senior wants to take him off the investigation as Priya, his wife is hospitalized, but Theeran argues that he wants to continue on the investigation as he was proud to be a policeman and it was not out of vengeance. Theeran’s eyes well up as he remembers his late father, also a policeman who died on duty, yet his mother never reminded him of the hazards of a policeman’s life.

Vinoth’s research into the history of the dacoit gang dating to the British era is commendable. Drawing his characters with utmost care Vinoth’s narration is engaging. Despite the ruthless killing by the robbers, the scenes reveal little gore yet convey the impact of violence well. 

Director H. Vinoth

While the focus is on the investigation, Vinoth occasionally gives us a peek into Theeran’s love life. The onscreen chemistry between Rakul Preet Singh and Karthi is cute with a freshness in their romance. 

Cinematographer Satya Sooryam’s frames elevate Vinoth’s story. The night visuals of the dacoit while in robbery bring an intimidating feel and the action shots are awesome, especially the one where Theeran follows a gang member atop a moving bus. Stunt director Dilip Subbarayan deserves special mention for staging well orchestrated action sequences. 

A hero’s heroism is better defined by making the villain loathsome. Abhimanyu Singh as the dacoit leader, Oma surpasses his earlier roles. Oma is more visible in the second half and as the camera pans over him for a while, it comes down to his eyes. We see the terror lurking inside. Singh’s magic lies in his eyes and he uses them magnificiently.

‘Theeran Adhigaaram Ondru’ entertains while saluting those police officers who place duty before their family.  Sadly these officers were never given their due recognition.

‘Aval’ : Engaging and captivating 

This horror film stumps you with its engaging narration, fantastic performances, surreal visuals and an unpredictable twist

By Mythily Ramachandran

Sarah looking out of the window intently (while her family is busy with guests at their housewarming ceremony) catches the attention of Dr. Krish (Siddharth). Moving closer to her, he looks out at the object of her gaze and is surprised to see Jenny, her older sister standing on the brink of a well in the garden. And, before his very eyes, Jenny walks into the depths of the well. Krish rushes out after alerting Paul, Jenny’s father. He jumps into the well and rescues Jenny out. But when she wakes up she cannot remember anything about the mishap.
From an innocent scene picturised around a child, director Milind Rau leads us indoors into Paul’s house where bizarre are waiting to happen.  With ‘Aval’ a trilingual, ‘Gruham’ (Telugu) and ‘The House Next Door,’ (Hindi) Rau’ shows promise as a sensible filmmaker.

Rau’s writing is solid in every scene. The different players inside have been treated with utmost care. There is a freshness in the detailing of the characters-Dr. Krish, a neuro-surgeon noted for his skills and his wife Lakshmi (Andrea) are enjoying their extended honeymoon phase; Paul (Atul Kulkarni), their new neighbor with two daughters, wife Lissy and his old dad reveal a happy family. Jenny (Anisha Victor) is today’s teenager. She lost her mother but is at ease with her stepmom. And, yes, she can down a few pegs and smokes on the sly. Sarah, her step-sister is a cute innocent child she loves.

Rau’s tale is based on real incidents and he narrates it with a gradual pace. He is in no hurry to scare you with a spook at the next dark nook. And, when the scares pop up, they are well planted in the screenplay and also well executed. Some even bring a smile, like the dictaphone that plays a tune in the dead of the night. Rau’s attention to small details lends a realistic touch.

Co-written with Siddharth, ‘Aval’ has romantic moments in good measure reminding viewers of a life outside the paranormal activities. Evesdropping into the two homes of Krish and Paul you watch queer happenings. As we linger in each scene and the dread grows, you don’t see the twist in the climax.

Of course, few scenes remind one of ‘Exorcist’ and few other films, but not many horror films have this level of commitment to setup and presence. Nothing seems staged in ‘Aval’ thanks to the perfectly calibrated performances from a well-chosen cast; understated and neat. 

A cute moment is found in the most unexpected moment. When Lissy tells Paul that she wants them to leave the haunted house, an angry Paul gives his reason for not being able to leave. Little Sarah quips then: ‘There is something good in everything.’ 

Debutant Anisha Victor is the scene stealer who holds her own pretty well in the midst of veterans. As Jenny, she juggles between playing a normal teenager and a woman possessed with remarkable ease. 

Cinematographer Shreyaas Krishna’s visual texture augments Rau’s narration all through. The splendor of the snowcapped mountains in the backdrop is matched by the golden glow of night sequences with the focus on the corridor inside Paul’s home where a cross is lit by a red light. 

Girish Gopalakrishnan’s background is not loud and dramatic as in other Indian horror films, but ushers in the right measure of unease. Preeti Sheel, Bollywood’s make-up artist with her prosthetic make-up for the ghost like apparitions of ‘Aval’  are way removed from the regular pan-caked powder faces of other Indian films. The scenes with Jenny in the bathroom and another inside the operation theater where Dr. Krish is performing a surgery, send a shiver down the spine.

‘Aval’ impresses. 

'Thondimuthalum Driksakshiyum’ a hilarious tale 

By Mythily Ramachandran

What if you were a fly on the wall inside a police station or a bird perched on a tree in one of those small towns of Kerala? You could spend the entire day watching people around and their life stories unfold.

‘Thondimuthalum Drikshasakshiyum’ (The Mainour and the Eye Witness) is one such story that director Dileesh Pothan narrates in his inimitable style. Marked by realistic frames and exemplary performances, Pothan and Fahad Faasil return with another winner. Their last film, ‘Maheshinte Prathikaram,’ won two Kerala state and two national awards this year.

At the core of the plot is a simple knot, when a small time thief (Fahad Faasil) steals a chain from the neck of a young woman while travelling in a bus. Srija, (Nimisha Sajayan) the victim had dozed off but wakes up in time to catch the thief in his act. The thief outsmarts her by swallowing the chain. Srija raises a hue and cry. Her husband Prasad (Suraj Venjaramoodu) sitting on the other side of the row rushes towards her. The thief vehemently argues that he never took her chain. ‘She must have dreamt it while in her sleep,’ he suggests.

Co-passengers come to Srija’s aid. Some even slap the thief. Soon the bus is driven to the nearest police-station. What happens at the police-station over the next few days? Does Srija get her chain back? 

With a chain snatching plot one would expect a lot of drama that could have turned into just another thriller. ‘Thondimuthalam Drikshasakshiyum’ does not follow that route. It makes its own path as the story progresses and keeps you guessing all along. 

With hilarious situations captured inside a police station that is enhanced with touches of realism and natural performances from the entire team, director Dileesh Pothan proves that ‘Maheshinte Prathikaaram’ was not a mere flash in the pan.
 Sajeev Pazhoor has written the story and screenplay. Syam Pushkaran, who won the national and Kerala State Award for Maheshinte Prathikaaram, is credited with the dialogues.  

You can see the love with which each character has been sketched. The lead players, Srija is an ordinary young woman yet with a mind of her own. Her relationship with Prasad begins on a wrong note when he notices her purchasing a pregnancy testing kit. Through a common friend, he relays this to her father. An angry Srija confronts Prasad who is embarrassed on his goof-up and before they know it the young couple is in love. Srija’s parents disapprove of the inter-caste match and they leave town to make a new beginning in Kasargode.

Suraj Venjaramoodu is a brilliant performer whose talent only a few directors have explored. Dr. Biju revealed another side to the comedian in his national award winning film, ‘Perariyathavar.’ Pothan brings that out again here.
With his subtle acting, Venjaramoodu convincingly draws out the simple guy Prasad, who cannot harbor malice for anyone including his father-in-law.
No one could have been as convincing as the versatile Fahad Faasil. He is brilliant as a thief, cocky and confident even when in the wrong and takes life’s situations most casually. 

Newcomer Nimisha Sajayan matches step with the two veteran actors and is a bundle of promise. Her eyes are her strengths and she exploits them well. Her grim expressions, her anxiety at the loss of her ‘thali’ (wedding chain), her angry looks darted now and then at the thief are spontaneous. The Mumbai raised actress slips into a lower middle-class Srija’s skin with ease. 

A host of characters make up ‘Thondimuthalum Driksakshiyum’ and they stay with you long after curtains fall-Sudhakaran, the trouble maker who is confined in prison till the temple festivities are over, the writer at the police station who is always in mufti, the Sub-Inspector keen on delivering justice and the Head Constable (Alencier Ley), on a punishment posting. In fact, 23 real policemen have made their cinema debut.  Sibi Thomas as the SI impresses. The casting is so perfect. Even the chemistry between Srija and Prasad so well played out. 

The mystery around the thief keeps the story engaging too. He has no identity nor does he reveal his real name. He takes on Prasad’s name. And boasts about his paratha making skills in a nook side hotel that is greeted with asides and banter by the policemen. Fahad Faasil plays the wily trickster to the T.

Complementing the beautiful narration and seamless flow of the story is Rajeev Ravi’s brilliant camera work. The national award winning cinematographer hovers around the police station, now and then stepping outside, sometimes capturing a temple celebration mood in bright colours or lighting up in twilight frames when watching over Srija and Prasad in their home. The long chase scene through the woods that ends in a canal with Prasad holding onto the thief, whom he has finally caught is remarkable.

Realistic shots and attention to finer details add to the film’s strengths. When everyone is heading to the hilltop where the thief is being taken for his morning ablutions, Srija also joins her husband. Suddenly Prasad turns to her and tells her-‘you don’t have to accompany me here.’ You smile with Srija. Humour is squeaky clean.  

Bijibal’s music complements the narrative.
‘Thondimuthalum Driksakshiyum’ finds itself a place among the beautiful gems of Malayalam cinema.