Sunday, December 16, 2007
Saturday, December 8, 2007
Evano Oruvan - Straight from the heart!
Evano Oruvan, written and directed by Nishikant Kamath is a remake of the critically acclaimed Marathi movie 'Dombivilli Fast' made by the same director.
Ever wondered how a typical Shankar theme like 'Anniyan' or 'Indian' would look if made by Mani Rathnam!?
Well, you get a good idea after watching this one! The subject of the common man revolting against the system has been in our films since ages, but the treatment has often been the easy way - Realism traded for pleasing the viewer with item numbers and fancy stunts. No such bribes for the common man in this film, with no songs and fight sequences!
The latest trend in Tamil Cinema includes realistic movies that are made on low budgets. Like Chennai-28, Katradhu Tamil, Kaadhal, Paruthiveeran!
You get an idea of the kind of film this is going to be, right around the title sequence. An endless cycle of routine life plaguing an average middle class citizen, Sridhar Vasudevan (Madhavan). Beyond guessing the subject, we realize that the film is going to be a hard hitting, in-the-face portrayal of it. The presentation and cinematograpy is first-rate, and gets you into the plot effortlessly...
Madhavan, like anyone else who hasn't numbed himself yet to the corruption that has become part of everyday life, reacts strongly to situations like the water lorry guy demanding a bribe, the shopkeeper who fleeces the public, etc. What starts out as an angry outburst soon catapults into a dangerous mission of dealing out justice by wielding the weapon.
The movie distinguishes itself by its treatment of the subject in a way that portrays the realistic reactions of society to a man who takes the law in his own hands. Consider this - Madhavan puts a gun to a doctor's head and demands treatment for an elderly woman. The woman retaliates by saying that she doesn't want to be treated through his 'rowdyism'! That tone is maintained through the movie, as the public treat the whistle-blower as a menace in a society where individuals prefer to endure corruption from the sidelines, as well as benefit from it when the opportunity knocks!
Madhavan has done the angry man roles in recent movies like 'Thamby' and 'Arya'. He comes out as spectacular in this role, thanks to the undiluted (by songs and comedy tracks) plot. The scene where he has an outburst in the middle of the road and calls to God to take him back from this world where he has been deemed unfit to live, is one of many stellar moments showcasing his acting potential!
Sangeetha, as his wife, shines as the anguished housewife. Seeman as the police officer with a conscience, plays the other pivotal role in the film, next to Madhavan.
His reflection on the state of affairs in society gently remind us that not all of the corrupt have sold their consciences entirely. It even brings up an argument in favor of corruption by taking up issues like 'Is a policeman paid enough to live a decent life without making an extra amount through bribes?'.
Seeman's role serves as the director's mouthpiece for voicing his concerns about a society that is getting so steeped in materialism that the standards for a 'decent life' are ever increasing!
Overall, the pace of the film is fast and flowing, saving it from being classified in the arthouse sector. It is a treat to lovers of realistic and hard hitting cinema, along the likes of Anbe Sivam or Mayakkanadi (this had a slower
pace of narration affecting its commercial potential). Madhavan's performance is his finest after 'Kannathil Muthamittal'.
The lack of songs and comedy track will be felt if you were expecting an out and out commercial entertainer.Just let yourself be taken over by the movie and it should be a rewarding and eye opening experience!
4.25 stars in my Scale!
Afterthoughts triggered by the movie... :
What a great way to reflect the state of affairs in today's society!The shopkeeper who increases the price of a cool drink casually, and the public, while complaining about it, still buying the
very same drink day after day!
After all, isn't economics supposed to correct the problem? As in, if there's another shopkeeper who doesn't charge extra, then the public should flock to him, making the first guy lower the price! But what happens when this becomes a practice among the whole lot of shopkeepers, and the common man realizes one day that
the lowest price offered anywhere is way beyond what the product is worth?
If we don't rise up collectively and fix the problem at the roots, then the problem becomes part of society!
If a common man rises against the establishment, it's futile. If a large group does it, it's a revolution.Even large revolutions get quashed by the political hand. To bring about radical changes, political and business groups should see vested interests in the change. But when it is money
that is the vested interest, there is a conflict with the purpose of the change. So there's the viscious cycle!Genuine need to bring about change is thus a core factor in bringing about radical change.
If a person like our hero Madhavan were in a position of power, his actions would have been justified and welcomed by society! But if he rises to a position of power, would he recogonize the 'trivial things' that plague the life of the common man?
Ever wondered how a typical Shankar theme like 'Anniyan' or 'Indian' would look if made by Mani Rathnam!?
Well, you get a good idea after watching this one! The subject of the common man revolting against the system has been in our films since ages, but the treatment has often been the easy way - Realism traded for pleasing the viewer with item numbers and fancy stunts. No such bribes for the common man in this film, with no songs and fight sequences!
The latest trend in Tamil Cinema includes realistic movies that are made on low budgets. Like Chennai-28, Katradhu Tamil, Kaadhal, Paruthiveeran!
You get an idea of the kind of film this is going to be, right around the title sequence. An endless cycle of routine life plaguing an average middle class citizen, Sridhar Vasudevan (Madhavan). Beyond guessing the subject, we realize that the film is going to be a hard hitting, in-the-face portrayal of it. The presentation and cinematograpy is first-rate, and gets you into the plot effortlessly...
Madhavan, like anyone else who hasn't numbed himself yet to the corruption that has become part of everyday life, reacts strongly to situations like the water lorry guy demanding a bribe, the shopkeeper who fleeces the public, etc. What starts out as an angry outburst soon catapults into a dangerous mission of dealing out justice by wielding the weapon.
The movie distinguishes itself by its treatment of the subject in a way that portrays the realistic reactions of society to a man who takes the law in his own hands. Consider this - Madhavan puts a gun to a doctor's head and demands treatment for an elderly woman. The woman retaliates by saying that she doesn't want to be treated through his 'rowdyism'! That tone is maintained through the movie, as the public treat the whistle-blower as a menace in a society where individuals prefer to endure corruption from the sidelines, as well as benefit from it when the opportunity knocks!
Madhavan has done the angry man roles in recent movies like 'Thamby' and 'Arya'. He comes out as spectacular in this role, thanks to the undiluted (by songs and comedy tracks) plot. The scene where he has an outburst in the middle of the road and calls to God to take him back from this world where he has been deemed unfit to live, is one of many stellar moments showcasing his acting potential!
Sangeetha, as his wife, shines as the anguished housewife. Seeman as the police officer with a conscience, plays the other pivotal role in the film, next to Madhavan.
His reflection on the state of affairs in society gently remind us that not all of the corrupt have sold their consciences entirely. It even brings up an argument in favor of corruption by taking up issues like 'Is a policeman paid enough to live a decent life without making an extra amount through bribes?'.
Seeman's role serves as the director's mouthpiece for voicing his concerns about a society that is getting so steeped in materialism that the standards for a 'decent life' are ever increasing!
Overall, the pace of the film is fast and flowing, saving it from being classified in the arthouse sector. It is a treat to lovers of realistic and hard hitting cinema, along the likes of Anbe Sivam or Mayakkanadi (this had a slower
pace of narration affecting its commercial potential). Madhavan's performance is his finest after 'Kannathil Muthamittal'.
The lack of songs and comedy track will be felt if you were expecting an out and out commercial entertainer.Just let yourself be taken over by the movie and it should be a rewarding and eye opening experience!
4.25 stars in my Scale!
Afterthoughts triggered by the movie... :
What a great way to reflect the state of affairs in today's society!The shopkeeper who increases the price of a cool drink casually, and the public, while complaining about it, still buying the
very same drink day after day!
After all, isn't economics supposed to correct the problem? As in, if there's another shopkeeper who doesn't charge extra, then the public should flock to him, making the first guy lower the price! But what happens when this becomes a practice among the whole lot of shopkeepers, and the common man realizes one day that
the lowest price offered anywhere is way beyond what the product is worth?
If we don't rise up collectively and fix the problem at the roots, then the problem becomes part of society!
If a common man rises against the establishment, it's futile. If a large group does it, it's a revolution.Even large revolutions get quashed by the political hand. To bring about radical changes, political and business groups should see vested interests in the change. But when it is money
that is the vested interest, there is a conflict with the purpose of the change. So there's the viscious cycle!Genuine need to bring about change is thus a core factor in bringing about radical change.
If a person like our hero Madhavan were in a position of power, his actions would have been justified and welcomed by society! But if he rises to a position of power, would he recogonize the 'trivial things' that plague the life of the common man?
Wednesday, December 5, 2007
Kannamoochi Yenada - Half-hearted attempt at Comedy!
KME is director V.Priya's second attempt after the successful 'Kanda Naal Mudhal'. With an heavily urban theme in Kanda Naal Mudhal, success was largely restricted to the cities. But the film was well made and had an engrossing screenplay.
In Kannamoochi Enada, she attempts a comedy with an urban backdrop, setting up a trend for such movies.With the increase in gross collections in general from the top 3 Tamil Nadu cities alone, there is a growing market for movies targeted at just the urban audience! We are seeing younger directors experiment with niche subjects, which is a welcome trend!
Alright, this movie is meant for the city slickers, but the amount of work required to create an genuinely funny movie has been grossly underestimated here. Roughly based on the similar themed hollywood movie 'Meet the Parents', the writers have left out some core comic sequences (to avoid accusations of obvious plaguarism?) that could have turned this movie into a laugh riot!
The film tries hard to hold your attention but only succeeds in parts. Though plenty of comic situations are infused into the plot, the comedy is half-hearted! Prithviraj is a Software Engineer based in Malaysia, managing his uncle's software firm. Meets and instantly falls for 'Kadhal' Sandhya. The movie revolves around his antics to convince her father, Sathyaraj, the Chennai Police commissioner and win her hand!
Sathyaraj's stellar presence carries the movie forward at every stage. Prithviraj's role is the same stereotyped educated young man who falls in love the instant he sees the heroine! He holds the same expressions through his last three movies (mozhi, satham podadhae and this one) and he better reinvent himself soon!
The romance isn't well developed at all, and I feel that the easiest route to establishing the love between the lead pairs was taken. Radhika's presence adds gold value to the plot, as he essays the role of a woman who's lived under her husband's shadows, to perfection.
During her expression of soft understanding with Prithviraj and her outbursts against her husband, she helps keep the viewer's attention a bit, amidst the faltering screenplay. Sandhya has a very easy role her. He sudden change of mind is not well justified, as also Radha Ravi's sudden turn to goodness.
It's almost like it was time to end the movie, so all the characters were made to do a sudden about-turn!
Sripriya comes up with a Cameo in the second half as Sathyaraj's twin sister and does her best in whatever little time she has on screen. But again, she is helpless in a plot that dilutes the motivations of the characters in order to fit as a comedy movie! I guess the golden rule is that even a comedy movie is only as good as it's emotional content!
Still the movie manages to hold, purely based on the strength of its cast, the good production values and pleasing cinematography! You can watch it without getting too bored, if you keep all expectations aside!
But there's a good chance of disappointment if you watch it at the theatres expecting a hilarious entertainer!
2.5 stars on my scale!
In Kannamoochi Enada, she attempts a comedy with an urban backdrop, setting up a trend for such movies.With the increase in gross collections in general from the top 3 Tamil Nadu cities alone, there is a growing market for movies targeted at just the urban audience! We are seeing younger directors experiment with niche subjects, which is a welcome trend!
Alright, this movie is meant for the city slickers, but the amount of work required to create an genuinely funny movie has been grossly underestimated here. Roughly based on the similar themed hollywood movie 'Meet the Parents', the writers have left out some core comic sequences (to avoid accusations of obvious plaguarism?) that could have turned this movie into a laugh riot!
The film tries hard to hold your attention but only succeeds in parts. Though plenty of comic situations are infused into the plot, the comedy is half-hearted! Prithviraj is a Software Engineer based in Malaysia, managing his uncle's software firm. Meets and instantly falls for 'Kadhal' Sandhya. The movie revolves around his antics to convince her father, Sathyaraj, the Chennai Police commissioner and win her hand!
Sathyaraj's stellar presence carries the movie forward at every stage. Prithviraj's role is the same stereotyped educated young man who falls in love the instant he sees the heroine! He holds the same expressions through his last three movies (mozhi, satham podadhae and this one) and he better reinvent himself soon!
The romance isn't well developed at all, and I feel that the easiest route to establishing the love between the lead pairs was taken. Radhika's presence adds gold value to the plot, as he essays the role of a woman who's lived under her husband's shadows, to perfection.
During her expression of soft understanding with Prithviraj and her outbursts against her husband, she helps keep the viewer's attention a bit, amidst the faltering screenplay. Sandhya has a very easy role her. He sudden change of mind is not well justified, as also Radha Ravi's sudden turn to goodness.
It's almost like it was time to end the movie, so all the characters were made to do a sudden about-turn!
Sripriya comes up with a Cameo in the second half as Sathyaraj's twin sister and does her best in whatever little time she has on screen. But again, she is helpless in a plot that dilutes the motivations of the characters in order to fit as a comedy movie! I guess the golden rule is that even a comedy movie is only as good as it's emotional content!
Still the movie manages to hold, purely based on the strength of its cast, the good production values and pleasing cinematography! You can watch it without getting too bored, if you keep all expectations aside!
But there's a good chance of disappointment if you watch it at the theatres expecting a hilarious entertainer!
2.5 stars on my scale!
Friday, November 16, 2007
Azhagiya Thamizh Magan (ATM) - different dough, same flavour!
Aghagiya Thamizh Magan (ATM) is a typical Vijay movie but with a difference - This time he's not up against the city's top 10 rowdies and bashing up twenty goons at once. That's a welcome relief for people who are tired of the 'dada' themes that have been haunting Tamil film heroes for quite a while now.
With ATM, Vijay tries a new theme but sticks to his standard formulae. It’s interesting that he has even tried out something new in terms of material. That deserves some applause, but in his dilemma to whether go for hardcore seriousness or provide a standard fare aimed at his fans in his usual style, he has gone in for the latter.
He's an MBA student (sounds very un-vijay, rite! When was the last time u saw him as a post grad academic?) who has ESP (Extra Sensory Perception) and suffers from bouts of visions of the future. The events happen with certainty and the story is built around what happens when he sees a deadly vision that he can’t come to terms with...
The fact that the movie does not try to treat this subject with the seriousness it warrants, is obvious from the very first reel. The hero is glorified with the customary introductory song & fight sequence, the narration is fast but lacks grip… the setting is perfect for the average masala movie.
If you felt let down at this point, there’s nothing in the movie that can redeem that feeling for you! The songs and the pleasing picturization are a real plus to the first half, which moves real fast! The director has so many things to cram here that the romance between Vijay and Shriya takes a distant back seat. When Shriya proposes to him after they have been on screen for barely 5 mins, you can’t help wondering that this is after all a Vijay movie and the heroines are meant to just swoon at the hero and worship his feet!
Santhanam and Co provide comic relief, with the sharp one liners and Vijay’s comic timing replacing a separate comedy track. If you didn’t know the story completely, there’s some suspense too in the first half, as you anticipate something ominous even while the mood is merry!
The second half is all downhill in terms of any grip that the screenplay had on the viewer in the first half. It is nevertheless not boring, as the ‘surprise package’ double action Vijay adds a lighter vein to the proceedings, coupled with the songs. Logic holes abound here, and a serious take on the topic would have helped the movie’s prospects a lot! Rahman’s songs are not the path-breaking variety but more of the Remix and Beats kind. It’s staggering to think that even an average composition by Rahman (in terms of his high standards) is way better to hear than most of the other hit songs in the industry! They’re good for easy listening and the picturization adds tremendous value to the songs! Vijay and Shreya’s dancing skills are highlighted by each and every song and that itself is a treat for fans of the hero and heroine! The best is the Remix of the old song ‘Pon Magal Vandhaal’.
On the whole, this movie can be watched once if you want a light hearted movie with good songs and packaging. Beyond the festive Diwali mood, if you look for something more serious and engaging, this is not the right fare!
It's sad that the makers think that these kind of movies are ATMs... I think the real cash machines are the masala fares that have a strong grip on narration, like 'Gilli'!
But I would welcome this movie anytime over the typical ‘Aadhi’ or a ‘Sivakasi’ kind of Vijay film!
2.5 Stars on my scale!
With ATM, Vijay tries a new theme but sticks to his standard formulae. It’s interesting that he has even tried out something new in terms of material. That deserves some applause, but in his dilemma to whether go for hardcore seriousness or provide a standard fare aimed at his fans in his usual style, he has gone in for the latter.
He's an MBA student (sounds very un-vijay, rite! When was the last time u saw him as a post grad academic?) who has ESP (Extra Sensory Perception) and suffers from bouts of visions of the future. The events happen with certainty and the story is built around what happens when he sees a deadly vision that he can’t come to terms with...
The fact that the movie does not try to treat this subject with the seriousness it warrants, is obvious from the very first reel. The hero is glorified with the customary introductory song & fight sequence, the narration is fast but lacks grip… the setting is perfect for the average masala movie.
If you felt let down at this point, there’s nothing in the movie that can redeem that feeling for you! The songs and the pleasing picturization are a real plus to the first half, which moves real fast! The director has so many things to cram here that the romance between Vijay and Shriya takes a distant back seat. When Shriya proposes to him after they have been on screen for barely 5 mins, you can’t help wondering that this is after all a Vijay movie and the heroines are meant to just swoon at the hero and worship his feet!
Santhanam and Co provide comic relief, with the sharp one liners and Vijay’s comic timing replacing a separate comedy track. If you didn’t know the story completely, there’s some suspense too in the first half, as you anticipate something ominous even while the mood is merry!
The second half is all downhill in terms of any grip that the screenplay had on the viewer in the first half. It is nevertheless not boring, as the ‘surprise package’ double action Vijay adds a lighter vein to the proceedings, coupled with the songs. Logic holes abound here, and a serious take on the topic would have helped the movie’s prospects a lot! Rahman’s songs are not the path-breaking variety but more of the Remix and Beats kind. It’s staggering to think that even an average composition by Rahman (in terms of his high standards) is way better to hear than most of the other hit songs in the industry! They’re good for easy listening and the picturization adds tremendous value to the songs! Vijay and Shreya’s dancing skills are highlighted by each and every song and that itself is a treat for fans of the hero and heroine! The best is the Remix of the old song ‘Pon Magal Vandhaal’.
On the whole, this movie can be watched once if you want a light hearted movie with good songs and packaging. Beyond the festive Diwali mood, if you look for something more serious and engaging, this is not the right fare!
It's sad that the makers think that these kind of movies are ATMs... I think the real cash machines are the masala fares that have a strong grip on narration, like 'Gilli'!
But I would welcome this movie anytime over the typical ‘Aadhi’ or a ‘Sivakasi’ kind of Vijay film!
2.5 Stars on my scale!
Thursday, September 27, 2007
Satham Podadhey - Movie Review
Satham Podadhey by director Vasanth...
On one side Tamil Cinema continues to follow established trends like Rowdy themes and Mother/Sister sentiments, while on the other side there are daring new themes and styles of film making being explored.
The arrival of the younger crop of directors like Gowtham Menon and Selvaraghavan has been instrumental in bringing fresher styles of film making to the industry.
Vasanth, an established director of more than a decade, with a number of hits to his credit, explores the suspense genrein his latest offering. It's not entirely new to him, after his successful 'Aasai' (1995) raised the bar for such films.After 13 years he comes out with a similar offering that talks volumes about the advances made in Visual Presentation andediting techniques during these years.
Whether or not this film becomes a trendsetter remains to be seen, but it is clear that the suspense genre can attract a lot of curiosity among people and lead to better openings in the metros!
The film starts of well enough to sustain its hype of being a horror/suspense thriller...
Rathnavel (Shiva of 'Chennai 28' fame!), a chronic alchoholic who has given up the habit through the aid of the AA (Alchoholics Anonymous) group program marries Padma Priya. Problems surface when she discoversthat he is infertile. When we learn that Rathnavel's condition is due to his chronic drinking problem and thatknew of this before his marriage, we, the audience, gear up to face a psychopath character who's all out to create problems out of his own insecurity! Revealing more of the story line would be criminal injustice to the movie, which already suffersfrom predictablity problems down the line.
The director manages to give the film an eerie look through camera angles, editing techniques and music effects. The acting is first rate, with Padma Priya taking top honors.
Prithiviraj does his normal self in this movie. Hangover from his 'Mozhi' characterization is evident and he should watch out in the future to avoid being stereotyped to such roles. Shiva is convincing as the mentally affected guy. His characterization as the 'neither the bad guy nor the good guy', is a difficult thing to enact consistently!
The movie manages to grab your attention until the plot becomes clear, which is till midway in the first half.At that point, if there's anything that mars the movie's chances, it's the predicability that sets into the plot. The scenes involving Prithviraj courting Padma Priya create a 'Mozhi' ambience and serve for pleasant viewing, but they become quite a stretch as it starts digressing from the main plot.
Thankfully, Vasanth realizes this and tries hard in the second half to avoid the movie from becoming a cliche of sorts and succeeds to an extent as the second half sets in and more so towards the climax.
The Sound-Proofing of the room adds a novel element in narration but could have been used better to further the characterization of Rathnavel. This is one movie where a greater emotional depth could have created a better impact.
The lack of depth and real mystery creates a shallow feeling at the end.
The assortment of item numbers thrown into the plot with thin plot connections serve to mar the suspense effect that the viewer is eagerly awaiting. The songs are ordinary at best and at least a couple of them should be shortened or cut in the second half. First of all, a thriller movie should ideally have minimal songs that move the narration ahead. And Prithiviraj has an introductory song in this one! A definite speed breaker!
In many respects, the movie suffers from the Deja Vu effect of Vasanth's movie 'Aasai' that came out 11 years ago. However, if you were to look to Vasanth the director 11 years ago in his movie 'Aasai' and today, you'd appreciatehis involvement in experimenting with modern techniques in film making for best effect. Like the jump cuts in editing, the fine cinematography, the non-linear narration at times, the title rolls interspersed with scenes for a suspense effect, etc.
All said, the movie definitely is worth a one time watch! Better so at the theater!
2.5 stars! ==> Watchable, not a waste of money. You'll get to timepass and not feel too affected or elated by the movie.
On one side Tamil Cinema continues to follow established trends like Rowdy themes and Mother/Sister sentiments, while on the other side there are daring new themes and styles of film making being explored.
The arrival of the younger crop of directors like Gowtham Menon and Selvaraghavan has been instrumental in bringing fresher styles of film making to the industry.
Vasanth, an established director of more than a decade, with a number of hits to his credit, explores the suspense genrein his latest offering. It's not entirely new to him, after his successful 'Aasai' (1995) raised the bar for such films.After 13 years he comes out with a similar offering that talks volumes about the advances made in Visual Presentation andediting techniques during these years.
Whether or not this film becomes a trendsetter remains to be seen, but it is clear that the suspense genre can attract a lot of curiosity among people and lead to better openings in the metros!
The film starts of well enough to sustain its hype of being a horror/suspense thriller...
Rathnavel (Shiva of 'Chennai 28' fame!), a chronic alchoholic who has given up the habit through the aid of the AA (Alchoholics Anonymous) group program marries Padma Priya. Problems surface when she discoversthat he is infertile. When we learn that Rathnavel's condition is due to his chronic drinking problem and thatknew of this before his marriage, we, the audience, gear up to face a psychopath character who's all out to create problems out of his own insecurity! Revealing more of the story line would be criminal injustice to the movie, which already suffersfrom predictablity problems down the line.
The director manages to give the film an eerie look through camera angles, editing techniques and music effects. The acting is first rate, with Padma Priya taking top honors.
Prithiviraj does his normal self in this movie. Hangover from his 'Mozhi' characterization is evident and he should watch out in the future to avoid being stereotyped to such roles. Shiva is convincing as the mentally affected guy. His characterization as the 'neither the bad guy nor the good guy', is a difficult thing to enact consistently!
The movie manages to grab your attention until the plot becomes clear, which is till midway in the first half.At that point, if there's anything that mars the movie's chances, it's the predicability that sets into the plot. The scenes involving Prithviraj courting Padma Priya create a 'Mozhi' ambience and serve for pleasant viewing, but they become quite a stretch as it starts digressing from the main plot.
Thankfully, Vasanth realizes this and tries hard in the second half to avoid the movie from becoming a cliche of sorts and succeeds to an extent as the second half sets in and more so towards the climax.
The Sound-Proofing of the room adds a novel element in narration but could have been used better to further the characterization of Rathnavel. This is one movie where a greater emotional depth could have created a better impact.
The lack of depth and real mystery creates a shallow feeling at the end.
The assortment of item numbers thrown into the plot with thin plot connections serve to mar the suspense effect that the viewer is eagerly awaiting. The songs are ordinary at best and at least a couple of them should be shortened or cut in the second half. First of all, a thriller movie should ideally have minimal songs that move the narration ahead. And Prithiviraj has an introductory song in this one! A definite speed breaker!
In many respects, the movie suffers from the Deja Vu effect of Vasanth's movie 'Aasai' that came out 11 years ago. However, if you were to look to Vasanth the director 11 years ago in his movie 'Aasai' and today, you'd appreciatehis involvement in experimenting with modern techniques in film making for best effect. Like the jump cuts in editing, the fine cinematography, the non-linear narration at times, the title rolls interspersed with scenes for a suspense effect, etc.
All said, the movie definitely is worth a one time watch! Better so at the theater!
2.5 stars! ==> Watchable, not a waste of money. You'll get to timepass and not feel too affected or elated by the movie.
Sunday, July 22, 2007
Kreedom - What's the crown for?
Kreedom - The movie came in with high expectations of being a Family Entertainer with strong parental sentiments.
Specifically about a father's desire to see his son become a police officer.
While the promises are exactly broken, they have been packaged with other surprise plot elements that might not gel well when sandwiched with the base theme!
On the emotional front, Kreedom is a heavily diluted version of Cheran's Thavamai Thavamirundhu.In fact, with the cast for the parents being the same in this one too (Rajkiran as the Father and Charanya as the mother),comparisons are inevitable between the two movies.
But while Cheran's verion was focussed only on the emotional front, Kreedom veers off into the territory of the Oft repeated theme of'Dada'movies in Tamil - More specifically, the ones where the hero has a brush witha local 'Dada' due to circumstance, and is then forced into taking the weapon to save himself.
The film sways between these two aspects, never really hooking the viewer into any of the two.
The first-half proceeds as a light-hearted mix of comedy and sentiment, leaving the viewers in a state of expectation as to how the story would proceed... Father Rajendran (Raj Kiran) has high expectations out of his son - to become an Inspector and bash up the baddies. Son Sakthivel (Ajit Kumar) isn't a loafer (thank god for that! That would have
been the height of cliches!), and is sincere in his quest to join the police force.
Romance is peppered in, with Trisha as the bubbly girl, falling flat for the hero.
The director takes the easiest path to establishing their love, with both the hero & heroine falling for each other after
just a couple of run-ins.But why exactly is Ajith stealing a 'Pillayar' statue to establish the customary introductory song!!!It's a lot easier on the viewers that Rajini's customary introductory songs these days are shown as a dream sequence!Much better than messing with the plot to suit a hero's image!
But once the key plot twist is established at the interval juncture, the post-Interval portions fail to build on the momentum
and leave a lot to be desired. The comedy tracks in this session, just after the serious pre-interval event chould have been better interspersed with the main theme of the movie...
And I couldn't help keep wondering why Raj Kiran doesn't understand (or do anything to understand) his son's state of mind.
Yeah, he's a true police officer who doesn't spare even his son when it comes to 'breaking the law', but some amount of discretion on his part would have made the plot work better.
The villains are also reduced to caricatures, with all their yelling and swearing for revenge. While they are out on a blood-hunt for Ajith, he coolly goes around town to movies with his entire family! The plot angle used to keep the villain's henchmen away for such a long time should have been more convincing.
Vivek tries his best to come up with a comedy track and succeeds partly. His antics while harassing the public and the imitation of Vijakanth in the second half provide a few hearty laughs. But on the whole his role isn't enough tobe mentioned as a separate comedy track.Santanam the other comedian has some witty one-liners and disappears almost entirely in the second half.
Overall, the pluses for the movie lie in its relatively fast pace and the regular doses of sentiment. For Ajith fans, the movie would be a treat after the debacle of the abysmal 'Tirupathi' and 'Aalwar'.
The cast:
Trisha plays her part well, doing what she does best.
Nothing much to say about Ajith - His screams in the second half evoked no sympathies, but that could have been due to thediluted script too. But he should get it sooner or later into his mind that he's no Vikram or Kamal Hassan while signing up
for scenes involving crying and frustration. He desperately needs to work with a big director to bring out the best in him!
Rajkiran is the strong point of the movie - Put in a weak substitute for the role and the movie would meet with the same fate
as the recent (Dhanush's) "Parattai..."!
He essays as the role of a doting father with comprehensive ease. But there's a deja-vu feel to his role, thanks to theThavamai Thavamirundhu hangover. Moreover, the script doesn't give him enough opportunities to exhibit his full potential.
Sharanya, Vivek, Santhanam and others share the space.
Cinematography and music:
The cinematography is a huge plus to the movie - The hues, camera angles and fast flowing action sequences save manycliched sequences from being drab experiences.
The background score by GV Prakash also deserves mention, though it's nowhere in the league of what AR Rahman had churned out
(and still does) in his initial years. The re-recording is also of high quality and created overall impact.But the songs didn't appeal much.
Direction:
Director Vijay has definitely come out strong in parts, especially the scenes revolving around the Father-son sentiment, but
has failed to deliver a cohesive feel to the blending of action and sentiment. A variety of plot gaffes dilute the much-needed impact in this genre. And the ending made me feel manipulated. For a real strong film in this genre, go watch Vishal's 'Sandakozhi'. A similar storyline but rendered flawless by gripping narration!
btw, can someone tell me the vague reference to the title 'Kreedom' for this movie?
Has it become a trend that apathy for the hero and tragic undertones create a better impression among theaudience when they leave the theatre?
I, for one, feel otherwise. Without a proper plot build up, a plot twist in the end only irritates the audience!
Kreedom is strictly for the movie buffs. The rest can check it out once if they have some time to kill, but better not go in with high expectations for a family tear-jerker! Don't you trust the trailers!
Watchable.
2.75 out of 5
Specifically about a father's desire to see his son become a police officer.
While the promises are exactly broken, they have been packaged with other surprise plot elements that might not gel well when sandwiched with the base theme!
On the emotional front, Kreedom is a heavily diluted version of Cheran's Thavamai Thavamirundhu.In fact, with the cast for the parents being the same in this one too (Rajkiran as the Father and Charanya as the mother),comparisons are inevitable between the two movies.
But while Cheran's verion was focussed only on the emotional front, Kreedom veers off into the territory of the Oft repeated theme of'Dada'movies in Tamil - More specifically, the ones where the hero has a brush witha local 'Dada' due to circumstance, and is then forced into taking the weapon to save himself.
The film sways between these two aspects, never really hooking the viewer into any of the two.
The first-half proceeds as a light-hearted mix of comedy and sentiment, leaving the viewers in a state of expectation as to how the story would proceed... Father Rajendran (Raj Kiran) has high expectations out of his son - to become an Inspector and bash up the baddies. Son Sakthivel (Ajit Kumar) isn't a loafer (thank god for that! That would have
been the height of cliches!), and is sincere in his quest to join the police force.
Romance is peppered in, with Trisha as the bubbly girl, falling flat for the hero.
The director takes the easiest path to establishing their love, with both the hero & heroine falling for each other after
just a couple of run-ins.But why exactly is Ajith stealing a 'Pillayar' statue to establish the customary introductory song!!!It's a lot easier on the viewers that Rajini's customary introductory songs these days are shown as a dream sequence!Much better than messing with the plot to suit a hero's image!
But once the key plot twist is established at the interval juncture, the post-Interval portions fail to build on the momentum
and leave a lot to be desired. The comedy tracks in this session, just after the serious pre-interval event chould have been better interspersed with the main theme of the movie...
And I couldn't help keep wondering why Raj Kiran doesn't understand (or do anything to understand) his son's state of mind.
Yeah, he's a true police officer who doesn't spare even his son when it comes to 'breaking the law', but some amount of discretion on his part would have made the plot work better.
The villains are also reduced to caricatures, with all their yelling and swearing for revenge. While they are out on a blood-hunt for Ajith, he coolly goes around town to movies with his entire family! The plot angle used to keep the villain's henchmen away for such a long time should have been more convincing.
Vivek tries his best to come up with a comedy track and succeeds partly. His antics while harassing the public and the imitation of Vijakanth in the second half provide a few hearty laughs. But on the whole his role isn't enough tobe mentioned as a separate comedy track.Santanam the other comedian has some witty one-liners and disappears almost entirely in the second half.
Overall, the pluses for the movie lie in its relatively fast pace and the regular doses of sentiment. For Ajith fans, the movie would be a treat after the debacle of the abysmal 'Tirupathi' and 'Aalwar'.
The cast:
Trisha plays her part well, doing what she does best.
Nothing much to say about Ajith - His screams in the second half evoked no sympathies, but that could have been due to thediluted script too. But he should get it sooner or later into his mind that he's no Vikram or Kamal Hassan while signing up
for scenes involving crying and frustration. He desperately needs to work with a big director to bring out the best in him!
Rajkiran is the strong point of the movie - Put in a weak substitute for the role and the movie would meet with the same fate
as the recent (Dhanush's) "Parattai..."!
He essays as the role of a doting father with comprehensive ease. But there's a deja-vu feel to his role, thanks to theThavamai Thavamirundhu hangover. Moreover, the script doesn't give him enough opportunities to exhibit his full potential.
Sharanya, Vivek, Santhanam and others share the space.
Cinematography and music:
The cinematography is a huge plus to the movie - The hues, camera angles and fast flowing action sequences save manycliched sequences from being drab experiences.
The background score by GV Prakash also deserves mention, though it's nowhere in the league of what AR Rahman had churned out
(and still does) in his initial years. The re-recording is also of high quality and created overall impact.But the songs didn't appeal much.
Direction:
Director Vijay has definitely come out strong in parts, especially the scenes revolving around the Father-son sentiment, but
has failed to deliver a cohesive feel to the blending of action and sentiment. A variety of plot gaffes dilute the much-needed impact in this genre. And the ending made me feel manipulated. For a real strong film in this genre, go watch Vishal's 'Sandakozhi'. A similar storyline but rendered flawless by gripping narration!
btw, can someone tell me the vague reference to the title 'Kreedom' for this movie?
Has it become a trend that apathy for the hero and tragic undertones create a better impression among theaudience when they leave the theatre?
I, for one, feel otherwise. Without a proper plot build up, a plot twist in the end only irritates the audience!
Kreedom is strictly for the movie buffs. The rest can check it out once if they have some time to kill, but better not go in with high expectations for a family tear-jerker! Don't you trust the trailers!
Watchable.
2.75 out of 5
'Dada'ism Trends in Tamil Cinema
Well, Tamil Cinema has seen enough of Dada movies.
The mother, (or should i say father) of 'Dada'movies started out with Mani Rathnam's God Father-style epic 'Nayagan'.
The hero sees the unbearable atrocities of the villain and bashes him up in a momentary fit of rage.
He's an overnite celebrity in town and is forced to become a dada himself (but one with a heart of gold, of course) in order to save himself!
A Trend was born. A success formula seemed to have been created for the Tamil Industry!
To this date, no hero has been successful in Tamil Cinema after that era without succumbing to the role of a rowdy-do gooder!
To grow a beard and appear in a rowdy-with-a-heart-of-gold role has become the customary path for a hero to break into the B & C centres!
If the hero happens to be an Orphan, all the more better to win audience empathy!
Cases in Point:
Ajith - Dheena, RED (beard and bald pate!), Kreedom
Vijay - Nenjinilae, Thirumalai, Thirupachi
Madhavan (would you believe that!) - Thambi
Shaam (yes, the chocolate boy tried his hand at this too!) - Bala
Vikram - Gemini (with a beard!)
Dhanush - 'Parattai Engira Azaghu sundaram', Pudhuppettai
Simbu - Thotti Jeya (beard!)
Srikanth - Joot
Prashanth - Tamizh (with a beard, classical example of the trend!)
Sibiraj - Lee
Jeyam Ravi's Deepavali had him adored by the crowds who heaped praises and performed pujas on him.
and last but not the least,
RAJINIKANTH - In Dalapathi, he bashes up a goon and ends up as key member in a rival dada's camp!
And the latest 'Kreedom' has Ajith bashing up a local don and taking the weapon himself!
Vijayakanth is probably the rare one who hasn't been shown as a Rowdy?
Well, he can bear electric shocks and perform flying kicks so he doesnt need weapons to save himself!
Scores of other movies have come and gone, with this theme as the convenient plot element!
Times change, but Tamil cinema's fascination with the subject has survived more than 20 years!
Cheers to a trend that has turned many a hero's careers around (some in the wrong way, though)!
The mother, (or should i say father) of 'Dada'movies started out with Mani Rathnam's God Father-style epic 'Nayagan'.
The hero sees the unbearable atrocities of the villain and bashes him up in a momentary fit of rage.
He's an overnite celebrity in town and is forced to become a dada himself (but one with a heart of gold, of course) in order to save himself!
A Trend was born. A success formula seemed to have been created for the Tamil Industry!
To this date, no hero has been successful in Tamil Cinema after that era without succumbing to the role of a rowdy-do gooder!
To grow a beard and appear in a rowdy-with-a-heart-of-gold role has become the customary path for a hero to break into the B & C centres!
If the hero happens to be an Orphan, all the more better to win audience empathy!
Cases in Point:
Ajith - Dheena, RED (beard and bald pate!), Kreedom
Vijay - Nenjinilae, Thirumalai, Thirupachi
Madhavan (would you believe that!) - Thambi
Shaam (yes, the chocolate boy tried his hand at this too!) - Bala
Vikram - Gemini (with a beard!)
Dhanush - 'Parattai Engira Azaghu sundaram', Pudhuppettai
Simbu - Thotti Jeya (beard!)
Srikanth - Joot
Prashanth - Tamizh (with a beard, classical example of the trend!)
Sibiraj - Lee
Jeyam Ravi's Deepavali had him adored by the crowds who heaped praises and performed pujas on him.
and last but not the least,
RAJINIKANTH - In Dalapathi, he bashes up a goon and ends up as key member in a rival dada's camp!
And the latest 'Kreedom' has Ajith bashing up a local don and taking the weapon himself!
Vijayakanth is probably the rare one who hasn't been shown as a Rowdy?
Well, he can bear electric shocks and perform flying kicks so he doesnt need weapons to save himself!
Scores of other movies have come and gone, with this theme as the convenient plot element!
Times change, but Tamil cinema's fascination with the subject has survived more than 20 years!
Cheers to a trend that has turned many a hero's careers around (some in the wrong way, though)!
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