Vinnai Thaandi Varuvaaya (VTV), Gowtham Menon's next after the widely acclaimed Vaaram Aayiram promises a peppy love story right from the early promos.
As the trailer of the movie unfolds in the first few minutes, you wonder what else the movie's got to offer!
And you're taken in by surprise by a screenplay that keeps you guessing even in the backdrop of a regular boy-meets-girl kind of love story!
Karthik (Simbu) is passionate about films and is considering joining the film world as
an assistant director. Enters Jesse (Trisha) who (predictably!) breaks his heart and he goes all out to woo her.
She stays away from him, knowing very well that her Christian family would never approve of the Hindu groom, while harbouring a secret liking for him. The pair inevitably confess their liking for each other, setting up a see-saw of emotions between them.
In its backdrop, VTV is a plain old love story that could belong to any yesteryears cinema timeframe.
What gives it the unique flavour is its insistence on staying away from the cliches of the genre and presenting the lead charaters in the most practical way!
In this sense, the movie is very much contemporary, signifying the attitudes and emotional complexities faced by modern day youth.
There's humor in the form of Simbu's cinematographer-friend, who takes special interest in Simbu's love pursuit. The scene where the pair lands up in Kerala and goes hunting for Trisha is hilarious!
The visuals are eye catching, with the cinematographer Manoj Paramahamsa making maximum use of Kerala's natural beauty.
AR Rahman's music just sizzles on screen! I felt the impact much more watching it with the
picturization and in the backdrop of the storyline. It's great that none of the songs is inserted just for the sake of it- something that most Tamil films, even hit ones can't boast of!
The climax is something to watch out for! You'll have more fun if you don't read or hear about
the sequence of events and just watch the movie as it happens!
The Cast:
On paper, Simbu looks to be the last guy that one would choose for the role!
But he's given a controlled & mature performance without his usual Build-up song, finger wagging and senseless one-liners.
Trisha steals the show with her girl next door looks, especially appearing in Saris throughout the movie!
Her performance is commendable for being restrained, yet bringing out every bit of the complexities of her character!
The malayalam cast who make up Trisha's family are authentic in their portrayal.
Kitti as Simbu's father delivers as expected.
Unexpected great performance from Ganesh(one of the producers it seems), who appears as Simbu's Cinematographer friend and accompanies him throught the movie! His cheeky oneliners act as tension breaker in
The fact that such a thin storyline has been made into an engaging fare for the audience talks
about Gautham Menon's screenplay!
The unpredictability at every point in the screenplay proves to be biggest factor in keeping
the audience engaged throughout the ride! You never know which direction the movie's going to swing, unless of course you've read about it!
VTV adds to the growing list of Tamil films like Subramanyapuram, Nadodigal, Anjadhae that retain a familiar feel for mainstream audiences and yet dare to be different!
Hope more movies continue this trend of a blend of Commercial cum realistic cinema in 2010!
Monday, March 1, 2010
Monday, June 16, 2008
Dasavatharam - Good concept, shoddy screenplay!
Dasavatharam – Kamal Hassan’s much hyped movie finally released after a string of delays. And I was more than excited to catch it on the FDFS (First Day First Show)!
The story, without the usual man against corrupt government clichés is a welcome relief to the state of Tamil Cinema…With Kamal Hassan helming the story and screenplay departments, it gave rise to expectations of a complex & powerful, yet entertaining script… I've been a major fan of some Kamal-written screenplays like Mahanadhi, Anbe Sivam, Aboorva Sagodharargal/Appu Raja (yes, this one was written by him!!!). Aalavandhan was also consistent in its treatment of the script, so I kind of liked the movie as well. Mumbai Express was a disaster from start to finish, though...
Dasavatharam deals with the protagonist Govind and his attempts to save the world from mass destruction by saving a biomedical weapon (virus enclosed in a vial) from getting into the hands of antisocial elements. Moving from a US laboratory to a coastal town of South India, the movie has the right elements for being a fast paced thriller (what with 10 Kamals being thrown along the way!) - if only the script had been more watertight!
The movie started off grandly but soon all semblance of a story that would be tightly knit disappeared. The movie is essentially reduced to one long chase sequence, peppered with unwanted characters along the way… Yes, the overall theme of Chaos Theory and the message that every event is connected and happens for a reason is a welcome change for Indian films, but without a backing strong script that at least attempts to connect all the dots, it left me hungry for more, and disappointed at more than a few happenings along the way!
For one, the tone of the movie is really inconsistent. The movie starts off on a serious note but moves to slapstick comedy mode very soon. The sequences of the ‘vial’ changing hands and ultimately getting stuck inside an Idol belong to a comedy movie, rather than a serious movie claiming to have intelligent overtones. The character of Balaram Naidu evokes some laughs in the first half, with ‘Crazy’ Mohan style dialogues. The rest of the Kamals just basically are plugged into the script. The idea of conveying that seemingly unrelated people are related to one single incident that impacts humanity, is good, but the narration should take care of evoking that response from the viewer.
Here’s a basic question: Why didn’t an educated scientist like Govind, who knows the importance of the vial for humanity, just snatch the vial from the courier guy or from the 90 year old lady or from Asin? There was every opportunity to do so, but he chose to plead with them for it.
If this is a side plot element, then I can ignore this as a cinematic liberty. But alas, this is the pivot on which the entire movie hinges, and a logic miss here means the entire schema of things later on doesn’t make logical sense!
When are our screenwriters going to realize that every scene is like a building block. Miss one block, and the entire building is going to fall sooner or later!
Asin’s character had another major tone breach. She spends 99% of the movie trying to save the idol of her lord, rather than give any importance to the Vial inside it, which would wipe out humanity. Fair enough, since she's been raised as that kind of girl inside the Agraharam... But In the very end, she does an about-turn in her character, saying that the Tsunami, which killed thousands was better than the Virus being let loose and killing millions! Late realization, huh!
A story like Dasavatharam deserves Seriousness in treatment, not slapstick comedy and footloose narration!
The significance of the starting sequence set in the 12th century was shown in the end, but the impact was just not there. The importance given to the starting sequence and the consequent resolution of its importance didn’t quite matchup, resulting in the disappointment. It’s one thing to dream up a hi-concept story and entirely another thing to execute it on-screen in the form of a screenplay!
I saw the movies ‘Crash’ and ‘Babel’ last year, which dealt with similar themes of chaos theory & related events. Dasavatharam does not even come a shade close to the way in which these movies had dealt with the theme. I’m not blindly comparing these two movies here… Just making a point that when you take up a subject, full justice has to be done to the theme. Otherwise the result is only half baked!
If Indian cinema has to reach Hollywood standards, the real work lies in the area of Story and Screenplay writing, rather than special effects and makeups!
Now for some positives in the movie:
Nevertheless, it is fascinating to see so many Kamal Hassan avatars in a single movie, even if only 3 of the characters make any sense with respect to the crux of the story.
The amount of effort taken for the makeup and special effects to get the characters on screen, is very evident in each frame. And for this reason alone, Dasavatharam becomes watchable, as a whole… The tsunami scene is worthy of mention, except for some shots where the scene wore a cheap graphics look. This is understandable, since the budget is not as big as for a Hollywood movie, so we have to strive for the best effects within the limited resources.
If you expect some serious storyline and justifications for the 10 avatars, you’re bound to get disappointed. Overall, if you are not a diehard Kamal Hassan fan, or if you are not too much awed by graphics and performances alone, this movie is bound to come across as average. To hype this movie as an achievement for Indian Cinema, etc is laughable. Sending it for the Oscars? God save the jury!
I can’t help wondering how this movie could have turned out, had a seasoned scriptwriter dealt with the movie rather than have Kamal do the scriptwriting himself!
2.75 stars on my scale!
The story, without the usual man against corrupt government clichés is a welcome relief to the state of Tamil Cinema…With Kamal Hassan helming the story and screenplay departments, it gave rise to expectations of a complex & powerful, yet entertaining script… I've been a major fan of some Kamal-written screenplays like Mahanadhi, Anbe Sivam, Aboorva Sagodharargal/Appu Raja (yes, this one was written by him!!!). Aalavandhan was also consistent in its treatment of the script, so I kind of liked the movie as well. Mumbai Express was a disaster from start to finish, though...
Dasavatharam deals with the protagonist Govind and his attempts to save the world from mass destruction by saving a biomedical weapon (virus enclosed in a vial) from getting into the hands of antisocial elements. Moving from a US laboratory to a coastal town of South India, the movie has the right elements for being a fast paced thriller (what with 10 Kamals being thrown along the way!) - if only the script had been more watertight!
The movie started off grandly but soon all semblance of a story that would be tightly knit disappeared. The movie is essentially reduced to one long chase sequence, peppered with unwanted characters along the way… Yes, the overall theme of Chaos Theory and the message that every event is connected and happens for a reason is a welcome change for Indian films, but without a backing strong script that at least attempts to connect all the dots, it left me hungry for more, and disappointed at more than a few happenings along the way!
For one, the tone of the movie is really inconsistent. The movie starts off on a serious note but moves to slapstick comedy mode very soon. The sequences of the ‘vial’ changing hands and ultimately getting stuck inside an Idol belong to a comedy movie, rather than a serious movie claiming to have intelligent overtones. The character of Balaram Naidu evokes some laughs in the first half, with ‘Crazy’ Mohan style dialogues. The rest of the Kamals just basically are plugged into the script. The idea of conveying that seemingly unrelated people are related to one single incident that impacts humanity, is good, but the narration should take care of evoking that response from the viewer.
Here’s a basic question: Why didn’t an educated scientist like Govind, who knows the importance of the vial for humanity, just snatch the vial from the courier guy or from the 90 year old lady or from Asin? There was every opportunity to do so, but he chose to plead with them for it.
If this is a side plot element, then I can ignore this as a cinematic liberty. But alas, this is the pivot on which the entire movie hinges, and a logic miss here means the entire schema of things later on doesn’t make logical sense!
When are our screenwriters going to realize that every scene is like a building block. Miss one block, and the entire building is going to fall sooner or later!
Asin’s character had another major tone breach. She spends 99% of the movie trying to save the idol of her lord, rather than give any importance to the Vial inside it, which would wipe out humanity. Fair enough, since she's been raised as that kind of girl inside the Agraharam... But In the very end, she does an about-turn in her character, saying that the Tsunami, which killed thousands was better than the Virus being let loose and killing millions! Late realization, huh!
A story like Dasavatharam deserves Seriousness in treatment, not slapstick comedy and footloose narration!
The significance of the starting sequence set in the 12th century was shown in the end, but the impact was just not there. The importance given to the starting sequence and the consequent resolution of its importance didn’t quite matchup, resulting in the disappointment. It’s one thing to dream up a hi-concept story and entirely another thing to execute it on-screen in the form of a screenplay!
I saw the movies ‘Crash’ and ‘Babel’ last year, which dealt with similar themes of chaos theory & related events. Dasavatharam does not even come a shade close to the way in which these movies had dealt with the theme. I’m not blindly comparing these two movies here… Just making a point that when you take up a subject, full justice has to be done to the theme. Otherwise the result is only half baked!
If Indian cinema has to reach Hollywood standards, the real work lies in the area of Story and Screenplay writing, rather than special effects and makeups!
Now for some positives in the movie:
Nevertheless, it is fascinating to see so many Kamal Hassan avatars in a single movie, even if only 3 of the characters make any sense with respect to the crux of the story.
The amount of effort taken for the makeup and special effects to get the characters on screen, is very evident in each frame. And for this reason alone, Dasavatharam becomes watchable, as a whole… The tsunami scene is worthy of mention, except for some shots where the scene wore a cheap graphics look. This is understandable, since the budget is not as big as for a Hollywood movie, so we have to strive for the best effects within the limited resources.
If you expect some serious storyline and justifications for the 10 avatars, you’re bound to get disappointed. Overall, if you are not a diehard Kamal Hassan fan, or if you are not too much awed by graphics and performances alone, this movie is bound to come across as average. To hype this movie as an achievement for Indian Cinema, etc is laughable. Sending it for the Oscars? God save the jury!
I can’t help wondering how this movie could have turned out, had a seasoned scriptwriter dealt with the movie rather than have Kamal do the scriptwriting himself!
2.75 stars on my scale!
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.
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