Shamitabh Review

** This is a repost of my review on Bollyspice.com **

 

Dhanush + Amitabh = SHAMITABH. Now its fine to think the obsession with Amitabh Bachchan’s voice has hit a new level with R. Balki making a movie revolving around it. The trailer tantalizes you with this obvious fact. But just like Dhanush’s ( i.e. Balki’s) reason behind the choice of name, there is something deeper behind the simplicity. Foundation set, now add the curiosity that is the debut of Akshara Haasan and the return of Dhanush Karthikraja after the success of Raanjhanaa. And may be some cameos of so many celebrities for good measure. Expectations high you say? Well, unfazed by all the hype, R.Balki takes us on a stroll, keeping his eyes set on his target. A film you can kick back and enjoy.

 

The story is this. Daanish (Dhanush) is small time boy that dreams of it big in Bollywood. He can blow your mind if you give him a chance. His ultimate problem? Not his height, his weight or his unconventional looks. It’s simply that… well you will find out when you see the movie. Enter Akshara (Haasan) who finds him on one of the sets she ADs for. Realising his talent, she aides Daanish with his dream and finding a voice. With the help of some Finnish technology, and a few trials later, they stumble upon Amitabh Sinha, a washed up grumpy drunkard who tried his hand at the big screen and failed. Now he lives in the graveyard. Together, they form Shamitabh and the stardom is instant but so is the rivalry. What continues is a contest to outwit, outsmart and outperform the other. Until…

 

Balki has always been about simple things but in a different way. We’ve all seen Big B perform and have possibly thought how majestic his voice is for just over 40 years. But this film is possibly one of the few if not the only, that utilises that fascination for the baritone voice on a story level. While the beginning is a bit choppy and does take time to drive its point, you don’t leave empty handed. Once you reach the point of story twisting, the sheer delight of watching two amazing actors battle it out, is bliss. Keeping it basic in emotion, Balki shows the good, the bad and the ugly of the pair. Now yes, he literally goes back to ABCDs of life to bring them together yet does not get preachy about it. He even has a satirical stab at mediocrity lasting longer than meaningful cinema. But that’s not the point being established. You see the ideology of water needing whisky but whisky doesn’t need water is naive. Especially when you realise whisky is only 47% alcohol. The full circle concept is essentially the base for the film.

  

Supporting the director in every way is the crew. Ilaiyaraja has fun reviving old Tamil classics, as the background score rose and fell at varying stages. P.C. Sriram does wonders and brings beauty to every frame. However, Hemanti Sarkar could have snipped a little more but indulgence is inevitable with Amitabh Bachchan on screen and Balki behind the megaphone. The love is very much obvious and has its perks.

 

Which now brings us to the cast. Amitabh Bachchan has played a drunk many times, a grumpy old man many times but as he stands opposite Dhanush, the sparks do fly. He is who he is, and the screen just loves him. Dhanush lives the role of a small town boy dreaming it big and the arrogance that takes over. Having to literally redefine the face of a voice known to many is hard enough but as he oozes the suave coolness of a superstar, not once do you see Amitabh’s famous ishtyle. Then there is Akshara, the one that keeps the egos at bay but is no ditsy sacrificial lamb. She is as funky and fiesty as her haircut. Totally natural to the point of somewhat raw but fits the role and stands her ground against the male leads.

 

This may not be Balki’s ultimate work but the man has to be commended for his approach and the depth behind it all. So the final word on Shamitabh is simply this. Watch it for the performers.

 

Rating: 3.5/5

Mayakkam Enna - My Take on The Film

The best way for me to describe my understanding of Mayakkam Enna doesn't come from explaining the story or the acting. It comes from the reaction of one character in the film. She plays the protagonist, Karthik's (Dhanush) sister Ramya. You will see at varying points the inclusion of his friends and their reaction to the events but this particular character is what determined this writer's understanding of the story and along with it, a simple message.

The life and struggle of a wild life photographer maybe the main point in the story but this character shows you that there is never one constant state of mind for people in your life. There is always going to be change. It maybe intensely displayed or just subtle. For cinematic purposes, Ramya, alongwith the other characters have a rather extreme change and reaction to everything. From when Sundar (Sundar Ramu) introduces Yamini (Richa) and Karthik reacts badly to when he returns after running away because of an intimate encounter to the same Yamini he developed feelings for. 

But life is not always about the love stories in our life and it most certainly isn't all roses. Besides being robbed of a prestigious award and recognition from the man he called his idol, Mathesh Krishnaswamy (Ravi Prasad), Karthik meets with an accident and loses the control most people would have of their emotions. Yes, I know its depicted like he is crazy but considering the so-called 'transformation' he goes through, its can be accepted if only in a loose format. After all, desperation and devastation can change any human being to a speck of their former self.  Coming back to the point, people are bound to change with situations. And Ramya once again changes from the sister who was so scared and pissed off at her brother for leaving her to one that makes subtle yet sharp comments at her by then sister-in-law Yamini. Even to the point when she in a fit of rage says that he should be institutionalised. If this isnt enough, her jealous streak comes out as well when the same brother receives a world renowned award, a much bigger achievement that of her husband, Sundar.

 

 So what's the message? Life is life. Challenging, beautiful, turbulent and unpredictable. So there is no point in thinking people will always be the same. Those that stick it out for a length of time arent surviving because they are the same person. Its because they work at themselves and through it all. The good, the bad, the ugly. Yamini and Karthik may be fictional characters but they go through turbulences that any married couple would go through. Some more severe than others.

But hey, this writer saw the life lesson in a film some may have thought was too long. Yes it needed a few snips here and there even while you enjoyed the picturesque-ness [Ramji], inebriating music [G.V.Prakash Kumar] and soul-stirring performances by the lead cast, but at the end of the day, Mayakkam Enna isn't anything different from Selvaraghavan's filmogrpahy. He doesn't follow trends and you can never guess what type of film you will expect when the mastermind is at the helm of things. He does things his own way and nothing quite prepares you for Selvaraghavan's films beyond knowing what he did before. Very little frills or splashes in the water but a whole lot of emotionally charged story-telling. That is the case with Mayakkam Enna, and as usual, brilliance is the current that works his magical waves.

Venghai Review

Its not wise to expect science fiction from a children's book writer so while I was hesitant about what Hari had to offer with Venghai, I put my masala cap on to go with the flow. Plus I was enjoying a few songs from the soundtrack and considering Dhanush is always dependable on a good performance even in masala flicks, I thought why not. Suffice to say I wasn't entirely disappointed. Well, almost.

So with Hari making an open statement that his films are all about having huge families with a village backdrop and showing the human side to the ruffians with sickles, Venghai beings with the intro of the cast, backdrop and most importantly, the three pivotal characters, Veerapandi [Raj Kiran], his son Selvam [Dhanush] and Rajalingam [Prakashraj]. With Veerapandi being the do-gooder of the town and Rajalingam his nemesis whom is struggling to get out from under his thumb although he is the town MLA, Selvam becomes the target in a behind the scene revenge plot. But when Rajalingam is publicly humiliated by Veerapandi, the gloves are off and the war public. His target shifts from son Selvam to Veerapandi himself. How father and son escape from Rajalingam's ploy forms the crux. Oh and Tamannaah adds in the love angle with a bit of a flashback as well.

Seriously speaking, there isn't much point in thinking with this film. It is a typical Hari film from start to finish. Not many changes and a serious case of old wine in new bottle. The sentiments, the flashback, the rivalry, even to the extent of how the rivals challenge each other has been seen before. So while I'm all for the masala format, sometimes churning out the same stories with different faces doesn't work, Hari. Yet I can't say I didn't enjoy it and the main reason is the performance. Especially that of Dhanush and Prakashraj, who are as always top notch. Although some may feel Dhanush doesn't emote extensively, I felt given the circumstances and the character's backdrop, Dhanush goes for a more subdued version of a ruffian with brains. All in all, Dhanush cakewalks through the film and really goes the distance to perform within his boundaries. Tamannaah looks like a village belle and although fine in the first half, becomes repetitive and irritating towards the end. However, her character does go through some random and haphazard emotional changes so this may not be her fault entirely. Raj Kiran is dignified as the father while Urvasi is a little over the top. Prakashraj is really scoring brownie points with the funnies he pulls out even while he is the bad guy and I for one, am loving it. Kanja Karuppu needs new writers for his comedy if he thinks crass jokes with blatant physical humour will get him far. Double meaning dialogues are bad enough but this was a pathetic excuse for comedy. Livingston was ok while Charlie touched the heart [p.s. welcome back Charlie :)]. Y.G.Mahendran is wasted after an outstanding performance in Yuddham Sei.

On the technical front, Vetri's camerawork is fine and editing by V.T. Vijayan could have been a little crisper. But in Vijayan's defence, Hari's screenplay and story didn't offer much in the first place. Devi Sri Prasad's music isn't at its best although Kalangaathale and Enna Solla Pore are definitely enjoyable. Pudikalai has his usual mass touch to it and will surely make it to a few iTunes lists. Action sequences for the film start off interesting however lose momentum quite quickly to become overdone and long-winded. Which leave us to the real culprit, the writing.

Is there a point in questioning the skill or sentiments of a director who makes statement like the one mentioned? Not really. So while the ill-sketched characters, long winded dialogues, repetitive screenplay and general done to dust feel of the story is most apparent, the director made the right choice in actors for the pivotal characters. The three men work their characters to best they can. Certain dialogues do have merit but they are few and far apart. Now, while I do not agree that a director should stick to one way of filmmaking, if he is good at a particular style or his signature works for him, there is little reason for him to change beyond his own desire to. As an audience member for Hari's latest film, I simply request he become more innovative in rehashing his own films.

Rating: 2/5 -Keeping your thinking cap off and far, far away. You might just like it.

Mappillai Review

Yesteryear classic have been a source of reference for film-buffs. The good are compared to the current while the bad are used as examples of what not to do. The trends though now are newbie directors starting their career with a rehash of the classics and trying to create the magic for the new century generation. While critics ransack the films and fans of the original slaughter the performances, the new audience is depended on to drive the film. For Suraaj, Mappillai is his return to a hit combo of Dhanush, himself and Mani Sharma after Padikkathavan. For Dhanush, its the one remake of his father-in-law Rajnikanth’s film that he himself wanted to do. A film that did wonders to the original cast and crew’s career, will it work for today’s generation? Read on.

Saravanan [Dhanush] is a role model youngster that’s used as an example in the colony he resides in. Whether its life or discipline, Saravanan is the one that parents go to for advice. But for a group of loafers headed by Child Chinna [Vivek] who’s day job is an amateur fan club for actress Namitha, this proves detrimental to their lazy ways. So with Saravanan agreeing to help as guidance counseller as compensation, Chinna tries  a shortcut to becoming rich by impressing a rich girl with intention of marrying her for money. Enter Gayathri [Hansika Motwani], daughter of Multi-millionaire businesswoman Rajeshwari [Manisha Koirala]. After a few unsuccessful attempts at getting her, Gayathri develops a soft corner for Saravanan instead which he initially rejects but then succumbs to later. But not before her mother finds out. Now for Rajeshwari, it is the female that should rule the roost so the timid, religious yet “cultured” Saravanan may be poor in financial terms but he is perfect for her daughter in demure nature and gives her the leverage that she wants over him. Wedding preparations get under way and everything seems fine until one of the guests drops a bombshell on Rajeshwari. The simple sweet Saravanan she selected is in fact a hot headed ruffian who has been banished from his home town for the constant fights he has. Determined to not be upstaged and that to by what she calls a "low class male", Rajeshwari quickly tries to change the groom in time for the wedding she planned but Saravanan is not going to make it easy for his proud mother in law. So while he does end up marrying Gayathri, what pursues is a game of tit for tat as this mother-in-law and son-in-law battle it out to see who will win their challenge.

On the onset the director makes no bones about how he has planned his film. No intricate storyline or screenplay, just mad masala magic with punch dialogues, ridiculous fights and humour in a large dose. For Dhanush, this is another Padikkaathavan and he cakewalks through the film. His comic timing becomes more apparent with each film and it’s pleasing to see him flaunt it. Considering the content of the hyped up mass hero story, it definitely is refreshing to see an actor go for a bit of self-mockery in the midst to heighten the proceedings. Hansika Motwani debuts in Tamil and is the typical beautiful girl who doesn't do very much. In her defence, the role is very limited but her lip syncing and general over-reaction does not help her at all and she becomes irritating and worse, easily forgettable. Manisha Koirala is not new to Tamil so she needs no introduction. However, for such an outstanding actress, this film is a far cry from her Bombay days. Even Mudhalvan had a little more spectrum for someone of her caliber but with that aside, Manisha puts in her two bits and makes the most of it especially in her scenes in the village and her confrontations with Dhanush. Vivek tries his best to play on his ever youthful entourage and the comedy duo that sparked a new hit jodi with Dhanush but with Manobala in the mix as well. Ashish Vidhyarthi, Pattimandram Raja, Sri Ranjani and Sathyan Sivakumar are apart of the cast and respectfully do their 3-4 scenes and move on.

While it would be unfair to not state the positives on the technical side, this is one film that blurs the lines of my infamous structure so please bare with me. On the technical front, camerawork by S.R.Satishkumar does his best to dazzle the locale and with general visualisation while T.Kishore needs to be a bit more liberal in his editing. Several time, scenes dragged out for a lot longer than needed. Mani Sharma may be a talented music director that has many amazing tracks to his name but when he reuses his own tracks from various Telugu films to form one OST, it lacks the passion and creativity. Aaru Padai is mostly hummable. Suraaj’s dialogue usually is dependable to evoke humour and he does in parts but whatever good he does in his dialogue gets overshadowed by his poor form in story and screenplay writing. But given that the director isn’t the type of director that boasts of intellectual kind of filmmaking in his filmography and has made no qualms about his intention, can you still say Mappillai works? Unfortunately, the answer is more no than yes as the big loopholes and general lack of movement simply bores. I haven’t seen the original with Rajnikanth in a long time so rest assured this isn’t from a comparative point of view. Even so, director Suraaj has missed the mark this time as the waifer thin storyline lacks the punch needed to keep the audience engaged and the spark that his previous films had regardless of their tried and tested content goes missing in Mappillai. 

Rating: 2.5/5. Its all about the masala and the money it makes. Each of his films has shown this and it would be silly to expect anything less. But it could have been so much better.

Aadukalam Review

Pride and honour sometimes hold much more importance to those that live for a sport. Money and fame is something that they find is secondary/additional. For Vetrimaran, Polladhavan may have been a struggle to begin and make but he proved that he knew his craft. So he used Bicycle Theives as a basis for the story, at the end of it, the story worked because his adaptation was valid, screenplay clicked with the audience and he had great performance to back it. He now uses a competition where honour is the prize on the backdrop of rural rooster fights that have been deemed illegal. On a new "playground" [the translation for Aadukalam], he is joined by Dhanush in a totally different role and Tapsee who debuts in Tamil, with trusty aide Kishore, newbie actor writer/poet Jayabalan, GV Prakash doing the music and Velraj with the cinematography. Read on to find out if it worked.

Karuppu [Dhanush] isn't your average youngster in a poor family consisting of just him and his mother. He is a crucial member of a gang of village rooster fighters, led by his boss and the reigning champion trainer Pettaikaran [Jayabalan]. For Karuppu though, Pettaikaaran is not only a leader, but a father figure as well. Adversaries in the form of the local policeman Rathnaswamy [Naren] are present and he has been brewing a long standing grudge against Pettai but the method of battle isn't not with knives and guns, rather on the playing field with roosters. In a final attempt to regain his honor for his family, Rathnaswamy forces Pettai to a tornament where if Pettaikaaran loses even once, he would bid goodbye to the game and never compete again. With honor and intense love for the game at stake, preparations begin. All things are running smoothly until days before the tournament, Karuppu brings his rooster as a competitor. Pettaikaaran initially accepts but then rejects it at the trial game on lack of performance and orders him to kill the rooster. Dejected and disappointed, Karuppu doesn't find the heart to follow through and hides this from Pettai. But if there is one thing that you can count on, its the change of fate. On the day of the tournament, after an angered Pettai had announced that he claims no ownership of Karuppu's victory or loss, the student takes over the limelight from the master as Karuppu's rooster wins above all. Stumped his judgement failed him, the once wise Pettai begins to turn on his student and an oblivious Karuppu falls prey to his jealousy. But its not just his rooster that Pettai is out to get. In an ultimate act of vengence, Pettai stops at nothing to degrade, humiliate and deprive Karuppu of his happiness including taking away the love of his life, Irene [Tapsee].What this entails can only be seen to understand the impact.

First of all, this story is heavily dependant on the nuances of a culture and traditions that many are not aware so from the get go Vetrimaran has a lot to explain and his source isn’t just the narrative but his cast.  So it is imperative that the core actors do not have an identity that overshadows the character they are playing or else the story looses its authenticity. With that said, Dhanush has proven his ability to mould himself and yet again the actor surprises in a flawless portrayal. He may have a string of an uneducated callous ruffian characters in his filmography but Karuppu is by far the most intricately tailored role that you wouldn’t have seen Dhanush play before. It wouldn’t be farfetched to say the honesty he depicts his emotions, from love to betrayal, is something he himself may find hard to repeat. Tapsee as Irene may not have a big part in the synopsis but she is picture perfect for the role and does justice with no OTT business. Kudos to the actress for selecting such a male dominated film as a debut and yet, successfully shining through. Jayabalan may have been dubbed by Radharavi but at no point does he stray from his character nor does he seem awkward for someone who has been writing for almost a lifetime. He literally lives the life of Pettaikaran and displays immense control and versatility. Kishore is always dependable for a power packed performance and the only thing that doesn’t sit right is his wig but even that can be easily forgotten[after seeing him with his own hair [or lack of], it didn’t seem necessary]. Both Meenal and the lady that plays Dhanush’s mum put in their two cents worth but are clearly figures in the background.
 

With an interesting and innovative backdrop in hand, Vetrimaran's shoulders had quite a heavy burden to support as he needed to not only make this an entertaining film but one that can be understood for the citybred audience. On top of that the director who had already proven he has spark with Polladhavan, needed to prove he was not a one hit wonder and was capable to follow through with his craft. On all counts the director scores in a big way. By keeping the script simple enough to be understood and using his band of actors, cinematographer Velraj and editor Kishore to maintain an authentic look and feel to the film, he not only keeps the audience engaged but stays honest to the story. G.V.Prakash said in an interview that Yaathe Yaathe would be a smash hit when speaking about upcoming projects at the time. I feel that song alone is worth Prakash’s weight in gold. His usage of multiple singers [e.g SPB and SPB Charan in Aiyayo] isn't new but definitely is pleasing technique to the ears. Pick of the lot has to be his prediction Yaathe, Aiyaiyo and Otha Sollale but the album entirely works well on the radio and with the proceedings. Once again, Prakash showcases his skill with the background score literally lifting an already flying film.

So many pluses don’t mean there aren’t any minuses. What may annoy some, maybe completely irrelevant to others. For this film I have heard that the story is too simple, the fights are too long and the film is quite slow. I did feel the lag on occasion and thought editor Kishore needs to pick up on the scissors again but at the same time felt a depth in the narrative was adequate. So unlike usual, I’ll leave the minuses in your hand, dear reader as I felt this film stepped away from the norm in its boundaries and was made with sincerity. 

Rating: 4/5 – In a season where if rural films are ruling the box office, Aadukalam is different and stands out.

Uthama Puthiran Review

Remakes are a tricky business. Sometimes, having seen the original, the audience may not want to see a remake with different cast. In other cases, the comparisons themselves act as deterrents. Then there's the flip side where the remake garners more success or recognition than the original. But from what I have witnessed it, the key doesn't lie in just the story or the cast. If the person behind the camera calling the shots doesn't have a clear understanding of his target, all hell breaks loose. Titled after the 1958 Sivaji-Padmini flick, Uthama Puthiran has Mithran Jawahar and Dhanush joining hands again after Kutty and Yaaradi Nee Mohini, two other remakes from Telugu. A remake of the film Ready [Ram and Genelia] which is a personal favourite of mine, I have been interested in this film for quite some time but quite fearful that it would fall into the trap that Kutty fell into, turning into a complete disaster with regional adaptation and miscasting of characters. Thankfully, that's not the case.

  

Siva [Dhanush] is a part of a joint family that lives together. Cheeky, fun yet loyal, he will do anything for the people he cares about. After helping his cousin Kalpana [Shriya in guest appearance] elope on the day of her wedding, his father Raghupathy [K.Bhagyraj] refuses to allow him back in the house and orders the family to not even utter his name. Missing home but still upbeat they will accept him back, Siva goes back to college. Here he finds that his friend needs Siva's help in his own elope act. But Siva's plan backfires this time as instead of kidnapping his friends' girl, he and his gang pick up Pooja [Genelia]. At this point Siva is instantly struck by cupid, but Pooja is no easy rose. Although she is grateful they kidnapped her from a pending wedding she was being forced by her uncle Chinna Koundar[Jayaprakash Reddy] to go through with, they are not going to let her off easy. The chase now begins as Siva helps Pooja to get to her friends place but on arrival they find out she is not there. With nowhere else to go, Pooja enters Siva's house and finds refuge but as she quickly becomes one with the family and in turn, recuperates theirs and Siva's affection, the lie she uses to stay with them is caught out by the family, just as she is found by her uncle Periya Koundar [Ashish Vidhyarthi] and taken away. It’s now up to Siva with the help of Emotional Ekambaram [Vivek], to convince Pooja's family and get his girl without the bloodshed they resort to in other circumstances.

As you can see this isn't rocket science cinema. It’s a love story but the central focus is the family sentiment. Considering every other film is a love story, this one doesn't fall far from the tree but the appeal is apparent with an ensemble star cast, good music and great dialogues. While Mithran has once again, brought a Telugu story to Tamil, he has made this his own film also. Unlike the Telugu film, he has changed aspects of the film and the characters which has added his own touch to it. Aiding him in a vital way is Dhanush. This is a guy that some would question his hero status but I, for one, find him to be an amazing actor in an unconventional package. Totally casual and in his element, the actor is in control and flaunts the fact he is apt for the role. Co-starring with Dhanush for the first time, this is the second role Genelia has reprised for a remake [first being Santosh Subramaniam/Bommarillu]. She is one of the few actresses which give a fresh look to her character each time and her acting just gets better. It would be unfair to say she does the same as she did in Telugu but within her well accustomed role, she shines and her chemistry with Dhanush is adorable. A special mention must be made for Jayaprakash Reddy and Vivek. Jayaprakash Reddy has a unique voice and I was worried that he would be dubbed for like other non-Tamil cast members but he surprised me by not only doing his own dubbing but successfully pulling off a distinct native Tamil accent. Unfortunately the same can’t be said for Ashish Vidhyarthi and Surekha Vani [Oy, Ready]. While Surekha scores on the acting and loses as the voice clearly doesn’t suit her, Ashish dubbing artist leaves us confused on which accent he is supposed to have. Vivek on the other hand, tones down his advise-comedy and brings the house down with his expressions.

It’s confession time. I am and have always been very wary of Vijay Antony’s compositions. Yes, they are catchy but given that he is the guy that ripped Rihanna’s worldwide hit Unfaithful and I felt that some of his compositions just don’t make sense, I wasn’t all that pleased with the selection of Music Director. But Vijay proved me wrong and I left the theatres with Ussuma Laresay in my head. However, the songs that are sure to catch your eye for the choreography or visuals would be Ulagam Unakku and Kan Irandil. You may need to watch Ulagam Unakku twice to get over the choreography and superb show of Aarthi [Padikkathavan] busting a move in time with all the boys including Dhanush. In fact, the visuals i.e art and cinematography [M. Thiyagarajan and Balusubramiam] are commendable throughout the film as well.

So what are the cons? Its length. The film isn’t perfect for sure. There are points of the story that you can feel the drag but at the same time, there is a jump in the story that leaves you wondering if the movie had pieces cut afterwards. And the climax is a dampener. While it is a family comedy, the way the director finishes the film leaves a lot to be desired, a thought I had when watching the original as well.

Rating: 3.5/5 – A nice family entertainer