Viswaroopam Review

Being a Kamal Hassan film, Viswaroopam had interests invested in it way before the filming started. The knack that Kamal Hassan has at bringing something new to the industry through film was evident again so while I am one of those that loves a good commercial film, Viswaroopam clearly was nothing of the sort. With Rajkamal International coming back to produce this Kamal Hassan written and directed feature, the film is as action packed and suspenseful as the trailer led us to believe.

The movie opens with Dr Nirupama (Pooja Kumar) talking to her psychiatrist about her husband Vishwanath aka Wiz (Kamal Hassan). Married to him out of the convenience he was a green card holder in the US, she overlooked his age and other issues but when it came to the point when she finds the right person that she feels for, she wanted to be sure she wasn't the only one doing the dirty deed. Now, the psychiatrist is confused and so are we. After all, domestics are common and rationalizing an affair is what most unhappy partners do. That is till Kamal Hassan makes his entrance. Then everything sinks in. His age, his behaviour and his manner that makes you think his preference lies elsewhere. Nirupama advises her doctor, and us, she hired a private investigator to do the digging and he becomes our main story follow character. But what seems like a domestic issue between 2 individuals that are bound by marriage, turns into much more when the private investigator loses his target but ends up getting killed on his pursuit a secretive group of men seeming to be working for a disabled man named Omar (Rahul Bose). Why was he killed? Who is Omar? And how this all links back to Wiz? Is something that must be seen to be understood.

The normal format I take in a review consists of discussing a bit about the performance of each character then moving onto the crew. But with Kamal Hassan at the helm, one can't really find words that haven't been said before. As Wiz, he cannot be seen as anything more than what he shows you but the catch is how much more he actually is. Not once has he overdone his role. Pooja Kumar who plays his wife may not have been around for a long time but there is nothing short on her skill. It would not be fair to say she provides the comic relief in the film since it’s the dialogue is what gives you the giggles. Andreah Jeremiah makes a beautiful entrance as a Kathak dancer Ashmita in Kamal’s class but as the story unfolds, a hidden extra kick in attitude comes up her character. Shekhar Kapur follows suit but next the main man Kamal Hassan, its Rahul Bose that stand out the biggest for obvious reasons. The stern, sinister and calculative exterior is only enhanced by prosthetic makeup. Yet you will be farfetched to find another actor that shines as much under all the restrictions. Jaideep Alhawat downplays the second in charge well while still retaining his own identity in the film. Samrat Chakrabarti is apt.

From here, we move on to the technical side of things. Honestly speaking, there is very little that is to be said about the technical side of the film. The reason? Sheer brilliance. Right from the cinematography (Sanu Varghese) to music/background score (Shankar-Ehsaan-Loy). The way the team has come together and become the backbone support to the mastermind behind the camera is something definitely worth watching and I personally, would love to see again. Each aspect is crisp clear and balances the film. Editing by Mahesh Narayanan is only person that could have used his craft a little better. With a story teller like Kamal at the helm, we mustn’t forget that the proceedings need to be taught as well as captivating. The trailer showed that there is more than meets the eye for this film and its characters and that's what Kamal delivers. The sensibility and detailing he has as an actor is common knowledge and Viswaroopam he brings it to the fore as a writer and director once again after his 2004 critical and commercial hit Virumaandi. An example can be seen in the pigeons that are seen in the posters. Another seen-to-be-believed act of brilliance by the legend.

It would be juvenile to say Viswaroopam is not without flaws. However, what unfolds in front of your eyes stays with you longer than the editing that needs a little work. Some may even complain of repetition with a few scenes. In defence though, one would not have figured out the proceedings without them. One thing can be said, this feature is not for mindless movie lovers. You need to use your brain a little. Yet, this is not a setback for some to dismiss it as a little boring in parts. Viswaroopam can be commended for many things as even beyond the controversy that surrounds it with the content, you can be safe in saying that you have watched a film that is both up to date in content but in technical brilliance. While some may say this is an Indian version of Mission Impossible, this writer would prefer to step away from comparisons since the story has not been handled with such maturity and sophistication before in her lifetime.

Even as this reviewer finishes with a big thumbs up for the suspense action flick from the Maverick that is Kamal Hassan, the only thing that leaves a feeling of disappointment after watching Viswaroopam is the delay, and subsequent anticipation, for the release of Part 2.

Rating: 4/5

Manmadhan Ambu Review

When it comes to Kamal Haasan, even if it’s your routine masala flick, he infuses something different into it. And when he joins hands with K.S.Ravikumar, their films are sure to create a laugh riot. Add to the mix one of my favourites Madhavan, Miss Talk-of-the-town Trisha, and some rocking music by Devi Sriprasad and the fun is sure to be unlimited. I did have some apprehension think that it was a love story between Kamal Haasan and Trisha but the way Kamal and K.S.Ravikumar have depicted a concept of how honest people are in their relationship as the basis to Manmadhan Ambu cleared it all. So h  ere we go.

Scene: Airport. Actress Nisha aka Ambujakshi [Trisha] has planned a holiday on a cruise with her recently divorced friend Deepa [Sangeetha] and her two kids. Even with the picturesque views of Europe in front of her, Ambu's mind is preoccupied with the past. Flashback to Kodaikanal. Ambu is shooting a song with actor Suriya when her fiancé business tycoon Madhanagopal [Madhavan] comes on set with his parents [Usha Uthup and Kitty]. All is fine till Madhan mistakes a conference call between Suriya, his daughter [!!] and Ambu to be the two actors canoodling over the phone in broad daylight. Not wanting to make a scene, Madhan and Ambu go for a car ride where Madhan gives her a piece of his mind and before they realise, their argument consumes them so much that they have an accident with an oncoming vehicle. The two come out of it without any major damage but the same can’t be said for their relationship. Cut back to the present and we find out Madhan will not let go of Ambu all that easily. He enlists the assistance of Indian Army Officer Major Mannar to spy on Ambu while she is on her cruise. In return Madhan will pay for the treatment for Major's friend Rajan [Ramesh Arvind] who's in hospital with cancer. Seemingly a simple task, Major proceeds as directed and finds no secret lover or any other faults for that matter, with Ambu and reports this to Madhan. But instead of coming through with his side of the deal, Madhan backtracks, creating grief for Major as Rajan needs to be operated on urgently. Stepping aside from his honest and upright nature, Major tells a lie to save his friend. But as you all know, lies never come alone. What you witness from here is how that one lie will land Major in more trouble that he bargains for and to a truth that will change his life.

 

I know that Kamal Haasan needs no introduction and his acting skills are undeniable. But what I love about the way Kamal plays Major Mannar is that barring his intro scene, you won’t find him being over the top at all. Yes, it’s a comical situation with some odd turns but nothing that seems completely far-fetched like the climatic chase in Avvai Shanmughi or Panchathathiram. He is simple and honest without major dramatics. Dear Madhavan, welcome back to Tamil cinema. Oh how I have missed you! I have always had a firm belief that Madhavan has a flare for comedy that he has not exposed completely. The man is simply superb as the possessive fiancé [I personally think he deserves the "Best Drunken Act" Award and tweeted it to him too]. Trisha is by no means lagging behind the two in the film. I personally love the fact she dubbed for herself in the film and think why didn't producers/directors ask her to do it for her earlier projects. In fact, the sync sound worked enormously well with the entire cast. But, back to Trisha. She beautifully executes her love, frustration and turmoil and holds her ground next to the legendary actor. However, she has strong competition in the form of Sangeetha. Man, oh man do I love this woman. She has proved time and again that she is more than capable but I love her in this comedy avatar as Deepa, the stylish, rough-around-the-edges, street smart friend of Ambu. Kunjan and Manju Pillai as Mr and Mrs Kurup are hilarious as were the two little kiddies in the film. The usual suspects of Ramesh Arvind, Urvashi, and Sreeman do their bit as expected.

 

I have mentioned before that comedy is a serious business. Kamal Haasan has proven his comedic timing several times but this time he has tried his hand at 5 hats, Story-Screenplay-Dialogue-Lyric Writer and Actor. His trademark of comedy with a thought behind it to think about is evident. Even though the initial promos were confusing with Man Madhan Ambu shaped differently, the two reasons for it show that this is not just a normal love story, which it clearly isn’t. I love the way he has infuses emotion into a scene with his dialogue without making a caricature out it. And supporting him in a major way is K.S.Ravikumar. Making sure that the writing doesn’t get lost on celluloid, he makes the proceedings intriguing and easy to watch. But that doesn’t mean the film doesn’t have its sad moments. Watch the way he depicts the scenes between Kamal and Trisha where they talk about his wife. Manush Nandan has done a great job with his cinematography, showing Europe in spectacular form and it’s sure to boost the tourist counts. Editing by Shaan Mohammed is clean and crisp.

When it comes to Devi Sriprasad I am always a little two minded. Don’t get me wrong, I love his work so there is always excitement when he has projects like these. But there have a few occasions when his songs seem the same, quite the opposite of his re-recording. However, my love for his work doesn’t get compromised this time around as DSP has scores majorly on both counts, with Kamal Haasan writing the lyrics for all the songs barring Oyyale which is written by Viveka. [Side note: The difference is quite evident]. Neela Vaanam, Thakida Thatham and the poem [yes it was still in the film] by Trisha and Kamal Haasan are the pick of the lot. A special must be made to the costumes of all the artists as each look amazing and natural to the character they played.

Amongst all the good stuff what can I say about the downfalls? Yes they are there. Kamal Haasan isn’t perfect as a writer as I wish he had given the actress who plays his wife and Oviya [Madhan marriageable cousin, Sunandha] a little more screen time and depth, respectively. It does get a little predictable but when the pluses outweigh the minuses, it is really easy to overlook these factors.  

At the end of it all, you will look into yourself and think how honest you are to your relationships while you tap your feet to the title track Manmadhan Ambu.

Rating: 4/5


Thanks to my twitter friend Vivek Ranjit's review, just found out that Gouthami is the mastermind behind the costumes. Cool!

Vettaiyaadu Vilaiyaadu Review

Its been several years since the movie released, yet its appeal still remains for me. Its not the usual kind of movie that I watch but still had me hooked with the narration and the performance of the cast. Goutham Vasudev Menon has always been someone I could trust for a good soundtrack, honest performances and exquisite visuals. While Harris Jeyaraj has been his right hand man when it comes to music on most of his films, he has changed to Ravi Verman for cinematography this time.

Tamil cinema is notorious for having the 'law-abiding-smart-police officer up against corrupt officials/terrorists' storylines but after Kaakha Kaakha, Goutham has introduced a breed of slick, suave and scintillatingly intelligent cops that are as much powerful as they are human. Kamal Hassan steps into the khaki uniform after a long time as Raghavan, a city bred cop that knows how to deal with all kinds of criminals, yet all the while, trying to forget a troubled past.  We begin with Raghavan investigating the disappearance of his colleague Arokiaraj [Prakashraj]'s daughter. With limited information, he tries to piece the puzzles together only to find her brutally murdered. With Arokiaraj and his wife Chitra [Rajshri] shifting base to America to find peace, Raghavan continues his search. But peace isn't all they get as he is hit with the news that his colleague and wife have been killed too.


Off home turf maybe but still determined and true to his instinct, he travels to America where with the help of NYPD detective Anderson [Lev Gorn], he finds clues to the killer and has a chance encounter with another tortured soul of the living variety, in the form of Aaradhna [Jyothika]. Plagued by her past like Raghavan, Aaradhna finds a hero and a shoulder to cry on in the stranger she meets at their hotel. While Raghavan is concerned, the case takes he and Anderson down a twisted path that takes their family killing case into a serial killing. The path leads them to several more victims and their culprits. But the encounter doesn't go smoothly to say the least. What proceeds is a race against time as its up to Raghavan to think one step ahead of the killers before the body count rises.

Kamal Hassan needs no introduction and whats more, he surprises yet again. Stripping the images of his previous khaki characters, his shows intelligence, determination and poise of a sophicated urban cop without being a lifeless brick. Jyothika is a favourite for Goutham and is elegant and simple as Aaradhana. Timid and troubled, she emotes in just the right quantity and how anyone in the real world, in her circumtance would, leaving her performance natural. No loud or brash to the point baffoonic, expressions here. Even is his miniscule role, Prakashraj adds raw appeal to his role, as does Lev Gorn, Rajshri and Kamalini, which only adds to the storytelling without cluttering. Now those who have seen Daniel Balaji can vouch for me in that it doesn't take this guy much to look evil. But add him to Saleem Baig , who hasn't been seen much before or after, and you have some nastiness you dont want to cross. Utterly absorbed into the role, Daniel overtakes Saleem alot but you dont see one without the other. Editing by Anthony is crisp and precise while Ravi's camera work is a delight as always. Polished and oozing with finesse. The charts have always been favourable to Harris and once again, he strikes a bulls eye but the extra bonus is his re-recording. If Goutham had everyone glued to the screenplay, Harris made them jump, scream, sigh, cry all in tune. In all honesty, Goutham isn't the kind of person I see doing a village backdrop but in his defense sophistication never looked this cool before. But this game has a flip side.


Contemporary aspects of life are essential to make things believable and while the concept of serial rapist/killers isn't something that has much exposure in Tamil cinema, the homosexual quotient that Goutham infuses into the story doesn't get a valid reason to be there. More over the visible gore in the film makes this a leave-your-kids-at-home kind of film. The catalytic point of the story is hampered by Daniel doing an verbal vomit. In the story it is crucial stage but so very tiresome to watch. Where the director is poetic with Kamal's flashback, he dwells way too much on the one for Daniel and Saleem's. As mentioned, Daniel overtakes Saleem on several occasions but he also goes overboard as well. Yes, he's a psycho and its obvious from his actions but did he really need to be so verbous about it? Also, if you're a non-Tamil watching the flick with subtitles, I warn you the language Daniel uses is foul. While the audio has been beeped out, the subtitles haven't been censored. Given that a lot of English flicks swear without blinking, some maybe used to it. But I personally find it a hinderance when its excessive. In all other situations though the dialogue has a finesse to match the visuals.


in short, the suspense of the movie will drive it home but the basic premise is something not all will be used to and take a liking to. 


Rating: 3/5

Back to the Roots..

Turbulent times during my childhood usually had me running to the playground or running to the tv. More specifically the VHS player for my favourite collection of flicks. Considering my age, it didn't make a difference whether these films fared well or not. I loved the acting, the sets, the songs and the story. So every time I went to watch these films, it was not a skip to the chapter I wanted. It was a start to finish watch filled with the same laughter, the same tears, the same anger for the baddie and the same dancing [my little mind had decided different steps would not make it for that song]. So while I nagged my dear friend Prathna to write a list of her favourite Prithviraj flicks and commented on most of the posts on another darling friend Louella's blog, it got me thinking about the flicks that I survived my childhood on. And maybe even built my personality on.

As usual, Thalaivar Superstar is my first point of call. His comic timing, his acting, his ishtyle. He's an one man army that tackles all the baddies, controls the comedians and romances the beauties. For me, there was never a day that I could not watch his Dharmathin Thalaivan and laugh hysterically at his absentminded professor/drunken goon act. He made it look possible to tackle a giant of a man by simply splashing water in his face and bashing him black and blue with gold bricks in a fanny pack. Yet at the same time, forgets where he lives. Yes, this is a remake of Amitabh Bachchan's Kasme Vaade but nativity added to the enjoyment of this film. And its Rajnikanth. DOT!

Don't ask me why or how I got it. All I remember was the stomach cramps I got from laughing at the kids in the film when they played their pranks. Of course as I grew older I understood the message of hope, acceptance and forgiveness, but Shamili,Tarun and Shruthi were so adorable. My mother recalls me asking for my own "Anjali papa".  One thing for sure, I still cry till this day when watching Revathi's turmoil as her own child is scared to come close to her. For a 4 year old, I don't know how much of her character Shamili understood when doing it but she underplays it well.

Prabhu has always been a bankable hero in my books. I was forever comparing him to my brother since they both have the squinting effect when smiling or laughing. This is back when Prabhu was in his prime and my brother still had hair but I wasn't the only one as my mother dearest loved Prabhu as well as he reminded her of him too [I have since learnt I am worse with the squinting but that's another topic]. So with the powerhouse performer and the rib-tickling screenplay by Visu, you're sure to be entertained by Kavalan Avan Kovalan. For all the stories of two people looking alike but not having a single thing to do with each other, this is one of my favourites. A simpleton teaches the hot shot a lesson storyline has been done before I know, but the appeal lies in how Visu, who plays a  role himself, brings the characters together.

Malluvetti Mainnar may not be perfect but it sustained an interesting plot for your average pot-boiler. Whats more the film has powerhouse performers Shobana, Seetha and Sathyaraj in it. Although he now seems to be making a career at the expense of others, this film was at a time that Sathyaraj was taken seriously as a hero. For a simple plot of the village casanova becoming a "ekha pathini virathan" or one-woman man, it was handled well. The thing that really drew me was the witty one-liners and the child-artiste Mahendran that plays Sathyaraj's son. Pure comic genius in a tiny body that sometimes overshadowed Sathyaraj!

During a phase when the above mentioned Sathyaraj still did villain roles, I fell in love with Kakki Chattai. Yes, its another commercial pot-boiler but this is Kamal Hassan we are talking about. Like Rajni, his aura is just superb and he was still quite handsome back then. Again, we deal with your average joe who dreams of being a police officer but the chemistry between Ambika and Kamal is just amazing. I dont really know how many films they had done by the time I watched this but I thought they were perfect for each and should get married then I found out he was already married  [Oh well, I loved his on screen presence anyway]. I must mention Madhavi in this one. Total Bomb of a lady and she looks alluring and acts well so its not a one sided show with Kamal stealing all the credit in their scenes. Mum recalls again me aping Madhavi in the Poo Potta Thavani track. Looking at it now, I don't remember how but I'll leave that to the imagination of a child.

Now this is a funny fact. I saw Unnal Mudiyum Thambi before Kakki Chattai even though chronologically its after. But considering Kakki Chattai was released in 1985, i doubt I would know what I am watching at that age [barely 1!!]. This movie's soundtrack is honestly the main reason I re-watched it so much. The concept was so beautifully told with the carnatic backdrop but without being a total carnatic lesson. My absolute favourite song though is Enna Samayalo. With the classic Balachandar touch, the story of a man torn between his own ideals on life and society, and living up to the expectations of his father has an appeal to it that doesn't make it a total preachfest. Kamal Hassan at his simple best with Gemini Ganesan. I had only recently found out that a flick that I've been looking forward to but have no luck in finding, Rudraveena [Chiranjeevi and Shobana] is UMT's Telugu remake that won 2 National Awards for its music.

Where would I have been without them? I don't know. But I'm sure my then night-shift-working-mother would have been up the creek without a paddle. Being a vivacious child with an imagination that made all efforts around the house "helping mum out" [i.e. pots are broken, drinks spilt or food on the floor], I would have found something else to do. But movies were what I resorted to and out all of the hours I spent in front of the tv, I think I absorbed more than just the storylines. But am I alone?

Multi coloured image..

A friend asked me to write a review about a movie I watched since its the norm with blogging. Being such a movie fanatic, I do have my fair share of favourites and suggestions. But I generally don't like suggesting with movies because I'm not your average moviegoer. At the same time, I like my masala-aam janta-mass flicks too. Confused? Let me try to explain.

For reasons unknown, my mum had me hooked into indian movies at an early age. I sometimes think she didn't want me to go out as much with friends from school. As you know, having parents that are divorced wasn't easily accepted by some people from my community. Anyway, I literally learnt to speak my mother tongue again from watching Tamil movies after forgetting it for English during inital schooling. Since then I have progressed on to watch Hindi and Telugu movies and learnt them also to comfortable level. It may have been the era that I started watching movies (early 90's) or the fact of my age, but I can safely say that my basic taste for most things in life started there.

Punngai Mannan- Kamal Hassan and Rekha

Muthu- Rajnikanth and Meena

 As I grew older (and started earning) the appeal shifted from Tamil only to Hindi, to Telugu. Nowadays, it seems you find they blend a little since more movies are remade after the original language has phenomenal success or they are advertised as an "adaptation" of the original. Once released a few turn out to be somewhat word for word translations with different/same actors. And then there are others that are just outstanding in retaining the story but making it a whole new experience. In saying that, I think what annoys me more isn't actually the Tamil- Malayalam- Telugu remakes or even the ones from the South to Bollywood industry. Its the whole concept of remaking because a film is massively successful. Honestly, is it necessary?(Ok I understand when you have someone like Kamal Hassan at the helm of things and a true believer in providing good cinema to all, it isn't just about success.) But I'm drifting away from the original statement.

I went shopping with my cousin recently and truly found myself speechless and the number of shops I could simply walk away from, empty-handed. My bank statement would have been proud but that wasn't the reason. It was just that I couldn't see myself wearing anything on the racks. My cousin said I need to become more adventurous with my style but frankly, I dont particularly like some of the mis-match state of affairs people call fashion nowadays. I like colours that suit my complexion and prefer to simple, fun and a little girly. Apparently thats old-fashioned! And it doesn't stop there. The whole concept of arrange marriage which I am quite comfortable with, is absolutely insane to her. Yet even though she is quite aware in my "old-fashioned" taste, I get asked to assist with certain selection and have been established as the make-up artist wherever needed (a fact that gives me the giggles, considering each is quite capable of doing their own make up).

So the dual personality that I created, blends itself further into my life with taste in movies too. Movies like Kaakhi Chattai starring Kamal Hassan, Ambika and Madhavi and Malluvetti Mainnar starring Sathyaraj, Seetha and Shobana are your typical masala flicks that had embarrassing choreography, shiny/printed clothes and simple stories that were the essences of the 80s/90s. But they entertained. Cut to present day, The fashion and locations have changed and the scale is much more grand but the strategy seems the same [ Paiyya/Awara (Karthi,Tamannah) Theeradha Vilayattu Pillai/Khilladi (Vishal, Neetu Chandra), King (Nagarjuna, Trisha), Singam/Yamudu(Suriya, Anushka) to name a few]. The "art film" category although was rare in the beginning, has flourished somewhat but I dont think you can make a Kuruthipunal/Drohi ( Kamal Hassan, Arjun), Nila Kaalam or Avathaaram (Nassar, Revathy) again and ever create the cinematic impact they were intended for. So while the list of movies has such a broad spectrum in genre, my adaptability helps me see the entertainment in all. A fact which helps understand the concept of the imagination and the reality it is based on.