Avan Ivan - Movie Review | |||||||||||||||||||||
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Director Bala weaves characters and movies out of common people, many of whom may be considered undesirable and avoidable by the general public, e.g. gravedigger, drug peddler, sex worker, cannibal; Bala could keep pulling out these characters from our everyday lives to make movies. In Avan Ivan, it's a light-hearted zamindar, two thieving half-brothers, their foul mouthed moms and an 'everyone knows everyone' countryside.
A sizable chunk of viewers who have experienced Bala’s movies, consider him crude and heartless in creating his shady characters; but the underlying truth is that he has showed time and again on screen that these undesirables too can laugh, love and have hopes and aspirations like anyone else. Bala has been the USP for his movies, but for Avan Ivan, it's also the squint eyed Vishal and the shaggy Arya.
G.M. Kumar plays the dethroned zamindar, who still rides on the pride that his kingdom once owned the lands around him. He cares for his villagers like his own subjects, just as his forefathers did. Half-brothers Walter Vanangamudi (Vishal) and Kumbideran Saamy (Arya) are thieves. That’s right! 'Kumbideran Saamy' is Arya’s pseudonym, which he believes will make the pestering cops refer to him with respect, even if they don’t mean to.
Arya, the younger brother, is an elusive thief with a quick mind, while Vishal is a simpleton who tries his hand at thievery, but with little success. Vishal’s heart lies in plays, acting and dance, which makes him believe he is more of an artist than a thief. Both brothers are the trusted stooges of the zamindar, who lives alone in his humongous bungalow. Though they are seen on each side of the zamindar, the brothers do not see eye to eye, and Arya constantly sniggers at Vishal for his effeminate side.
Bala’s characters are powerful, but in this film, they seem to lack a gripping storyline compared to his earlier movies. Vishal as the gender-confused individual, movingly brings out the man and woman in his character. He also expresses exceptional talent as a reluctant thief, who feels he is better off as a stage performer. Arya as Kumbideran Saamy is witty, assertive and shows no remorse in snubbing his brother, Arya’s coming of age role we can say. Bala always injects an amount of animal into his characters. Vishal’s reptile-like moves and Arya’s baby baboon type movements again prove Bala’s signature style.
Like his earlier movies, the 'undesirable', or in this case the undesirable pair, stands up against a bigger enemy. In Avan Ivan it’s RK, who runs an illegal slaughter house. When the zamindar calls upon the police and animal activists to raid RK’s illegal trade, RK turns against the zamindar, which ultimately pulls Vishal and Arya into the melee.
Vishal, Arya, G.M. Kumar and veteran actress Ambika, as Vishal's foul-mouthed, theft encouraging mother, are the prominent characters. Janani Iyer as Constable Baby has a role to some extent, but Arya's pair Madhu Shalini's portrayal is vague. Bala's signature climax fighting scene that seem like the world is coming to an end have been religiously added. Arthur Wilson shoulders Bala's love for the luscious landscapes of Theni, while Yuvan's music combined with Vishal and Arya's dance numbers are straight out of the streets. Avan Ivan is a good watch, hence Bala has successfully reused his tested formula.
Aaranya Kaandam - Movie Review | |||||||||||||||
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S.P. Charan's Aaranya Kaandam was in the headlines ever since its launch over three years ago. After much hype, the Censor Board Tribunal panel finally cleared this film directed by Thiagarajan Kumararaja with more than 50 cuts, including voice muting on grounds of profanity, showing drug abuse and violence in the climax. Aaranya Kaandam is finally here. And it is definitely worth the wait!
Even before its release, the film has won the Grand Jury award at the popular South Asian International Film Festival in New York. So the expectation meter was quite high and the film does not disappoint.
THE PLOT
The title 'Aaranya Kaandam' refers to the third chapter of the Ramayana which mentions the forest and animals. The film explores the character traits that separate man from beast, set in the backdrop of the Chennai underworld.
Aaranya Kaandam holds the credit of being the first neo-noir film in Tamil Cinema. It does not have any songs; instead, its engages the viewer with its realistic portrayal of the key characters.
'Anything which is the need of the hour is Dharma' is a quote by Chanakya in 300 B.C. The film begins with this quote and is based on this philosophy.
The story revolves around an aged gangster Singaperumal (Jackie Shroff), his keep Subbu (Yasmin), chief henchman Pasupathy (Sampath), trusted aide Sappa (Ravi Krishna), a disgraced zamindar (Somasundaram) and his young son Kodukapuli (Master Vasanth). The story is set in a time span of 24 hours and showcases how the lives of these individuals change in that period.
Aaranya Kaandam is a gangster story set in a period of 24 hours in Royapuram area of North Chennai. It begins from the single most decisive moment in the lives of the six protagonists and deals with the primordial instincts of man, character traits that erase the boundaries separating man from beast. Veteran actor Jackie Shroff, introduced to Tamil Cinema through this film, plays his role with finesse. His mannerisms and body language perfectly suit the role of a dreaded gangster. Ravi Krishna makes a comeback with his role as the timid aide of a gangster. The role seems to have been written exclusively for him. He is caught between love and fear and grapples with his predicament. His dialogue delivery helps in reinforcing his role as a simpleton. Sampath walks through his role effortlessly but effectively; as usual, he impresses. Debutante Yasmin Ponnappa is promising. She plays her part well, that of a tortured woman with a shrewd streak. Somasundaram and Master Vasanth as father and son steal the show with their antics. Their performance is a treat to watch.
Singam Perumal (Jackie Shroff) is an aging don who is slowly failing in every task that he takes up. Meanwhile, his right hand Pasupathy (Sampath) brings a proposal to outsmart their arch rival Gajendran (Rambo Rajkumar), another gangster. But Singam Perumal, who doesn't want to take any risk, decides to kill Pasupathy. Pasupathy somehow escapes, but he is now being hunted by two gangsters: Singam Perumal and Gajendran. On the other hand, we have Singam Perumal's concubine Subbu (Yasmin Ponappa), who is tired of being abused and beaten up by him. She finally plans to escape with Sappai (Ravi Krishna), Singam Perumal's servant. At a point, Pasupathy meets Sappai and uses the boy's plight to save his own (Pasupathy's) life. What happens next forms the rest of the story.
THE PERFORMANCES
Aaranya Kandam can be easily rated as the first neo-noir film in Tamil cinema. Kudos to director Thiagarajan Kumararaja for choosing a dark and raw subject in his debut venture. Among the performances, Bollywood star Jackie Shroff steals the show with his matured and flawless performance. Kollywood's favourite villain Sampath Raj is not far behind; he has a meaty role in the film and he delivers it with 100% confidence. Aaranya Kaandam will definitely be a breakthrough in Ravi Krishna's career and debutante Yasmin Ponappa looks perfect for her role.
P.S. Vinod's stylish camerawork needs special mention and North Chennai has never looked more beautiful. Editing by Praveen K.L. and Shrikanth N.B. is stylish and in sync with the genre. Background score by Yuvan Shankar Raja takes the story forward and dialogues written by Kumararaja are realistic and philosophical. Harsh realism is the USP of the film. The cruel world of gangsters is depicted wonderfully. Situational comedy at certain parts of the film serves its purpose by lightening the dark mood of the audience.
The narrative and screenplay are extraordinary. The editor and cinematographer have ensured that the film does not lose out on any note.
It is hard to believe that this film has been made by a newcomer. Debut director Kumararaja has done a praiseworthy job by avoiding unnecessary frills and making a film sans any logical dead ends. By choosing a difficult subject and sculpting it nicely, he has proved his mettle.
Yuvan is at his best in this film. His background score is a feather in the cap for the film. It mingles seamlessly with the screenplay and fits in perfectly.
Kudos to S.P. Charan for producing a raw and realistic film which gives a real view of the world of gangsters. Due to certain violent scenes and loads of swear words, this experimental film meant strictly for adult audiences comes with an 'A' rating.
Aaranya Kaandam introduces a new genre to Tamil cinema! Kudos to the entire team! Well worth a watch for the sheer technical brilliance and an unexpected twist in the climax.
Maveeran - Movie Review | |||||||||||||||||||||
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Magadheera (Telugu) was considered one of the most spectacular movies in Tollywood. It went on to win two National Awards, a heap of Nandi and Filmfare awards, and elevated Ram Charan Teja (Chiranjeevi's son) as one of the most sought-after young actors in Tollywood. It would be unfair to keep a movie as grand as this from fans in other South Indian states. Hence, Magadheera is being dubbed and released in Tamil as Maveeran and in Malayalam as Dheera.
Harsha (Ram Charan Teja) is a happy-go-lucky biker in Vizag, who earns a living out of motorcycle racing. One day, while travelling in an auto rickshaw, he accidentally brushes his finger against Indhu (Kajal Aggarwal), who waves for the same auto rickshaw. The touch creates a magical sensation in him; he leaps from the auto rickshaw to go in search of her. Harsha fails to recognize Indu, as she covers herself with a windcheater. Indu, learning that Harsha is searching for her, tricks him into believing that she is a close friend of Indu and would lead him to her.
Harsha starts hounding Indu to help him find the mystery girl, unaware that Indu is the one he is seeking. After a funny cat and mouse chase, Harsha happens to brush Indu's hands and he experiences the same magical sensation, a feeling which arouses all his senses, a feeling that makes him nostalgic, rekindling an innate memory. Harsha firmly believes that his feeling has a deeper meaning.
Subsequent scenes reveal that Harsha and Indu were born as Kala Bairavan and Mithra Vindhu, 400 years ago in their previous birth. Kala Bairavan had been the commander of King Vikramasingh's (Sarath Babu) army and Mithra Vindhu was his beautiful daughter. They were madly in love, but were separated and killed by the king's nephew, the nefarious Rana Dev Billa (Dev Gill) who had lusted for the beautiful Mithra Vindhu. Kala Bairavan and Mithra Vindhu's love was so powerful that they were reborn so that destiny might bring them together again. The evil Rana Dev too is reborn as Ragubir, Indu's cousin in the present day.
An oracle predicts that the battle between Kala Bairavan and Rana Dev for Mithra Vindhu will be repeated after 400 years in the form of Harsha, Indu and Ragubir. In the rest of the scenes filled with flamboyance, mysticism, action, revenge and romance, Maveeran/ Dheera will reveal whether Kala Bairavan and Mithra Vindhu would succeed in their love after 400 years of waiting.
Maveeran is not your run-of-the-mill dubbed movie. It will repeat its magic to Tamil audiences, as the movie is not about dialogues, but about splendid action and mind-boggling visuals. Director Rajamouli, in his decade long experience with Tollywood, has never seen anything short of a hit for his movies. Of the eight movies the director has made, five were super hits, two hits and one blockbuster. With all these achievements, Rajamouli has mastered the perfect recipe for an entertaining Indian movie, and Maveeran is born out of it. It offers romance, glamour, dance numbers, action scenes, visual effects and just anything that you can ask for in an Indian movie.
The special effects of the movie, taking the period battle scenes to a whole new level in Indian Cinema, won a National Award. The crafty special effects on the big screen bring surreal images before our eyes, which can make one hallucinate. Kotagiri Venkateswara Rao's editing makes a perfect marriage between contemporary and period scenes. Chiranjeevi makes a guest appearance in the movie, and mocks Ram Charan, saying that he is a 'bachaa'. Ram Charan presents an overwhelming performance, but his acting has resemblance to his father Chiranjeevi's. Other stars Dev Gill, Kajal Aggarwal, Srihari and Sarath Babu present well coordinated performances, which makes the movie soar high above all its dubbed counterparts.Maveeran/ Dheera is a must-watch, twice or even thrice.
