Ponniyin Selvan 1 Review – Pure Love

When it was announced that the most beloved novel in modern Tamil Literature is going to be made into a movie, 70 years and endless pursuits by countless others, most notably MGR & Kamal Hassan, more than being elated, I was actually relieved. With no disrespects to anyone who tried before, there could be no one better than Manirathnam and no time better than now. Being one of the biggest fans of the novel, he lets Kalki’s vision flow like Ponni at her peak. And that can be seen in every frame of the movie. To put it simply, it is India’s answer to the Lord of the Rings in the sense that it is the most faithful adaptation of an epic novel.

For the few who have not read the books or know what it is about, PS-I tells the story of Chola Empire just before their biggest boom period. It is a complex political drama of Raja Raja Chozhan’s ascendency to the throne and the many plots to make sure that does not happen.

Vallavarayan Vanthiyadevan is not just the main protagonist of the books but he is written in the most envious way ever. He is charming, he is brave, he is slippery, he is virtuous, he is funny and he is fierce. The whole story is seen through his eyes which can only exacerbate the one selected to play it. But Karthi takes it all on and brings about an array of emotions that only a gifted natural actor like him can. Arunmozhi Varman’s poise and might are renowned and Jayam Ravi with his understated acting has managed to bring just that. There could not be a better choice for Adita Karikalan than Vikram and given what is going to happen in the second part, I feel excited about how his take on the upcoming events are going to be. All the seniors have played their part to perfection but the stand out is obviously Jayaram as Azhwarkadiyan Nambi. You will know from reading the books how difficult this casting was going to be but the veteran knocks it out of the park. Nambi & Vanthiyadevan’s chemistry is a strong point of the books and is the same for the movie.

Right! Now for the most important casting choices. Because the men may be the brawn of the story but the brains are most certainly the women, especially the two forces which are both unstoppable and immovable. I was critical of Trisha’s casting as Kunthavai but watching her on the screen was the happiest surprise. Because Kalki’s women are never frail or afraid. They are brilliant, brave, measured and mature. She is all that and carries herself with so much grace and dignity. Trisha’s performance needed to be all of that because of who she is going against, both as an actor and as a character. Shobita Dhulapia as Vaanathi and Aishwarya Lekshmi as Poonguzhali have done justice to their part. But for all that, there is one who stands out. Aishwarya Rai is such an inspired choice for Nandhini that absolutely no one who could have played the role better. She spoke in the promotions about discovering the character during the course of the shoot. Of course, those who have read the book knows how difficult that is. Nandhini is a mystery even for those who have read the book multiple times. She is a cornucopia of human emotions. The way Kalki wrote about her, you cannot define her as anything in particular. Is she the antagonist? Is she evil? Does she use her beauty to get her way? Does she have reasons for certain decisions she makes? Was she right in her own way? Does she really want to bring down the Chola empire? I can go on but that would mean I spoil part 2 for you. The point is, she is all of that and none of that. Kalki’s brilliance lay in how he left her undefined and for us to imagine. Aishwarya Rai is such a tour de force in this part that she too lets you pick and choose. And in whatever way you go, you are justified. Or you’ll simply be enchanted by her beauty like how Vanthiyadevan was in that amazingly shot scene when he sees her through the closing door in her palace. “Don’t get mesmerised by the golden treasures on the way” tells Nandhini to Vanthiyadevan. She looks at her and replies “Why would I be since I have already seen a diamond mine!” Indeed!

Manirathnam! What is there to say about this master and PS is most precious masterpiece. What I loved about him is how much love, care and affection he gave to the original story. There is so much actual history in this fiction. Even most of the character names and titles existed in real life and so are the places. Reference points are in abundance and so is the wrath of the passionate millions who have read the book and are ready pounce on any cues of over indulgence. Thankfully Mani being one of them simply decides that the original story is enough. And thank God for that. There is a sense that scenes were rushed in the beginning but everything falls into place eventually for even non-readers to grasp the context. By the time Vanthiyadevan leaves for Sri Lanka we are in the clear. Manirathnam has poured all of his 4-decade long experience in Ponniyin Selvan that is visible in every frame. The vision, the sets, the locations, the planning, the casting and most importantly the writing are all at the apex as he weaves a magic while crafting this masterpiece.

The technical team is the industry’s highest standards with A R Rahman, Ravi Varman and Sreekar Prasad being the obvious standouts. While Kalki himself wrote songs in the book as ornamental pieces, here they are used to progress the story.

I can see why this movie may not work for a section of audience. It would have been so much easier to take the Baahubali route and make it more fantasy with lots of mass scenes. There is great scope for that in the story. But with all due respects to Baahubali whose success is one of the main reasons why PS got greenlit, this isn’t that. This is more about the brain than about the brawn. There were times by the end of book 4, you wonder how in the world would Kalki finish the book because of how complicated it becomes. But he does, beautifully in the end while also leaving us plenty to think about. Mani has already given a cliff hanger of a finish to PS-I. Given I know the book, I can say for sure that PS-II is going to be 5 times as good as PS-I. It is only going to become more convoluted without being confusing. But it will all make sense in the end.

Having seen countless screen versions of novels that I have read and created my own worlds of it and seen most of them crumble, I can only say this about PS-1. Watching PS-I was like reading the book all over again. And that was the most unique of experiences.

Petta Review: Here is our Thaialivar!

Rajinikanth’s first dialogue in the movie was “Naan Veezhven Endru Ninaithaayo!” meaning, do you think I will fall? Thalaiva! You never will. There is good reason to it. Just go and see the movie.! If at 69 he can put this much time and effort into a movie, why shouldn’t he be the superstar? In an era of endless battle between Thala and Thalapathy, this is Thalaivar showing why he is the king of the mountain. Because, behind the punch dialogues and style statements is  an honest, hardworking man who cares very much about giving his fans the best entertainment he can. And boy were we entertained! Frame to frame Petta is a celebration of the Rajini we all know and love.

Petta tells the story of a hostel warden who wins everyone’s heart with his charisma and yet there is a mystery around this stranger whose past has come back to haunt him. Behind the romantic, music loving, playful and cheerful warden lies a dark secret and endless sorrow. What would happen if he decides to embrace that side again? If the Plot of Petta sounds similar to Baasha then the entire movie is a tribute to the great Rajini movies we celebrate even today. But where Karthik Subburaj succeeds is everything falls in line with the script and feels fresh which doesn’t reduce this movie as a glorified tribute show.

How do you manage to look this fresh even at 69? Every adulation that his co stars tell him in the movie feels genuine. He sings, he dances, he fights, he delivers punch dialogues, he romances and most importantly, he entertains. In a movie that has a lot of seasoned actors Rajinikanth simply stands tall . He is pretty much in every frame but it never feels like it is too much. The crowd scream at every dialogue, every gesture and everything in between. This is Rajinikanth at his imperious best. Forget the vengeful action part, such was his performance in the scenes with Simran that I am now craving for a full length Romantic Comedy with him at the lead. That would be something.

There is much less space for any other actor  to shine in this Rajini extravaganza. Nawazuddin Siddique and Vijay Sethupathi are two of the finest actors in the country right now. So there is a sense of injustice that this movie does nothing to showcase their enormous talent. Nawazuddin Siddique’s Singhar Singh may not be a Mark Antony but he does manage to carve a niche for himself as vengeful, calculating and sneaky. That performance at the end of his sister’s baby shower shows all you need to know about the man that the whole of India celebrates as their best character actor. Vijay Sethupati would have done this role with his eyes closed. There are flashes of his acting here and there but his fans will feel right to have been let down. But watch the movie closely and you will see how much Rajini admires Vijay Sethupathi. Of the heroines it’s Simran who manages more footage and their chemistry shines bright.

If Iraivi was his finest directorial movie, then this movie should project Karthick Subburaj into the big leagues. If Shankar was more about trying to utilize Rajini’s marketability and Pa Ranjith’s was all about trying to get the actor out of a superstar, then Karthick’s is the perfect cocktail. There is an intelligent film maker inside a massive Rajini fan. He doesn’t just capture Rajinism but serves it to us in a 7 course meal. He is unfazed by the challenge of trying to handle the superstar’s enormous stardom. Better yet, he utilises it as a vehicle to make a ride that Rajini fans 20 years for (Padayappa, the last quintessential Thalaivar movie was released in 1999). The inevitable Karthik Subburaj twist happens in the climax and when it happens, you would not have seen it coming. Some double cross that and by who!!! The technical team is excellent too and especially Anirudh and Thiru.

If I have a bone to pick with then it has got to be about the little surprises and potentials that the directors never really explored in the movie. Be it the romance of Rajini and Simran or having Rajini and Vijay Sethupathi in the same screen or the Rajini and Nawazuddin Siddique coming face to face, there was so much potential to be explored. But everything was swept aside in the Thalaivar Wave. As a fan it is not really a complaint but if handled a little better the movie would have been a true critic choice masterpiece.

Why do I care? I went for a Superstar movie and I got one. I came back happy. Isn’t that all we want? Isn’t that his No 1 motive. To entertain his fans? His final dialogue in the movie was “Indha attam poduma kozhandai?” meaning, is this enough? No Thalaiva.! Our hunger is now greater than ever. You have showed that there is no bad time to be Rajinified. Please don’t stop now!

Thor – Ragnarok Review: Marvel’s emphasis on moments over script will hurt them

There is a scene in the movie where Thor and Hulk try to identify themselves onboard the Quinjet with the word “Strongest Avenger”. I think henceforth The Hulk must be called the “Funniest Avenger”. It was funny when The Hulk smashed Loki like washing clothes in the Avengers. It is funnier when he does the same to Thor but it does begs the question, is Marvel looking to create more moments than a gripping and engaging script. It’s funny and some of the 3D work is stunning but if Marvel continue to make laughing stock out of their super heroes then The Infinity Wars will not be a landmark as it is supposed to be.

Thor Ragnarok is an extravagant journey from start to finish about the prophecy that destroys Asgard. Thor’s elder sister Hela, the goddess of death comes back to extract revenge on her father who banished her and literally covered up all her traces under the Odin treasure room. On top of that Odin is missing and Loki is blamed for it. That itself is a compelling plot with a lot of family history and two of the greatest actors of our generation in Anthony Hopkins (Odin) and Kate Blanchett (Hela) with a potential face off that could have become a signature moment, not just in the movie but also in the Marvel Cinematic Universe (MCU) with Odin’s dark side to the fore and establishing Hela as a villain with a cause. But what should have been compelling storytelling turned into moments that stands out here and there but stitch them together and it becomes a dud.

Chris Hemsworth seems to grow into the character of Thor but it takes the character’s depth away when he decided to play it with a comic undertone especially after the death of his father, a vengeful sister and the prophecy to wipe out Asgard for good. Tom Hiddleston is brilliant as usual as Loki. His character has so many shades to it that it’s hard to imagine anyone doing it better than the Brit. I think the reason why Cate Blanchett decided to play Hela is that she wanted to have some fun. This double Oscar winner never seems to break a sweat and sweeps the role with ease. Anthony Hopkins seems to be at ease as Odin, so is idris Elba as Heimdall. Jeff Goldblum has made the Grandmaster character his own, pouring his unique style into the role. Mark Ruffalo’s Hulk feels like there is more to the character than just an enraged monster. Tessa Thompson is a refreshing addition to the MCU as the badass Valkyrie while Karl Urban does what is required of Skurge. There are delightful cameos from Benedict Cumberbatch, Sam Neil, Luke Hemsworth and Matt Damon who is making it a habit of surprising cameos after Interstellar.

It remains to be seen what the MCU is trying to achieve with this not so serious treatment of an otherwise engaging story. Taika Waititi, the New Zealand director has sprinkled the movie with special and memorable moments. I thought Doctor Strange was refreshing and the next step in the MCU but this I feel, although refreshing in other ways, does not suit the heavy core of the movie. But stunning visuals and delightful performances will make Thor: Ragnarok a must watch and Marvel fans will watch it out of habit and for continuity since 2008’s Iron man if not for anything else.  

The Revenant – Welcome to Hell, on Paradise

Very few movies provide its audience one particular experience that can only be given by a book, getting lost into it. While other movies let us watch the story unfold, these select few let us be part of it. We struggled to differentiate reality and a dream state (Inception), we felt grateful to have touched the soil after passing enormous hardships to get back to ground from outer space (Gravity). Likewise, we have now felt pain, hunger, anger and solitude in a barren tundra and know what it is like to be left to die alone. There have been a lot of Man Vs Nature movies before but none have left us this beaten and bruised as Alejandro Innaritu’s exceptionally shot, The Revenant.

Legendary Rocky Mountain Frontiersmen Hugh Glass (Leonardo DiCaprio) is injured in a vicious bear attack while guiding a fur trapping expedition in the northern Missouri river. Left for dead by members of his hunting team, he needs to find extraordinary skills of survival to stay alive and extract revenge on John Fitzgerald (Tom Hardy) who had done him great wrong.

In what is essentially a simple tale of revenge, Alejandro Innaritu manages to create an unforgiving masterpiece of grit, determination and survival so raw that you can even smell the breath of the characters. The intimacy of the work is such that you wonder if what’s giving you the chills, is the air conditioning of the movie hall or the landscape depicted in the movie come to life. It is minute-after-minute of arrow stricken men, butchered animals and ghastly moments that are downright visceral and can leave you with a disturbed gut but it is also of visual brilliance and great acting. While you could literally feel the drooping saliva of the grizzly, you can also taste the water when Glass sticks his tongue out to drink water from the falling sleet.

Eddie Redmayne’s reaction when Julianne Moore declared the winner of best actor at this year’s Academy awards perhaps encapsulates just how much the World wanted to see Leonardo DiCaprio lift the Oscar statuette. Some might question the choice given that there were two other power packed performances last year from Bryan Cranston (Trumbo) and Redmayne himself (The Danish Girl) but perhaps its poetic justice and a culmination of all his previous nominations that tipped the favour towards DiCaprio and now the World has one less thing to worry about. The performance itself resonated with his Oscar misgivings: Beaten, Bruised and left in the cold, he eventually crawls and fights his way to get his revenge.

Mark Rylance’s phenomenal work as the captive US spy in Bridge of Spies was the only thing that stood between Tom Hardy and a first academy award as he spits venom in his role as John Fitzgerald who is as cold and unforgiving as the landscape of the movie itself. Tasked with a role that is more challenging than DiCaprio’s, Hardy captivates the audience with so much of dark side that you are forgiven to have missed the humanity in it. How much he communicates through those powerful eyes! The premise of his character is not new to him specially after The Dark Knight Rises, Warrior and Legend but he brings something fresh to it every time he laces up his boots as a Villain. This complex, power packed performer will be one of the best performers of this era.

Alejandro Innaritu’s vision is a testament on how to convert what in essence an art house making into a commercial blockbuster. The Revenant is grand, brilliant and spell binding but ultimately exhausting. In an attempt to elevate the movie from a simple revenge tale Innaritu poses a lot of questions from race to climate change to humanity to a brutal system that helped build a nation. But he leaves no attempt to answer them but simply lets his characters be victims of all these problems. In doing so he has left a sense of incompleteness which is akin to Glass’ final moments in the movie, a long stare into the emptiness. Is that the point of it all?

It is not customary to finish a review with a take on a movie’s cinematographer. But Emmanuel Lubezki’s work is so captivating that you really wonder what this feature would be without this triple Oscar winner and multiple time nominee. His work in the Revenant is not just visual but also the way he lets the audience feel the movie or in his own words, immersive. Shot exclusively in natural light which is limited in the terrain where they shot the movie (Canada and Argentina), Lubezki brings us every sunrise, frozen plants, shooting stars, frozen waterfalls, every wound in Glass’ body and the fear in the men’s eyes. What could be equally or more challenging than shooting landscapes is capturing human emotions in its micro detail. So, the idea a movie like this involves the camera to be more emotional than mechanical and that is exactly what Lubezki achieved. Shooting for this movie was termed hellacious by the cast filled with unnatural hardships but the end product is heaven. The movie itself is a grand statement of what happens when the director and cinematographer works perfectly in sync with each other.

While the Revenant falters on content and grace, it more than makes it up with its unique style of moviemaking that’s brutal and awkward to watch but ultimately manages to floor you with knock out performances and out of the world cinematography. 

The Conjuring 2 Review – The Sequel that does just enough

I don’t watch a lot of horror movies, simply because I am scared of them. I remember watching Darkness Falls back in the day and keeping a torch next to my bed for a week because the ghost, Matilda is afraid of light. But then, that’s what they are supposed to do aren’t they! I remember watching Conjuring and thought to myself, this is the sort of horror movies that I want to watch! Good investigative storyline, no over the top acting or short & wet dresses and really good light and sound effects. But then Annabelle happened and ruined it for me. I mean what kind of horror movie was that predictable. But when they announced The Conjuring 2, I started hoping again and I have to say that they did not disappoint although that is another way of saying, they did only just enough.

Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) are back, this time in England to investigate the supernatural incidents happening to a family of single mom and 4 young children. The Warrens themselves experience strange visions not necessarily relating to this event. How they manage to solve both (In an extremely well thought out twist in the end) forms the crux of the movie. The template doesn’t change at all. A family experiencing strange and horrifying incidents during the night, a resident ghost who just won’t leave and finding a medium to fulfil its demonic wishes. Then comes the warrens who investigate the matter, collect proof of demonic activity and with the help of the church manages to get rid of the resident evil. Same old same old, but what separates the Conjuring series with other horror movies is how they have managed to convince human powers to fight a higher evil. It is like how Gandalf explains in the Lord of Rings Trilogy that it’s not great power but the everyday act of kindness from simple folk that keeps darkness in bay. While in the first part it was the love of a mother that fought the demon inside her, here it is a family sticking together. This concept makes the Conjuring series more endearing to all audience alike.

Patrick Wilson and Vera Farmiga has forged a simple yet formidable chemistry between them that it’s impossible to think of another pair doing a better job at it. Their simple acts of kindness like Wilson fixing the poor family’s household items or the Elvis song that puts a smile on the much affected family’s faces. But the breakout star of the movie is Madison Wolfe as Janet Hodgson who is used by the ghost as a medium. There is an underlying sadness in her eyes that lets her go through the sheer range of expressions the character demanded with aplomb. Like I said earlier, the movie steers clear from predictable horror movie stereotypes and therein lies their success. The fact that they used real haunted locations and simple engineering mechanics to create the horror scenes and not relying too much on CGI makes the movie that much more authentic.

The movie has got its moments, quite a lot actually. But it isn’t the scariest that I have seen and it definitely does not get you to the edge of the seat all that frequently. Although the reason why Lorraine could not sense anything in the house is revealed in an exciting climax twist, the climax itself was a bit of a let-down. But what it quietly does is, let you travel with the Warrens and experience demons in an unassuming way that you actually feel relieved for yourself as much as for the Hodgsons. It’s not the most riveting but it is not a franchise killer either. I am already expecting a third part, only this time a bit scarier.  

Yennai Arindhal Review

What do you do if you get to direct your favorite hero for the first time? You mix your previous movies into one predictable cocktail and present it straight up, no twist. I may sound a bit cynical but Gautham Vasudev Menon’s Yennai Arinthal with Ajithkumar in the lead did not satisfy the appetite of the fan inside me who craved for this combination for a long time. Let me get one thing straight. It’s not a bad movie. It had its moments sure but I did not go in there to see Anbuselvan IPS lose another Maya and do a Raghavan IPS sort of investigation, get involved in a Major Surya-esque rescue of a child only to lose his own and finally puts another Aradhana-like life in danger to beat yet another Pandiya/Amudhan. Even though Gautham insists that the mix was done knowingly and as insisted by Ajith himself, you come out of the theatre feeling a bit let down by brand GVM.

Brand Ajith however, did not disappoint. You finally get to see the brilliant actor that he is, after Kreedom (Even though my Mallu friends would probably be sharpening their knives by now!). That’s seven long years and it was worth the wait. Ajith has underplayed his image as a mass hero and delivered a soul stirring, near to life performance as an honest cop, a caring father and a passionate lover. You see him crying, searching, yearning and losing which you cannot associate with his brand. Gautham Menon’s movies always show the lead actors in an elevated scale as far as looks are concerned. But what happens when you Ajith in the lead? You vehemently agree with Anushka’s observation as “the most handsome man on earth”.

In recent times it is only for Anushka that I have seen an equal response for a female actor as much as a male actor on screen. But these days you sense that she is simply trying to accommodate a lot of movies in between her two major projects, Bahubali and Rani Rudramma Devi. You can feel the strain in her and it reflects in her performance. So it’s Trisha as Hemanica (How GVM comes up with these names!) who leaves a lasting impression in an extended cameo. To call this as a lifetime role of Arun Vijay is wrong for this wonderfully gifted actor. But he had stood up against a colossus and comes up with a performance that is appreciated by even the most hardcore of Thala fans. The support is a plethora of GVM’s cliched set of actors and you almost end up counting to see all of them made it to this movie too. But thanks be to the good lord for not letting Gautham voice over his villain again.

Dan’s cinematography gives a gloomy and dark feel to an erstwhile Gautham movie and suits the mood of the script perfectly. Harris’ songs, except for the “Unakenna” number, leave a lot to be desired and so is his BGM. It’s a classic case of “What could have been!”

Gautham Vasudev Menon as a director must be applauded for leaving his mark (albeit cliched) while working with a larger than life hero. But then if you can stand out of a Kamal Hassan movie, I don’t see why not. But it’s the script itself that I have problems with. He will convince you that Ajith wanted it to be a G

VM movie and that it’s just another episode in a police officer’s life. I don’t deny that and I think that’s how it should be. But no matter what, I am not entirely convinced with the idea of rehashing all of his old movies. It unfolds as an honest flick with realistic performances that’s sure to go well with the critics. But as a fan of GVM’s direction and Ajith’s acting, my expectations were sky rocketing into something else altogether. It could be down to the fact that the movie just happened out of the blue with him already gone shooting for his movie with Simbu and he had to get a script ready in the last minute to make a movie with an actor he had wanted to work ever since his first movie. The movie did not disappoint for sure and it was refreshing to see Ajith in a performing role but you can’t help but feel a bit let down by the writing despite having Sriram Raghavan and Thyagarajan Kumararaja on board. May be this is only the first chapter of a long and fulfilling partnership. I’d be happy to see Gautham direct a full fledged romantic movie with Ajith in the lead.

As for Yennai Arindhal, well, nothing much to know about it!  

The Dark Knight Rises - How far..?

There are movies that entertain you. There are movies that enlighten you. But there are very few movies that does both, by taking us on a magical journey and lets us experience what's going on in the screen, in our minds as well. The architects behind these spectacles are its screenwriters who bond the audience to these movies with an emotional string. Of late, these amazing writers are few and far in-between. Christopher and Jonathan Nolan are two men who has turned the art of screenwriting to a altogether new level. So before I begin my candid take on the epic conclusion to the Batman trilogy, I salute the architects who are changing our movie viewing experience for the better. Take a bow masters. But, have they scripted the perfect ending?

The Dark Knight rises is about how Batman comes back from self imposed exile to counter his nemesis, albeit in the physical sense, Bane. It shows how, a superhero having sent to the deepest dungeons and crushed both in body and soul, somehow reinvents himself to come back and save the greatest city on earth. But beyond the action, what this movie does is to question not only each pivotal character of the movie, but also the audience. When we leave the theater we are invariably drawn into a conversation not only with our friends but also within ourselves trying to find answers to those disturbing questions. It forces you to answer questions like, “What have you done for you to be saved?”. Think a bit on the cynical side and you will agree to the methods of Bane and Talia and Ras Al Ghul to restore stability to the world. That’s the kind of world that Nolan transports you to. He is one of those rare breed of directors who takes the center stage in his movies instead of his lead actors and that’s the power of good script writing. The movie has got each character having their own personal struggle to the larger one they were all facing. Bruce Wayne’s inability to get over the loss of her beloved Rachel, Alfred’s failure to take care of Bruce like the way he promised his parents, Selina’s wanting to get a new start but finding no way out, Gordon’s struggles of having to live with a lie for 8 years even if it’s for a greater cause was all masterfully interlinked to the screenplay. It proves a simple fact that you cannot protect a lie for long, not even by the strongest of hearts and that truth has to be told, even though it is bitter to swallow. Nolan also ponders into the politics of all by choosing to stage Bane’s attacks in two very distinctive places, a stock exchange and a sports field, two big money dwelling spots. That’s pure genius. Having said that, as disturbing as the movie is, it is not without its flaws either.

Now, I am no critic and being a fan of Nolan myself, its hard to come down on your favorite director but there were a few things that was a bit of a letdown in this epic finale. The Dark Knight was magnificent because of the tight plot and breathtaking performances. The finale lacked both, albeit only just. But since the bar was raised so high in the previous movie, it looked like a gaping hole. Screenplay was flat for most of the times with Nolan’s usual wise grip missing. Not to compare with the magnificent Heath Ledger, Tom Hardy had much less to improvise on his character, albeit through his eyes and body language. A wonderful actor as he is, he manages to do justice to the role if not set the stage on fire. It is the conversations between Bane and Batman that was a put down. Knowing Nolan, I was expecting it to be no less than legendary but not to be. And Bane’s motives, I thought, were flawed too. He set out to give the power to the people of Gotham but how? Rounding out thugs from prison to raise your army is so not the start. If it was shown that Bane did convince the less privileged people of Gotham to fight for him and the cause, that would have made for an intriguing climax. How would Batman fight against a man who is fighting for the people? But sadly, there was no meaning to his motive of “Giving the power of Gotham to its people” and in the end, it almost seemed too obvious that everybody was waiting for Batman to come and rescue them. There was one small scene that took me by surprise. In the end, in Florence, Alfred watches, smiles and nods to Bruce Wayne sitting with Selina Kyle. Nolan would actually finish with a smiling Alfred leaving the imagination to us like how he closed before Dicaprio's totem before it stopped spinning in Inception.

I don’t want to bitch anymore about a trilogy that set our brain sensors ringing. Rarely you will find people talk about movies like how they talk about Nolan’s Batman Trilogy. The Lord of the Rings were a different beast, but this is one series that you can talk, analyze or even do a PHD on. The scope that it showed was enormous. The casting and crew went a long way in making all this magic happen. Christian Bale grew into Batman in every installment and in the final, he has given a performance that can even land a first ever best actor for a portraying a superhero. He is now the reference for any actor portraying Batman. Tom Hardy was an inspired choice as Bane and Nolan’s liking for Michael Caine will never vanish and rightfully so. Morgan Freeman and Gary Oldman proved their veteran qualities yet again and Joseph Gordon-Levitt was neat as usual. The biggest surprise is Anne Hathaway who excels in her role as Selina Kyle/Catwoman. She did well not to refer to Halle Berry’s disastrous earlier attempt. Marion Cotillard is on her way to become one of the best female actors and TDKR gives her scope to get the best of her. The revealing of Talia and Robin were straight out of Nolan’s script book. Two chief technical people, Wally Pfister with his breathtaking photography and Hans Zimmer with his awe-inspiring music takes TDKR to the next level.

I don’t want to indulge so much into the theory I gave earlier on Facebook that I would have prefer an order as Batman Begins-The Dark Knight Rises-The Dark Knight for the trilogy. I know it sounds stupid outright but I am not without my reasons. I am not suggesting a scene to scene ordering here. Think of it this way. Batman Begins with evil genius Ras Al Ghul and motives followed by Talia attempts to fulfill her father’s destiny with the help of Bane in TDKR. When Gotham was saved from these physical ravages comes the threat to its very soul from the Joker which when thwarted by Batman, makes Gotham a city resilient to attacks both on its body and soul, making it a model city. Stupid or not, it is a tribute to Christopher Nolan that he made me think that way.

So, The Dark Knight Rises - Only just.

Billa II Review - Incomplete

Ajith is an enigma. He can surprise and frustrate you at will. He commands a fan following that makes a lot of other actors jealous. Yet, you can say that he rarely lives up to his true potential as an actor par excellence. Billa-II is one of those movies where you feel incomplete when you come out of the theater. There is an overwhelming feeling that his movies must become a hit because you just love him both as an actor and as a person.

Billa II tracks the early life of David Billa from humble beginnings to a don. It is a one line that requires a lot of conviction to pull off as a successful script. I think this is where Ajith made the biggest mistake of going for an untried director who was a “Credits Only” pet dog director for Kamal Hassan in Unnaipol Oruvan. Sure Ajith had creative differences with Vishnuvardhan, but he could have gone for an experienced hand in a prequel of this magnitude. Overall, there was something missing in everything. Editing, casting, placement of songs, romance and even the stunts pleaded for better handling. Chakri Toleti’s inexperience showed in every frame.

With no disrespects to Superstar Rajnikanth, Ajith has made the character David Billa synonymous to him. He has made a successful franchise out of David Billa, a bit like James Bond I’d say with theme music, costumes, and women and of course style. He looks ravishing despite the generous waist line (I don’t understand why some people can’t accept slightly heavy dons). His screen presence is next only to the superstar himself. He has proved once again how he can single handedly carry a movie on his shoulders and is one of the best ever in doing roles with negative shades. He emotes well and as always is at home in action sequences. It is hard to be a critic of his acting because he is a bloody good actor. Some people question his rather tedious sounding dialogue delivery, but then I don’t think anybody expects a don to talk like Govinda either. There is one thing I have noticed in his recent movies. Be it Mankatha or Billa, there is glamour all around him and yet he is oblivious to it. I wonder if he does this intentionally.

Parvathy Omanakuttan makes me wonder how she got till the finals of the Miss World Pageant. Bruna Abdullah looks ravishing but hardly any scene to flaunt her curves or any conviction of her characterization. Sudhanshu Pandey is convincing as a cool and calculating don but the biggest surprise is Vidyut Jamwal. Neither does he fit in as an East European Don nor does he has screen time to make a serious impact. These are the sort of tactical blunders that gives you an incomplete feel.

RD Rajasekar and Yuvan Shankar Raja gives you two good reasons (Movie’s a bit short of it) to watch the movie. National Award winning editor Suresh Urs is a bit of a letdown. May be he didn’t have so much to play with. Stunt choreography is like the movie, incomplete with palpable logical holes. The much hyped climax helicopter stunt also failed to live up to the hype. But I liked the raw nature of action, the no holds barred style that is synonymous with ruthless dons. Also new to Tamil Cinema is the “Guy Ritchie” type of black & white scenes in the “Unakkul Mirugam” song. But a few flashes of brilliance cannot undermine a meteor hole that is the screenplay.

Overall, it is the same frustrating case of “What If?” that is getting synonymous with Ajith’s movies of late. It is watchable unlike his earlier duds like Aegon or Asal. Ajith won’t lose a fan out of this because Thala fans will have their money’s worth because he’s in almost every frame. But what could have been a tight action movie turned out be a laborious and out of direction, literally and otherwise.

Enthiran Review – Watch it & be proud of being an Indian

Actor Ramya Krishnan, when asked about the Rajni-Ash combo said ‘I’m here to watch Rajni and that’s enough for me’. It looks like she’s right. Because in ‘Enthiran – The Robot’, it’s the superstar all the way. For hardcore Rajni fans like me, the 2 year fasting is over and we are hungry for a Rajni feast. Ask and you shall be given seems to be Shankar’s motto & he has given a movie that not only stamps his authority, but also weaves Rajni magic throughout.

Dr. Vaseegaran (Rajni), a scientist introduces us to Chitti - The Robot, his look alike and a friendly robot. Dr. Vasi has ambitions to induct number of Chitti’s in the Indian army and hence teaches Chitti, human emotions which backfire when Chitti starts to develop romantic interest towards Sana (Ash), Vasi’s girlfriend. This creates a singularly unique love triangle. When Chitti was rejected by the army and banished by Vasi, he is rechristened Chitti 2.0 by Vasi’s enemy & former mentor Dr. Bohra who induces destructive programs into Chitti 2.0. Chitti kidnaps Sana and what follows next is an experience of the 1^st order in Indian Cinema. See it to believe it.

I have to applaud Mr. Shankar. I’ve been a critic of his seemingly unwanted expenditure of his films. But Enthiran was different. When you look at the movie, you know that the money that was spent is justified. The graphics and locations were perfect and every micro meter has been carefully handled. The CG work, especially the final 20 minutes is the best India has seen in its films. But I must admit that I felt that some of it were too much and could have been slicker. The final sequence was, in my opinion, one for kids and families and the mosquito mode scenes were unwanted.

Super Star Rajnikanth. He carries the movie on his shoulders and does it well. I liked the way he let Shankar realize his dream and not impose himself. If one was surprised by the simple introduction to Rajni in the movie, they would be even more taken back when Dr. Vasi resorts to fleeing with his girlfriend when she was attacked by a rogue in a beach. It’s in the role of Chitti that he shows his full powers. Be his comic timing, style or action he lives it up. But where he excels is when he transforms into Chitti 2.0. He’s always comfortable doing negative roles and in this, he brings all his villainous variety into play. His black sheep mimic was the cherry on top. As a critic you must say that in a movie scripted for Kamal Hassan, Rajni has certainly not let his best friend down. He has incepted his own style to it without affecting the soul of the movie. Well done Thalaiva.

Ash looks gorgeous and shares more space than any other Shankar movie heroines. Danny is adequate though I expected more from him. Rest of the cast is hardly noticeable and insignificant. A.R. Rahman’s music is not up his standards. May be he was too busy but this is just not his best. Technical crew of Enthiran has lived up to their billing and the result is a near perfect technical presentation that we see on screen.

The movie has be to seen and applauded for the effort that has been put to create it. You have to admire Shankar for this. He also drives home the message about now pathetic humans can be with all their so called emotions. Most importantly, you have to admire for the fact that without Rajni, this movie would not go so far revenue wise. A producer, no matter what kind of background he has, has to get his money back and Rajni has proved that he’s the safest bet yet again. In the business of cinema, not one can guarantee a profit for 160cr investment except him. That’s why he is the best. I liked the fact that he has underplayed his role to allow more space for Shankar. If Shivaji was a Rajni film directed by Shankar, Enthiran is vice versa.

Enthiran is a complete package, an experience that needs to be cherished. This one is for every Indian to see what they can do. Mr Shankar has just realized his dream, when are you going to???

Billa - Ajith's Billa, Not Rajini's

Let's set the record straight first. Billa 2007 is a faithful not like don. It's adaptation of Rajini's 1981 classic of the same name. If you come to the movie expecting Ajith to do a Rajini, then you won’t like it. This is a complete Ajith show with a totally different viewing experience.
The story is same as in the original Billa. The elusive don David Billa (Ajith) is accidentally killed by the police assistant commissioner Jai Prakash (Prabhu) while trying to capture him alive. So, he changes a petty thief Velu (Ajith), a Billa look alike into Billa to get inside information of Billa's gang and capture them all. Velu successfully infiltrates Billa's gang. Just when the gang and its mysterious chief, Jagadeesh (Rahman) was about to be captured, Prabhu is killed by Jagadeesh. Velu is caught in an identity crisis. He has to survive both the police who think he's Billa and his gang who by now knows that he's not Billa. He has to trust a girl who tries to assassinate him, Sasha (Nayanthara) to reveal his identity and capture the mysterious chief. How he successfully accomplishes the two tasks forms the climax.

Ajith as David Billa is stunning. He has lived the role of a don. He is stylish in his looks and brutal in his actions. His killing of a leaving gang member and his girlfriend were proof of his brutality. Ajith in his Armani suits, Ray Ban glasses and cars (BMW, Jaguar etc) looks dashing. He does negative roles with relative ease which most will agree takes more than a smile. Ajith as Velu could have done better. There will be inevitable comparisons of Rajini's comic relief as Rajappa compared to Velu. Ajith's incompetence in comic scenes shows here. But his overall screen presence is amazing.Nayanthara's transformation from a chubby actress to a slim, sexy babe is stunning. She looks out of the world for a Tamil actress with her bold & sexy looks though she does remind you of tomb raider. Namitha as the second heroine fits the bill of a gangster's lover. Prabhu as the police commissioner and Rahman as the Interpol officer & Jagadeesh showed their maturity.

The movie's high points were many. The overall outlook of the films is stunning and cinematographer Nirav Shah need a special mention for giving the viewers a never before seen viewing experience. Stunts sequences were choreographed with a touch of reality to it. The car chase scene needs a special mention with no over the moon flying of cars, though it reminds you of Fast & Furious - Tokyo Drift. Costume designing needs a special mention. Anu Vardhan has really worked hard to give the stylish looks for not just Ajith, but for every actor in the movie. The use of cars and weapons were all up to the point.

On the flip side Velu's character could have coiled better. He lacks the comic flair that is associated with his character. The transition of Velu to Billa is so fast, that you wonder you wonder how his gang believes him. Song choreography is a let down. Blame it on his spinal surgery, but Ajith's performance in the two fast paced song sequences (Vethalaya Pottendi & Seval Kodi) were less than impressive. Even his usual energetic face expressions were missing in the Seval Kodi song. Screenplay of the movie could have been a lot faster. It creates a boring atmosphere which many would not welcome.

Yuvan Shankar Raja has done well in the background score for the movie but could have done well in the songs, given his proven track record, especially with Vishnuvardhan.

Vishnuvardhan has done well to recreate a movie that still remains as one of superstar's best and done so with aplomb. He did not try to recreate Rajini's magic. Instead he has let Ajith bring his own power packed performance to the forte. This is a movie with a totally new experience. If you try to compare this with the original, then you may not like it. Dialogues were all up to the point. But the director could not help but steal a famous dialogue from the Italian Job where Charlize Theron says, "I trust you... I just don't trust the devil inside you"... Does that ring a bell? It fits the movie though. The Director's use of latest technology and gadgets were applaudable, especially cars and suits. His choice of locations needs a special mention too. He brings to you a feel that Tamil movies are changing for the good. Actions movies getting critical acclaim is a rarity. This could well break that trend by being a critically acclaimed film as well, along with commercial success. It takes more than a smile to recreate a blockbuster film that had a superstar at his best. Special salutes to both Vishnu and Ajith for making this happen. Overall, Billa 2007 is a faithful recreation of Billa. Forget Rajini and you’re in for a totally different and refreshing experience.