Polladhavan (2007)

Polladhavan

Frustratingly the only copy I have ever been able to find of Vetrimaaran’s debut film is a relatively poor quality VCD  that doesn’t have English subtitles. It’s particularly annoying knowing how well written the dialogues were in Aadukalam (even via subtitles) and I’m sure there is much I have missed in Polladhavan as a result of not understanding the language. However the story is still clear and easy to follow, with plenty of scenes that suggest a similar attention to developing the flawed characters and their relationships as in Vetrimaaran’s subsequent film.  Although there is much that initially seems familiar about the story, as the film progresses it breaks away from the typical gangster film mould and becomes as much about family as the struggle between Prabhu (Dhanush) and the gangsters who have stolen his beloved motorbike. There is plenty of tension and suspense, and the path to the final bloody showdown is rather more convoluted than expected. It’s a good story, entertainingly told and really deserves to be more readily available to a wider audience.

Dhanush appears in his by now very familiar role as Prabhu, an unemployed layabout, content to spend his days playing carom and hanging out with his friends Kumar (Karunas) and Sathish (Santhanan) or annoying the local bike dealers by repeatedly viewing a Pulsar motorbike. He has no hope of ever being able to afford the object of his desire but continually attempts to get a cheaper price along with a long instalment plan for payment and seems convinced that he will one day be the proud owner of the latest model. Nothing wrong with having a dream!

Prabhu is at odds with his father (Murali) who wants him to get a job, but is supported by his mother (Bhanupriya) who slips him money behind her husband’s back. There are the usual family arguments about money and Prabhu’s failure to contribute to the household, but things change after Prabhu confronts his father following a drunken night out. Prabhu accuses his father of not supporting his attempts to find work compared to his friends whose fathers who have paid bribes or bought them a start in their chosen career. Although this seems a very strange argument to me, it strikes a nerve with Prabhu’s father and he cashes in the money set aside for his daughter’s wedding and gives it to Prabhu instead.

Naturally Prabhu immediately goes and buys the bike.

What is interesting is the way this argument and Prabhu’s subsequent purchase of the motorbike change the family dynamic.  While Prabhu’s mother accuses him of wasting the money, Prabhu’s father supports his son’s right to do whatever he chose, even if he doesn’t agree with that choice. The family arguments feel realistic and plausible and Prabhu’s conviction that his bike will help him get a job seems typical of any young man in similar circumstances. Body language is key and Vetrimaaran uses different angles and distance shots to convey the changing relationships. It helps give the film an authentic sense of a typical family which makes the subsequent scenes of violence a complete and striking contrast.

Amazingly Prabhu’s purchase has the desired result and he manages to get a job, further aiding his reconciliation with his father. The development of their relationship is shown in small moments such as when his father chases away the neighbourhood children playing on the bike, or by his father’s smile when he sees job adverts circled in the newspaper.  It’s effective and develops relationships while avoiding a big family make up scene that would only have interrupted the flow.

As well as dreaming about owning a motorbike, Prabhu has spent the last 2 years infatuated with a girl he sees at the local bus stop. The bike and his job give Prabhu the confidence to finally approach Hema (Divya Spandana) and after a shaky start the two begin a relationship. However, after a good beginning with plenty of humour and promising signs of a personality for Hema, once the action ramps up the romance is relegated to the background with Prabhu’s first love (his motorbike) taking precedence in the story.

As things are going well for Prabhu, in a semi-parallel storyline local gangster Selvam (Kishore) has problems with his younger brother Ravi (Daniel Balaji). Selvam deals in drugs and is involved in various other illegal activities as he runs his area with help from his best friend Out (Pawan). Ravi wants a bigger role in his brother’s endeavours despite his quick temper and apparent general unsuitability for any responsibility. Prabhu crosses paths with Ravi a few times in chance encounters, but most notably on a night when the gang is involved in a murder and Prabhu’s bike is stolen. The two events may, or may not be connected but Prabhu really doesn’t care – he just wants his bike back!

Some of the best scenes occur when Prabhu’s search takes him to different crime operations with a fascinating look at how bikes can be hidden and smuggled around the country. These brushes with the shady side of Chennai bring Prabhu into closer contact with Selvam and his brother Ravi, and the situation escalates as Prabhu discovers exactly what has happened to his bike.

Dhanush gets everything just right here in his portrayal of a young man gradually developing maturity and responsibility but easily distracted by events around him. His spiral into violence is clearly shown as a reaction to circumstance with the infatuation with his bike a convincing reason for the decisions he makes. I had friends who were just as obsessed with their bikes (and I have to confess to a certain amount of obsession with my own!) so it totally makes sense to me that Prabhu would go to such extremes to get his bike back. Ravi is a more typical Tamil film gangster, but his brother Selvam is an interesting character who seems to be a ‘gangster with a conscience’. The interplay between Ravi, Selvam and Out is well done, and once Prabhu is added in to the mix, the story evolves quickly with plenty of suspense thrown in for good measure.

 The final scenes revert to more typical gangster film fare with the inevitable final showdown, but Vetrimaaran keeps it interesting by giving his bad guys realistic personalities and reasons to act in the way they do. The fights are short, bloody and more convincing than usual which also avoids sensationalising the gangster element of the story. Although there are a few fights where Prabhu defeats 3 or 4 henchmen, at least it is only 4 rather than 20, and Ravi isn’t a big burly guy either so his fight sequences with Prabhu seem slightly more credible. Apart from the rather Salman Khanesque way Prabhu loses his shirt in the final fight, which is a little OTT but is also a lot of fun too!

While the fight scenes work well, the songs are less successful. Although the music by G.V. Prakash Kumar is catchy enough, the picturisation and choreography are generally mediocre and mostly the songs don’t fit well into the narrative. However the rest of the film looks good, at least from what I could see from my poor quality copy, and the strong cast all deliver good performances. Vetrimaaran’s strengths lie in developing characters with depth and attention to detail in building relationships, and both are used to maximum effect here.  The story may not always flow as well as it could but when it comes to the characterisations and the overall plot, everything works perfectly. The screenplay rarely lags and there are enough twists and surprises to keep the film engaging right to the very last frame. While Polladhavan may not be perfect it is a great first film for Vetrimaaran and well worth watching for a gangster film with a difference. 4 stars.

Midhunam (2012)

Midhunam Poster Over the past few years of watching Telugu films I’ve seen Tanikella Bharani on-screen in many roles, but most usually as the sensible father or responsible authority figure providing support to the hero or heroine. He appears as such a natural actor and fits those roles so well that I was surprised to find out that he is also an accomplished writer, dramatist, poet and now film director. In Midhunam, Tanikella Bharani has adapted a short story by Sri Ramana, writing the screenplay and dialogue and also directing the film. It’s a lovely little story about an elderly couple living alone in the country that focuses on relationships and shows that love doesn’t fade with the passing of time. It’s rather unusual in that there are only two actors for the whole two hours, and the film concentrates on their day to day activities and interactions without any momentous dramas or major events. It’s beautifully done, and is well worth a watch for a well-drawn picture of a happy marriage and a glimpse of rural life.

Appadaasu (S.P Balasubrahmanyam) and his wife Buchchi (Lakshmi) live by themselves on a small farm in the country. They have five grown up children who have moved to the USA but who keep in contact with their parents by phone. The couple seem to prefer their solitude and isolation, with Appadaasu shouting at a persistent caller who keeps knocking on his door, and yelling at his son down the phone when he calls unexpectedly. Buchchi on the other hand does seem to miss her children, but doesn’t have any wish to move away from her home despite the hard work it takes to keep everything maintained. She keeps a mobile phone hidden in one of her pots in the kitchen to talk to her children without her husband’s interference, although this seems more to be a way of outfoxing her husband rather than actually something that is completely necessary.

The couple squabble incessantly about literally everything, but their arguments seem to be more as a result of knowing each other too well and being very comfortable with each other rather than from any genuine acrimony. They are like small children, pushing at each other until they get a reaction, but not taking any of it too seriously. It feels comfortable and natural, just like any married couple after a number of years together. There is also a lot of laughter as they play tricks on each other and each tries to get the upper hand. Buchchi seems to be the more sensible one but she strands her husband on a top shelf by removing the ladder so that she can make coconut chutney in peace, and teases him later on by dressing a scarecrow in his clothes. Their love for each other shines through all of the bickering and teasing, and is the central thread around which everything else is woven.

Appadaasu is a man who takes his food seriously and much of the film is either about growing food, the preparation of food or eating.

The couple harvest everything they need from their farm, and they have impressive crops which do look very appetising. In fact the major focus on food might be one of the reasons why I enjoyed this film so much! At one point one of the sons proposes that the family come home for a wedding, and Buchchi immediately starts cooking enough food to feed an army. This is accompanied a song which celebrates pickles amongst many other traditional foods and is just mouthwatering!

There is an old radio on the wall and the programs and old songs are incorporated into the film, adding to the story. Both Appadaasu and Buchchi have conversations with their cow Savithri, who is almost a third member of their family and serves as a sounding board for some of Appadaasi’s ideas.  In between all the cooking and eating, Appadaasu expounds his philosophy that retirement from his teaching job doesn’t mean that he doesn’t work. He makes sandals, cleans cotton, throws pots and does a myriad of other tasks that emphasise his practical nature and willingness to do whatever he feels his wife wants. Actually asking and doing what his wife really wants naturally isn’t an option, and Buchchi makes sure that Appadaasu knows when he’s missed the point completely.

S.P.  Balasubrahmanyam is perfect in the role of Appadaasu. He’s cheeky and mischievous but also appears suitably serious when necessary. His expressions are wonderful and he fits the part of a cantankerous but loving husband perfectly. Lakshmi is also well cast as Buchchi and is the ideal partner for S.P. Balasubrahmanyam. The two have great chemistry together and the rhythm of their dialogue sounds as if they really have been together for years. That’s down to some good writing too, but the body language, delivery and tone from both actors ensures that they do appear to have grown old together and are very familiar with each other as a result. The use of older songs helps set the mood of the story, as does the beautiful location and wonderful farmhouse. I’ve just spent a week staying at a farmhouse near Tanjore, and much of the décor was just the same as my own recent experience. The film feels authentic due to this and many other small touches which is part of why it works so well. The cinematography by Rajendra Prasad Tanikella (a relative?) is also outstanding with beautiful use of light during the night scenes and great shots of the farm and surrounds.

This is a sweet film that simply follows the ups and downs of life for an older couple and shows how a marriage might be after more than 50 years together. It’s charming and yet meaningful with the contrast between Appadaasu and Buchchi’s life and the imagined lives of their children overseas just one of the ideas explored. There is jealousy, anger, forgiveness, tenderness, love and sacrifice, all mixing together to add colour and life to the description of a successful partnership and just what that partnership really means. A beautiful film that deserves a wide audience. 4 stars.

Anegan

Anegan

Somewhat ironically I had to wait until I got back to Australia to see KV Anand’s latest film despite spending the last few weeks in Tamil Nadu.  I was keen to see Dhanush in a triple role, since the trailer looked promising and three times as much Dhanush can only ever be a good thing! I also loved both Ko and Ayan, and was hopeful that Anegan would be a return to KV Anand’s earlier form after the disappointment of Maattrraan. And overall I wasn’t disappointed with Anegan. The first half is a little slow, and Dhanush’s really quite terrible wig in his first incarnation is rather distracting, but the second half is much better with an improvement in the main relationship and some good plot twists. Although the story doesn’t really get going until after the interval, catchy songs, some stunning visuals and an entertaining story make Anegan well worth a trip to the cinema.

Anegan opens in Burma of the early sixties and tells of a romance between a Tamil labourer Murugappa (Dhanush) and the daughter of a high-ranking official Samudhra (Amyra Dastur). It’s all fairly typical stuff, including a damsel in distress and daring rescue scene, secretive meetings in full public view and the stiff parental opposition you would expect. What never fails to amaze me is how young Dhanush can appear to be when required – a shave plus a bad wig and suddenly he looks sixteen. Here he appears younger than his co-star despite her giddy antics and plaited pig-tails, and maybe that’s why the romance never seems to sizzle. It’s not the best start for a love story that is supposed to be strong enough to span time and involve a number of reincarnations, but there is a sweet song and at least the lead pair look reasonably cute together. Naturally fate intervenes when the military coup forces most of the Tamil workers to leave Burma and Samudhra tries to escape her abusive family by tagging along with the general Indian exodus.  However Samudhra’s escape is foiled by Mallika (Aishwarya Devan) who is jealous of Samudhra’s relationship with Murugappa and things don’t end well for the star-crossed lovers.

Fast forward to the present day, where Madhu (Amyra Dastur again) is undergoing regression therapy to help her deal with the stress of her job in a large gaming company in Chennai.  The story of Murugappa and Samudhra is revealed to be her ‘memory’ of a past life and Madhu is convinced that the different incarnations of Murugappa she remembers mean that he is her soul-mate, and that they are destined to finally be together. The previous lives she remembers all have the two separating in quite horrible circumstances, generally involving murder and death, but this possible outcome doesn’t seem to worry her at all. Instead Madhu’s only concern seems to be that she hasn’t managed to meet her ‘soul-mate’ so far in her current lifetime.

Naturally that is remedied almost immediately and Madhu meets Ashwin (Dhansh again), an IT expert, also working for the same company. Yet again he’s from a lower class family but unlike Madhu, Ashwin has no memories of a past life and very little interest in Madhu other than as a work colleague. But soon event start repeating – Ashwin steps in to save Madhu from serious injury, and co-worker Meera (Aishwarya Devan again) is a potential rival for Ashwin’s affections, while Madhu is relentless in her pursuit of Ashwin as her long-lost love.

For most of the first half Madhu is erratic and completely annoying as she veers between bratty rich girl behaviour and total mental instability, although I put most of her crazy psychotic behaviour down to the drugs she is taking from her therapist mixed with the natural remedies from the family’s guru. Her attitude makes her a rather unlikeable character for most of the first half and her attempts to convince Ashwin that they are MFEO should have been enough to see him run for the hills. But instead he seems to suffer from a similar mental disorder and for no particular reason at all (unless it’s her inherited millions – which would at least make sense!) Ashwin decides that he’s in love with Madhu.

Thankfully Madhu becomes somewhat less irritating in the second half. The film moves back in time again while she relives her past life as Kalyani which turns out to be one of the best parts of the film. Perhaps the effect of the wigs wears off after prolonged exposure, but Dhanush’s Kaali is vibrant and likeable while Kalyani is less naïve than Amyra’s other incarnations, leading to some definite sparkage between the couple. The present day scenes also step up a pace in the second half as Ashwin and Madhu work with Commissioner Gopinath (Ashish Vidyarthi) to find out what happened to Kali and Kalyani and Madhu’s boss Ravikiran (Karthik) starts to take an interest in his employee’s mental deterioration. Dhanush is excellent throughout and makes his three separate characters (four if you include one who only appears in a song) quite distinctly different personalities. Murugappa is sweet and innocent, Kaali is a rough and tough rowdy with a heart of gold while Ashwin is the quintessential computer nerd, who still manages to fight like a pro, filmi style. Ashwin provides the thread that binds them all togther, but the most successful is Kaali, and Dhanush looks as if he is having the time of his life dancing and singing through the streets in a mesh singlet!

Anegan is a good blend of romance and action with a reasonable thriller element woven into the story, and generally strong characterisations. There are a few totally unrealistic moments, Madhu speeding through the traffic in Chennai is one (hah! nope – couldn’t happen in Chennai traffic!), and the attempts to make Ravikiran a hip and trendsetting boss fall rather flat, but mostly the screenplay from KV Anad and Subha works well.  Amyra is rather overshadowed by Dhanush and her theatrics in the opening scenes are particularly wearing, but she does improve as the film progresses. Aishwarya Devan is better is her small role  and it’s a shame she didn’t have a longer time on-screen. The rest of the supporting cast including Jagan as Ashwin’s friend and Mukesh Tiwari as Madhu’s uncle are all good, and Om Prakash ensures the film looks stunning with the scenes in Burma particularly well shot. Harris Jayaraj’s songs fit the film well and the background music is also excellent. Overall the film mixes plenty of action, comedy, suspense with the romance, and even if the story is fairly predictable the different incarnations of the lead characters ensure the story feels fresh and engaging. Anegan may not be quite in the same league as Ayan, but it’s definitely a large step in the right direction and well worth a watch –  and not just for the multiple incarnations of Dhanush!

Mouna Ragam (1986)

Mouna Ragam

If you’re in the mood for a classic love story with just a touch of mushy sentimentality, you can’t really go past Mouna Ragam. Mani Ratnam’s beautiful 1986 film takes an arranged marriage between a compliant groom and a reluctant bride as the starting point for a look at relationships and how two strangers can learn to live with each other. It’s well worth watching for the excellent performances from the main leads, Mohan, Revathi and Karthik, but also for the simple but effective storyline and wonderful music.

The story follows Divya (Revathi) a fairly happy-go-lucky student whose world is shattered when her family arranges her marriage. The groom is Chandrakumar (Mohan) and even though Divya lists all her worst qualities on their uncomfortable first meeting, Chandra likes her honesty and decides that she will be the perfect wife for him. The opening scenes add to the realistic feel of the film as they illustrate just how young Divya is, playing tricks on her older sister and husband, and showing her simplistic and childish ideas to counteract the unwelcome marriage proposal. However, against all her objections, Divya is pressured into the wedding by that age-old family drama – a threatened heart attack / medical collapse. Divya is just as susceptible as every other film heroine and without further ado her husband whisks her off to a new life in Delhi.

The relationship is shown as difficult right from the start. As Chandrakumar shows Divya around his house in Delhi after the wedding, Divya’s body language makes it obvious that she doesn’t want to be there, while Chandrakumar is clearly feeling the hostile vibes but trying to be as welcoming as possible. This awkwardness seems exactly what I would expect from two strangers suddenly having to live together and Mani Ratnam has captured their uneasiness perfectly. I don’t know, never having been through it, but this seems to be a plausible reaction to the abrupt intimacy between two people who have only just met. It’s thought-provoking and one of the things I love about the film, that just a few moments can invoke such a complicated emotional response from me.

Despite her classy new abode, which is a world away in size and conveniences from her family home, Divya is very unhappy with her marriage. So much so that when asked what she would like most from her new husband, her immediate answer is a divorce. This is a pivotal scene and it’s beautifully played out by Mohan and Revathi. Chandrakumar’s shock and hurt are palpable while Divya appears to be no more than a sulky school girl trying to be as obnoxious as possible.  Needless to say as a rejection it works well, and since she follows it up with more nasty remarks it’s to his credit that Chandrakumar manages to keep his cool. This is the turning point of the film for me with Chandrakumar’s character partly due to his emotional responses (which make me feel sorry for him), and partly because he shows more personality in interactions with his work colleagues. It’s an important change since up until this point he’s fairly bland and unexciting, making Divya’s reluctance to go through with the marriage relatively understandable. But Chandrakumar seems a good catch. He’s got a good job, a nice house and is considerate and understanding, particularly when faced with Divya’s immature taunts. With just a few simple scenes, Mani Ratnam turns the story around, and suddenly it’s Divya’s reactions and inability to make the best of things that become difficult to understand and instead of wanting her to get divorced, I want Divya to fall in love with Chandrakumar and be happy in her marriage.

Eventually Chandrakumar asks Divya exactly why she is so against the idea of their marriage (possibly something he should have done before the wedding), and she tells him about her first love Manohar (Karthik), who was killed just as they were about to get married. The story of Manohar and Divya is told in flashback and although Karthik only has a small role, he’s an excellent romantic partner for Revathi and the two share great chemistry together.  The difference between the two relationships stands out clearly. Divya and Manohar have a light and happy relationship, their scenes together are full of life and there is a sense of energy that is missing between Divya and Chandrakumar. Karthik is very appealing here as the quintessential ‘bad boy’ who is of course not really bad at all. However, while the romance is well told and Divya with Manohar is happier and nicer person, she also seems quite mature, which seems at odds with her juvenile responses to Chandrakumar, and her earlier carefree attitude as a student.

In the face of such strong contempt from Divya, Chandrakumar tries to arrange a divorce, but the law states that the couple has to be together for a year before they can apply. Naturally over this time Divya comes to see the good side of Chandrakumar and slowly develops feelings for him, while Chandrakumar gets a little of his own back by throwing her earlier remarks back at her and ignoring her attempts to be more friendly. This being a Tamil film it’s not guaranteed that there will be a happy ending, and the developing relationship is compelling viewing as the deadline for the divorce looms.

There is so much to enjoy here. Revathi is excellent in her role as Divya and her self-realisation and development of maturity is captivating. Initially she lets her emotions track across her face just like any young girl and her petulance and hostility is perfectly nasty. Just think of how obnoxious any group of schoolgirls can be – that is exactly what Mani Ratnam has captured here. With Divya’s slow acceptance of her husband there is a softening of her expressions, and when the realisation of what she has done sinks in there is maturity in her actions too. However she is still a young girl at heart, as shown by the tricks she plays on the driver Sanjit Singh. I love the way Mani Ratnam emphasizes her isolation by moving the couple to Delhi where Divya cannot understand the language and is confused by the cultural differences. It adds to the problems she has and ensures that she has to resolve her problems by herself. There is no convenient family or friend to help her, although the lack of interference from Chandrakumar’s family is a little surprising.

Mohan is just as good and although his Chandrakumar initially seems too perfect to be true, he becomes more human and therefore more likeable in the second half. He does an excellent job of portraying a ‘nice guy’ and has just the right amount of revenge on Divya without becoming cruel or spiteful. He’s an ideal contrast to the passion of Karthik, and I kept thinking of the old proverb ‘still waters run deep’ when the camera focused on Chandrakumar’s patience and tolerance.

Although the story is nothing new it’s beautifully told using a simple style with well developed characters and situations. As an added bonus the music by Ilaiyaraaja is excellent and this song Nilaave Vaa, sung by SP Balasubrahmanyam is just beautiful.

Mouna Ragam rightly deserves to be called a classic and despite the fact that I know what is going to happen, I get drawn into the story every time. Each character is perfectly drawn, the actors all fit their roles easily and there is none of the overblown melodrama which usually infects similar love stories of the time.  It’s one of my favourite romances, and I thoroughly recommend watching. 5 stars.

Queen (2014)

Queen

It’s heartening that the Indian Film Industry is producing more female-centric movies with the last few years having seen an increasing number of releases featuring a woman as the main lead. Even better, these are strong and independent women who don’t need to be rescued by a hero and can solve their problems by themselves, thank you very much. Queen is another film to add to the list, and a very worthy entrant it is too. In a somewhat similar vein to English Vinglish, Queen tells a story of self-discovery, but in this instance the protagonist is a young bride, jilted just before her wedding. Rather than bemoan her fate, Rani (Kangana Ranaut) packs her bags and heads off to Europe on her honeymoon by herself. It’s a charming look at Rani’s journey, both the physical trip and the metaphorical voyage, that doesn’t follow the expected path despite a number of frustratingly stereotypical characters along the way. I loved Kangana’s quirky take on an innocent abroad and her coming of age story is endearing and at times familiar as she negotiates her  way through the streets of Paris and Amsterdam.

The film opens with the preparations for Rani’s wedding to Vijay (Rajkummar Rao), a rather smarmy and chauvinistic engineer who met Rani in Delhi but is now living and working in London. The initial voice-over, filled with inanities from Rani as she contemplates the celebrations, her family and her approaching first night, is an excellent introduction to her character and is so very common place and normal that straight away you are drawn into her world. Vikas Bahl perfectly captures the excitement, apprehension and happiness of the occasion, and the first song is a lively and appropriate accompaniment to the celebrations.

When Rani is jilted, her family rallies round and is supportive of her decision to go to Europe alone. I was expecting some parental opposition but everyone seems happy to let Rani go, even though she has spent the previous 24 hours hiding and crying in her room.

What wouldn’t be a big deal to anyone else is a huge adventure for Rani and her amazement at the sights of Paris and Amsterdam is infectious, although I did have to wonder that a resident of Delhi had issues crossing a road in Paris. India is a much more confronting place as far as traffic goes!

In Paris Rani meets a young French woman Vijayalakshmi (Lisa Haydon) who introduces her to Paris nightlife and starts to open her eyes to the possibilities of a more independent life. Lisa Haydon is excellent, although her introduction scene is rather more dubious. However, just when you think the film is about to tread a well worth path featuring a shameless Frenchwoman and loud scenes of intercourse, the film switches direction and Vijayalakshmi turns out to be a more interesting character than first impressions would suggest. Of course there is still the stereotypical portrayal of her European loose morals, since she is an unmarried mother who likes to go out clubbing, but Lisa Haydon gives her character plenty of soul and a caring nature, which helps win over Rani’s initial mistrust.

The relationship between the two young women evolves very naturally and doesn’t fall into the plot pitfalls that loom once Vijayalakshmi takes Rani out drinking. My favourite moment is when Rani climbs up onto the bar to dance, and after twirling her cardigan striptease style, rather than toss it away, she stuffs it into her bag instead. Then dances manically to the strains of a remixed Hungama Ho Gaya. It’s such a classic moment and I totally understand what was going through her head right at that moment! It’s a major strength of the film that Kangana is completely immersed in her character and is such a ‘normal girl on her first adventure away from home’, making it easy to relate to her experiences and understand her reactions. It’s not flawless but it feels genuine and Kangana captures that mix of wonderment, elation and confusion perfectly.

Rani moves on to Amsterdam and therefore there are the expected scenes in a sex shop and with a prostitute who of course is working to send money home to her family. But in contrast to these clichéd moments, the developing friendship between Rani and her three hostel roommates is fresh and unexpected, particularly since all three are male! Mish Boyko as Russian Oleksander, Jeffrey Ho as Taka and Joseph Guithob as Tim are an unlikely trio of friends, but they help Rani discover her self-confidence, and support her new-found independence without any schmaltzy romance or unnecessary posturing. I love the interactions between the three as none of them speak each other’s language and also struggle with English, which reminds me of so many incidents in my own travels and keeps the film moving in unexpected directions. The characterisations do threaten to fall into very well-worn stereotypes, but they are spared by the spontaneous feel of the dialogue, and if nothing else, at least they are a hundred times better than the usual portrayal of foreigners in Indian films.

The support cast is excellent, particularly Rani’s family in India (Yogendra Tiku as her father, Alka Badola Kaushal as her mother and Chinmaya Agrawal as her younger brother) but the star here is Kangana, who completely sheds her neurotic persona perfected in previous films. She appears very genuine and natural throughout, with no sense of artificiality in her gradual shedding of inhibitions and development of confidence. The development of Rani’s self-awareness is well written but comes to joyful life with Kangana’s portrayal. She also is credited with writing some of her own dialogues, which, even with subtitles, are encouragingly realistic and non-filmi. Kudos too to Rajkummar Rao who is perfectly shallow, petty and immature in the role of Rani’s ex-fiancé and maintains his obnoxious personality right to the very end.   The music by Amit Trividi is also excellent and the songs are well placed in the narrative, keeping the flow and adding more layers to the story. The late Bobby Singh has also expertly capture of  the streets of Paris and Amsterdam in beautiful detail, although the cities did seem rather sanitised in comparison to my own experiences. Not too sure about the boots with this dress, but this is a beautiful song, and I love the expressions on Rani’s face as she meets and then farewells her friends – perfect!

Queen is a film with much to enjoy, most of it due to Kangana’s portrayal and her character’s travels through Europe, although the writing, direction and editing all perfectly align with the superb cast. The emotional journey is just as entertaining as the physical one, and I love the optimistic and up-beat ending.  Definitely one to watch with girl-friends, but Queen is much more than a chick-flick and I recommend it to everyone who wants to see something a little different. 4 ½ stars.