Pannaiyarum Padminiyum

Pannaiyarum PadminiyumPannaiyarum Padminiyum is another Tamil film I watched initially because I liked the soundtrack and thought the story sounded interesting. It’s based on an original short film with the central idea extended into a full length feature by writer/ director S.U. Arun Kumar. It’s a sweet story about a village landlord and his pride and joy in a vintage Padmini car that he borrows from a friend. While the film is mostly about the various characters in the village and how the car comes to represent their dreams, there are a number of love stories interwoven into the narrative – including one between the driver Murugesan and a village girl Malar. But the best love story is the one between the landlord and his wife Chellamma, and that’s the one that makes this film well worth a watch.

Pannaiyar (Jayaprakash) and his wife Chellamma (Tulasi) have an open house policy, where anyone in the village who needs anything can come and get their help at any time of day or night. They’re somewhat hindered in their efforts by their hapless servant Peddai (Bala Saravanan) who tends to jinx everything he touches, but really the only blot on their horizon is their daughter Suja (Neelima Rani). Suja visits her parents regularly and always manages to remove something of value from the house despite the best efforts of her mother. Chellamma is incensed by her daughter’s avaricious behaviour and Suja very definitely isn’t the usual ‘good daughter’ featured in rural Tamil dramas. I like this different take on the mother/daughter dynamic, particularly since Chellamma is kind and accommodating to everyone else. It’s only with her daughter that she has a mutually antagonistic relationship although it’s clear that the reason for it is the heartache Suja causes her father.

When Shanmugam (Mahadevan) lends his Padmini car to Pannaiyar, at first he is content to just stand and look at it as it sits in his yard. But then there is a village emergency and the car is needed to drive a young boy to hospital. Luckily for Pannaiyar, local farmer Murugesan (Vijay Sethupathi) knows how to drive a tractor, so he is quickly enlisted to drive the car to the hospital. Murugesan is introduced trying to race against a bicycle, so we know that he has a need for speed – even if his tractor can’t even win a race with a pedestrian let alone a cyclist. For Murugesan the Padmini car is a whole new world and he quickly becomes totally besotted with the car, as are Peddai and Pannaiyar and pretty much all the kids in the village. The joy they have in the simple presence of the car is well captured by the delight each shows in cleaning and looking after the vehicle, and the squabbles that occur as each asserts his right to each task.

Chellamma is the only sensible one who keeps her distance, although she is secretly amused by the men’s absorption with an inanimate object. She knows that the car does not belong to Pannaiyar and she refuses to have anything to do with the car and their obsession.

Chellamma is an interesting character who has very definite ideas about her role in life and how to best manage her ‘family’. This includes Murugesan and Peddai as well as her husband and she keeps everyone in line so subtly that they don’t realise just how they are being looked after. When the car unexpectedly is left to them, Chellamma tells her husband that she will only ride in the vehicle once he has mastered the art of driving. Naturally then Pannaiyar accepts the challenge and determines that he will learn to drive in time to take her to the temple for their wedding anniversary. However this means that Murugesan will have to relinquish control of the wheel, so the lessons go very slowly indeed.

Meanwhile Murugesan falls in love with Malar (Iyshwarya Rajesh) when he ends up transporting a body for a funeral. It’s an interesting situation for a love story to start and Murugesan’s struggle not to approach Malar on such a sad day is charmingly depicted.

Eventually Malar and Murugesan do manage to get together although the romance is kept low-key with Malar very definitely in second place behind the car in Murugesan’s affections. Iyshwarya Rajesh is lovely here and has a lovely dynamic with Vijay Sethupathi. She has a small role but makes an impact every time she appears onscreen, while Vijay Sethupathi avoids appearing as a ‘star’ and is perfectly understated, keeping to the background when required but still impressive when the focus is on Murugesan.

The more developed romance is the one between Pannaiyar and Chellamma which shows a well-established and happy marriage, even after all these years. They have their ups and downs, disagree about their daughter, but despite the occasional argument they have a very strong and loving relationship. Each tries to save the other from unhappiness as much as they can and the love the two have for each other comes across clearly in all the thoughtful things they do for each other. Even with all the sentimentality, the romance never feels too sickly sweet but rather is warm and affectionate. Tulasi is just fantastic here, and has some wonderful facial expressions, particularly behind her husband’s back. Jayaprakash is also excellent, and this song perfectly shows their sweet relationship.

While the story is very simple it’s effective, and the car becomes the symbol of the dreams and desires of the various characters. Murugesan wants to keep driving as it gives him enough prestige to attract Malar, and he is worried that he will lose his job when the landlord learns to drive. Pannaiyar wants to drive to impress his wife on their wedding anniversary, while Chellamma wants her husband to be happy. The boys in the village just want to sit in the car and dream big dreams, with one even collecting 5 rupees to pay Peddai to let him sit in the front seat. It’s all very charmingly told and when the inevitable problems occur they are dealt with sensibly, without resorting to excessive melodrama. The soundtrack from Justin Prabhakaran is also excellent, with each song perfectly fitting the situation and well placed in the narrative to move the story along. I love the lyrics in this, including the references to Chitty Chitty Bang Bang and other classic cars – it’s such a happy song too!

Pannaiyarum Padminiyum is a simple story that focuses on the relationships between the central characters and on their naive dreams and aspirations. With such a limited focus the story does end up feeling just a tad too long by the end with some of the diversions adding little to the overall plot. There are one of two moment of mushy sentimentality in the relationship between the landlord and his wife which really weren’t needed as Tulasi and Jayaprakash are at their best when they keep their relationship natural and realistic. Definitely one to watch for the main leads and a sweet story that’s warm and engaging right to the end. 4 stars.

Kaakka Muttai

Kaakka Muttai

Kaakka Muttai is a little gem of a film that premièred at the 2014 Toronto International Film Festival and subsequently screened at a number of Film Festivals around the world before winning two National Awards earlier this year. It tells the story of two young brothers and their quest to raise money to buy a pizza when a new shop opens up in their area. However this isn’t as easy as it sounds. The two boys live in a slum area and finding enough money for their day-to-day necessities is difficult, never mind Rs. 299 for something as exotic as a pizza. As they set about achieving their goal, the story touches on poverty, corruption in politics, globalisation and the daily cons run by locals in the area, but mainly it’s the story of two young boys and their quest to buy their very own pizza.

We never find out the real names of the two brothers in the film as they refer to themselves as Periya Kaakka Muttai (big crow’s egg) and Chinna Kaakka Muttai (little crow’s egg) after their habit of eating crows eggs when they can find them. Chinna KM (Ramesh) tempts the crows down from a tree with rice secreted away from under his mother’s watchful eye, allowing Periya KM (Vignesh) to climb up and find the eggs. Their nest robbing is one of the early scenes and the charm of the two brothers is captured by Periya KM’s response when he finds 3 eggs in the crow’s nest – he divides them up as one egg for each of the brothers and one left for the crow – such equality!

The two brothers live in the slums with their mother (Iyshwarya Rajesh) and their grandmother (Shanthi Mani) while their father (Nivas Adithan) is in jail. They live in a small one room shack which is clean, tidy and incredibly well organised despite the surrounding squalor on the streets. Much of the family’s money goes to a lawyer, who is supposed to be working to free their father, but there seems to be no progress in securing his release. There is never any mention of the father’s crime or how long he has been in prison which deliberately keeps the audience in the world of the children who also have no idea what their father has done and don’t seem to care.

This technique of showing their world through the eyes of Periya KM and Chinna KM is one of the charms of the film. Life is simple for the brothers. They look for the crows’ eggs on a waste piece of land where their friends play cricket, spending the rest of their day collecting coal along the railway lines and selling it to supplement their mother’s meagre income.  Like all children they ask their mother for things well outside what she can afford; a TV and a mobile phone seem impossible when she cannot even afford to send the boys to school but the brothers happy go lucky approach to life seems to serve them well. However one day the developers move in and the land where the crow makes its nest and the children play is cleared to make way for a new pizza restaurant. Despite being forced out the children are ecstatic when the new pizzeria is completed and movie star Simbu comes to open the restaurant and eats the first slice of pizza. Watching him enjoy the novel dish is enough to convince the brothers that this is something they need to try for themselves and they begin the arduous task of raising the necessary money to buy their own pizza.

They are aided in their venture by a friend from the railroad tracks. Pazharasam (Joe Malloori) or Fruitjuice as the subtitles decide to translate his name, works on the railways but is happy to talk to the two boys and helps them find coal to sell. It’s obvious to the audience that the coal he leads them to is not free for the taking, but Periya KM and Chinna KM don’t seem to realise that this isn’t just a pile of forgotten coal and are deliriously happy that they have found the means to raise enough money to finally buy pizza. However they are quickly brought back down to earth when the restaurant security immediately calls them slum kids and refuses to let them in to buy their pizza even though they have sufficient funds. Just having the money isn’t enough and Periya KM and Chinna KM have a new goal – to raise enough money to buy new clothes that will allow them to entry to the pizzeria and their dream of pizza.

Vignesh and Ramesh are perfectly cast as the two young brothers and have plenty of impish charm and infectious energy as they roam around their area. There are plenty of note-worthy moments and small vignettes that give the whole film a feel good factor that is normally missing in films about slum dwellers. Watching the brothers wash clothes (Chinna KM wets the bed every night) allows Manikandan to juxtapose the younger brother throwing up wet clothes for his older brother to catch and hang up with a moment where the elder is distracted by watching a plane go past in the sky. His younger brother hits him in the face with the next item and the laughter chases away that brief moment of dreaming by Periya KM. There is another where Chinna M finds a toy watch in the scrap yard where they sell their coal and then takes it to a watch maker to make it work – the mix of Chinna KM’s delight in something so small as the watchmakers magnifier and his innocence as he tries to understand why his watch doesn’t work makes for beautiful cinema.

And Manikandan keeps them coming – there is the grandmother trying to make pizza for the boys when she discovers how desperately they want it, the boys attempting to sell their dog to raise money and their friendship with a richer kid who they speak to across the barrier of a metal fence. The physical barrier is nowhere near as daunting as the social divide which keeps Periya KM and Chinna KM firmly in their place but their determination is inspiring. Iyshwarya Rajesh too puts in an incredible performance as the boys’ mother and perfectly balances pride, ethics and desperation as she tries to cope without her husband and bring up her boys as best as she can. Later scenes of her interactions with the local politician and with the police are perfectly done to give her grace and dignity in trying situations and the conversations between her and the grandmother are beautifully natural. In fact all the performances are excellent with each member of the cast seemingly perfectly in their roles. Other stand-outs are Ramesh Thilak and Yogi Babu as the two local conmen trying to make a quick buck out of the brothers misfortune and Babu Anthony as the pizza shop owner, while Joe Malloori and Shanthi Mani are simply brilliant.

Manikandan makes an impressive début with Kaakka Muttai, not just writing and directing the film but also responsible for the cinematography. At any rate he makes the slums look much better than expected, giving them an almost magical appearance as seen through the eyes of the two brothers, although there is plenty of grim reality there too. However our eyes tend to slide past the garbage and debris, maybe because no-one else seems to notice it either. Manikandan seems to be an expert in multi-tasking and perhaps it’s his control over so many aspects of the film that explains why Kaakka Muttai is so completely satisfying too. The story shows the negative aspects of poverty but also illustrates that there is beauty everywhere, even in the slums, and that people are people, no matter where they come from.  I totally loved this film and particularly the two KM’s who remind me so much of the children I work with in India every year. I love their optimism and resourcefulness, and most of all their wonderful smiles and endless joy. Sure, this is a sugar coated view of the slums and there is little of the expected violence and absolute despair, but as a look at poverty through the eyes of two young boys it’s a winner all the way. Don’t miss it! 5 stars

Kaakka Muttai

Vedalam (2015)

Vedalam

Vedalam opens with a woeful assassination attempt in Milan where a team of supposedly crack soldiers are trying to rid the world of top Tamil crime boss Ratna Bhai (Rahul Dev) and end up failing miserably. It’s not a good start, and what makes it so terrible is a mixture of the ridiculousness of the scenario, bad dubbing, bad acting and a nonsensical dénouement. Thankfully though, with the exception of a few comedy scenes, the rest of Vedalam is miles better than the opening few minutes would suggest and Ajith scores another hit – mainly due to the force of his personality and considerable charisma on-screen. Siva adds special effects, a good story and plenty of action to make Vedalam an entertaining watch despite the dodgy start.

As an antidote to the opening scene, the film immediately moves to Kolkata and Rajendran as local gangster Kolkata Kaali. Rajendran is one of my favourite actors and I love that he’s moving more into comedy alongside his usual gangster roles. He is very funny here as he menaces and then befriends new arrival to the city Ganesh (Ajith Kumar) and his sister Thamizh (Lakshmi Menon). Thamizh is applying to study in a prestigious art college in the city and Ganesh appears as the perfect older brother – supportive and encouraging in every way, while maintaining an unruffled and happily smiling exterior no matter what the circumstances.  While Thamizh gets accepted into the art college, Ganesh manages to get a job driving a taxi, despite not speaking a word of Bengali or knowing anything about the city – sounds like your typical taxi driver really!

Siva adds more humour with Soori as the manager of the taxi company, but his brand of comedy only works part of the time and it reaches a nadir when the tired out trope of philandering husband is rolled out yet again. Shruti Haasan also shows up in a comedy role as an unscrupulous lawyer, Swetha, who ends up with a grudge against Ganesh. None of her intense overacting in her initial scenes is funny and her wardrobe choices are equally atrocious, but her character does have a few redeeming moments later on in the film. In one of those typical film coincidences, Swetha’s brother Arjun (Ashwin Kakumanu) falls in love with Thamizh which adds romance into the film and gives Ganesh the opportunity to deliver a good ‘big brother’ speech about women’s safety. It’s a shame that such a good message about how stalking ≠ love and men should respect women is immediately followed by a song featuring Shruti and backing dancers in skimpy outfits and terrible choreography, but at least the speech did get a cheer in Melbourne.

Just before the break Ganesh reveals his true persona, first in an excellent fight scene and then in a genuinely frightening exchange with Swetha that sets up a flashback sequence in the second half. All of the smiling and the ‘always cheery’ disposition starts to grate by then, so the switch to bad-ass fighter Ganesh (aka Vedalam) comes as a welcome change. No-one does the switch from happy smile to scary psychotic grimace as well as Ajith – it really is disturbing and Siva uses the transformation sparingly but to very good effect throughout the film.

The reason for Ganesh’s outburst of violence goes back to the gangster seen in the opening scene. Ratna Bhai and his two brothers Abhinay (Kabir Duhan Singh) and Aniket (Aniket Chouhan) control the skin trade out of India amongst various other criminal activities and Ganesh has come up against them in the past. The flash-back sequence is well done, generating an emotional reason for Ganesh to seek revenge but without becoming overly sentimental or clichéd. The villains do what villains in these films usually do, while there is really never any doubt that Ganesh will defeat them all in the end. However the lead up to the final fight scene is very well written with a few good surprises to build the suspense. The last fight is also brilliantly done and the film is worth watching for this last sequence alone.

Anirudh’s music is good and fits the screenplay well, with Aaluma Doluma standing out as the best track.  The background score is occasionally distractingly loud, but I like the theme and it suits the schizophrenic nature of Ajith’s character. Mostly the songs are well pictured too apart from the previously mentioned ‘Don’t You Mess With Me’, which really deserved better and isn’t helped by the skanky choreography. Technically the film is slick and well-edited with good effects and novel fight choreography. There isn’t too much blood and gore either, although it’s always surprising how quickly the bad guys run out of bullets and resort to fist fights when they really should know better!

Vedalam is Ajith’s film all the way and he does a superb job as a dangerous and scary man while still conveying kindness and sympathy in the scenes with Thamizh. The support cast are all just that – support for Ajith, but Lakshmi Menon is good as his oblivious sister while Sudha and Thambi Ramaiah make an impression in their small roles in the flashback sequence.  Vedalam isn’t a perfect film, the comedy isn’t great and the villains are standard caricatures with predictable habits, but Ajith is very watchable and the story works well with some unexpected twists, especially at the end.  Worth watching for Ajith and the excellent final fight scene – plus Rajendran of course!

Thiruda Thiruda

thiruda thiruda poster

Thiruda Thiruda is a 1993 action film from Mani Ratnam that follows the exploits of two thieves when they inadvertently become involved in a major bank robbery. It’s a real ‘action’ film as almost every scene involves either a fight or a chase of some kind (using nearly every single kind of transport you can imagine), and the heroes are always on the move. At almost 3 hours, the film is rather long, but there is so much happening on screen that it’s an entertaining if not completely edge-of-your-seat watch. However the real reason to watch the film is the excellent music from A.R. Rahman which mixes opera, disco and electronic music with more traditional themes to give one of his best and most interesting movie soundtracks.

The film starts with the printing of new bank notes, destined to be sent all over India in specialised containers that require a computer card to gain access. For added security the containers also require a password, but since this is printed on the computer card, there may not be quite the level of protection the Finance Department think they’ve achieved. The card looks more like a plastic credit card than the key to a sophisticated locking system, but maybe it looked like modern technology back in 1993 and does mean it’s easily transferred between the various thieves. The card is also amazingly impervious to damage and works even after prolonged submersion in water – that does also apply to the truck carrying the money and the container full of money too though so perhaps it’s the water that has the special properties!

Criminal mastermind T. T. Vikram (Salim Ghouse) has various lackeys in India who steal the money for him, but his chief accomplice Ashok (Ajay Ratnam) is quickly apprehended and arrested by CBI chief Laxminarayana (S. P. Balasubramaniam), prompting a rather juvenile temper tantrum from the boss. However after an unpromising start, Salim Ghouse settles into the role of evil mastermind and enjoys himself immensely as he executes people who displease him after he heads to India to find his money. I like that his gang mange to arrange themselves artistically before starting to menace their targets and even the initial robbery is carried off with precise timing and a pleasing display of acrobatic moves on a moving train.

Before his arrest, Ashok manages to send the vital computer card and a cryptic message to singer Chandralekha (Anu Agarwal) who skips out before the CBI manage to arrest her too. Meanwhile petty crooks Kathir (Anand) and Azhagu(Prashanth) are on the run from the police after looting a safe belonging to one of the rich men in their village. During the robbery they stop Rasathi (Heera Rajagopal) from committing suicide, but rather than being grateful she decides to go with them to reclaim her share of the jewellery they have stolen.  Kathir and Azhagu don’t want to be burdened with a village girl so they unsuccessfully try to dump Rasathi, until they learn that she is escaping from an unwanted marriage with her uncle and become sympathetic to her plight.

The unlikely trio cross paths with Chandralekha and get drawn into the race to find the money while trying to stay one step ahead of the law and simultaneously avoid T.T. Vikram and his merry band of thugs. Things move along quickly with a little romance and some attempt at comedy, but mainly there are chase sequences (many, many chase sequences), as Kathir, Azhagu and Rasathi escape from the police, Rasathi’s uncle and his henchmen, the CBI and Vikram and his gang, although not all at the same time. Mostly these are well choreographed with bicycles, motorbikes, cars, horses, buses, trucks, trains and even elephants being used at some point or another, while the art of disguise and misdirection are also used to good effect.

The action sequences ensure that the film keeps moving along at a fast pace, which may be why the various characters are relatively under developed and the script somewhat lacking at times. Kathir and Azhagu should have had an easy camaraderie given that they are two thieves who have been working together since childhood, but here their relationship is clunky. This is particularly noticeable when a love triangle develops between the two thieves and Rasathi and there is little rapport or emotion during their scenes together. It may be the fault of the subtitles but the dialogue between the two is also awkward and fails to deliver the idea of two great buddies out to con the world together.

Heera Rajagopal is much better as Rasathi and even manages a bonding session with the sophisticated Chandralekha which gives Anu Agarwal the chance to make her character more sympathetic than she first appears. Despite her overdone entry scene, I really liked Heera and her portrayal of Rasathi. Every time I felt she was in danger of becoming a typical heroine, moping around and waiting for someone else to save the day, she actually got up and did something about her situation instead. Anu’s Chandraleka was also a much stronger character than anticipated and although the two female leads have less to do than the men, they give the film some much needed shading and depth. S.P Balasubramaniam is in fine form as the CBI officer chasing after the thieves, and fares better than the leads as far as characterisation goes. He has more of a back story and shows good rapport with his co-workers while showing off his excellent interviewing skills. His Laxminarayanan is one of the more interesting characters along with Malaysia Vasudevan as the police inspector, while Ajay Ratnam, Madan Bob and the rest all provide good solid support throughout.

The music really is the stand out performer in Thiruda Thiruda and A.R. Rahman changes from full chorus and orchestral score for the big production numbers to the evocative and very effective a capella song Rasathi, and pretty much everything in between. The mixture of Western and Indian music works well here and it’s probably my favourite Rahman soundtrack just because it is so varied. The accompanying cinematography from P.C. Sreeram is also excellent and the staging of the songs ensures each fits fluidly into the storyline. This is probably my favourite though – a lovely song, beautifully sung by Shahul Hameed with simple but powerful picturisation.

While there are a many Indian films that feature bank robberies, I haven’t seen many that follow this style of heist caper more typical of Hollywood films. It doesn’t work as well as it should due to the lack of rapport between the two male leads, but the various chase sequences are fun to watch and the storyline does have a few reasonable plot twists. For a film that does have so much action, there isn’t much suspense but the characters are likeable, the songs enjoyable and overall the film does entertain. Worth watching for the songs, Heera Rajagopal and S.P Balasubramaniam. 3 ½ stars.

Thiruda Thiruda

Naanum Rowdy Dhaan

Naanum Rowdy Dhaan

I’m loving the recent ‘new wave’ in Tamil comedy that seems to be producing hit after hit and some very funny films. Naanum Rowdy Dhaan is the latest release from writer/director Vignesh Shivan and it’s a perfect example of the genre, mixing a good story with great dialogue and brilliant performances from a very competent cast. As an added bonus the film even has grammatically correct English subtitles (I’m going to assume that they were accurate too), ensuring I was laughing at the right moments – or at least along with everyone else.

The story is set in Pondicherry, which is another plus for me since it’s only a few years since I visited and quite a few of the locations were familiar. Pandi (Vijay Sethupathi) first appears onscreen as a young boy (Surya Vijay Sethupathi – Vijay’s son?) sitting in a jail, occupied with filling in the front of a school notebook with his interesting ambition (given his current location) of joining the police force. However all is not as it seems. Pandi is the son of the police inspector (Raadhika Sarathkumar) and the real occupant of the cell is Raja, played by one of my favourite ‘bad guys’, Rajendran. Yay! While waiting for his lawyer and get-out-of-jail-free card, Raja tells the young Pandi a story about a rowdy and a cop, when Pandi asked which is the better job prospect. The subsequent tale has the effect of changing Pandi’s mind about his career choice and he carefully changes the word in his notebook from police to rowdy.

So it’s a little surprising then when we see grown up Pandi to find he is going through a battery of tests to become a police officer, although he spends most of his time telling others how much better rowdyism is compared to law enforcement. But once away from the testing area Pandi is indeed a rowdy. Well, kind of.

Because Pandi isn’t a very rowdy-like rowdy.

Along with his gang of friends he has a lair painted with fluorescent paint on the walls that lists fees for various acts of violence, but when it comes down to it he doesn’t actually do any of these things. Instead the gang enacts a drama, getting people to pretend to have been beaten up or injured and then sending a photo of the ‘injury’ to the client. Pandi’s biggest success is arbitrating in a schoolboy squabble and most of his ‘swagger’ is an elaborate act without any real substance.

But then he meets Kadambari and gets involved in the search for her missing father. Kadambari is hearing impaired after an injury and her father is a police officer on the cusp of retirement. It turns out that the story Raja told at the start of the film was based in fact with the rowdy, Killivalavan (Parthiban) getting the better of police officer Ravikumar (Azhagam Perumal). Kadambari wants her revenge and since true love means killing your girlfriends enemy, Pandi takes on the job. Or at least offers to hold Killivalavan while Kadambari stabs him to death. A true gentleman!

The jokes come thick and fast from the numerous attempts to kill Killivalavan (or at least get him to apologise) to Raja’s gun that has a silencer that mews like a cat. The dialogue is very funny and the cast all do a good job in delivering their lines for maximum effect. Even Nayantara, who has a brilliantly comedic scene when she is kidnapped by another rowdy (Anandaraj) which had everyone in the cinema in stitches. Generally Nayantara is much better here than she was in Masss, giving her character plenty of personality and managing good chemistry with her co-star. She does well with the comedy too, and shows just what a good actress she can be when given the chance.

Vijay Sethupathi looks amazingly different here from his previous roles such as Soodhu Kavvum or Idharkuthane Aasaipattai Balakumara. Without his beard he appears years younger and seems to have shed some bulkiness along with the age which suits his character well. He still has the same great timing and flair for comedy though, working well with RJ Balaji in the role of Pandi’s long suffering friend. Balaji plays it straight but has plenty of witty comments and his delivery is perfectly timed. Together the two make a great pair and the dialogue between them is written so well as to appear natural and unforced – something which is rare in most comedies. Pandi tries very hard to be a tough guy, and when push comes to shove he proves he can hold his own, but he’d much rather just show the ‘tude rather than court any confrontation, while Balaji wants nothing to do with ‘real’ rowdyism at all.

Anirudh Ravichander provides the music and the soundtrack fits into the mood of the story well. Vijay Sethupathi skilfully avoids any actual dancing, and the songs themselves work well to move the romance story forward. George C Williams is the man behind the cinematography and as in his earlier films, he has a sure touch with the camera ensuring the film looks perfect too. Overall Naanum Rowdy Dhaan is an excellent entertainer combining action and comedy with a dash of romance. Recommended for Vijay Sethupathi, Nayantara and a very funny screenplay.