Taxiwaala (2018)

Taxiwaala

Rahul Sankrityan’s Taxiwaala is a supernatural comedy based around a taxi driver’s relationship with his car – which turns out to have a few more extras than he bargained for. The film has plenty of laughs, mixed in with a smattering of uncanny moments and just enough to jump scares to keep it interesting, although it does start to falter a little in the second half. Thankfully Vijay Devarakonda, Madhunandan and Vishnu Oi make an excellent team, helping to keep the film on track as it attempts to veer off down a number of side alleys. Their top-notch performances and a well written story ensure Taxiwaala is entertaining, even if it does end with an overly sentimental finale.

The film starts with a few set-up scenes to introduce the concept of a haunted car and it doesn’t really take off until Shiva (Vijay Devarakonda) arrives at his uncle’s garage in Hyderabad, looking for work. His uncle Babai (Madhunandan) runs the garage along with his apprentice (Vishnu Oi) called Hollywood because of his interest in American films. Babai suggests a number of jobs for Shiva, but since all of these involve major effort for little reward, Shiva struggles to stay in any of them longer than a day. So when an advert for taxi drivers goes up on a billboard near the garage, it seems like the answer to Shiva’s problems. Except that he needs a car… and he doesn’t have any money…

Luckily for Shiva his brother (Ravi Prakash) and sister-in-law (Kalyani) come to his rescue and raise the money he needs. With his limited funds, Shiva doesn’t have much choice, but is overjoyed when a broker finds him a vintage Contessa car at the right price. Even though the owner Raghu Ram (Sijju Menon) seems dodgy, and we already know that the car has given its previous owner some issues, Shiva is ecstatic with his purchase and takes time to fully restore the vintage car before starting work as a taxi driver. Although Shiva does well as a taxi driver, it doesn’t take long for the true nature of his car to make itself known and Shiva has to decide if the risk is worth the reward. It’s not as simple as just giving up either, since Shiva is paying for his sister-in-law’s vital medical treatment now that he is in a position to pay his brother back.

What works really well here is the character of Shiva and his petrol-head fuelled love of his car. It’s easy to understand how he falls heads over heels for the vintage automobile at first sight and why it becomes such an integral part of his life so quickly. His girlfriend Anu even comments that she takes second place to the car, and that is very definitely true. Vijay Devakonda has plenty of charisma and he turns it on full for much of this film, endearing himself to his passengers and ultimately the audience too as he comes to grips with working as a taxi driver and dealing with customers. Vijay has great comedic timing and uses it to good effect throughout the film so that his actions come across as totally spontaneous, which is a hard thing to get right. Madheenandan and Vishnu Oi are also hilarious and writer Saikumar Reddy has done an excellent job with the dialogues which really are laugh-out-loud funny. Adding a more traditional comedy actor can completely change the tone of a film and move the comedy focus away from the action, however here Chammak Chandra enhances the story in his support role without taking anything away from the main leads. Also, a major plus is the fact that his comedy comes through dialogue rather than slapstick and his involvement is kept in context with the main action.

Newcomer Priyanka Jawalkar plays the role of Anu, a taxi passenger who ends up in a relationship with Shiva after he behaves chivalrously when she is very drunk one night. After the initial meeting, Priyanka has very little to do here, the entire romance is pretty much all contained in one song, and she doesn’t have much chemistry with Vijay so it’s hard to say too much about her capabilities. However she’s fine with what she has to work with and it will be interesting to see her in a more central role. Malavika Nair has a little more to do as Sisira Bharadwaj and there is an extended flashback in the second half that explains her story. She still doesn’t have enough screen time to make much of an impact but her performance is competent even if I didn’t quite buy into the reasoning behind her choices. The flashback involves Yamuna as Sisira’s mother, Shijju as her stepfather and Ravi Varma as a paranormal professor who explains the concept of astral projection, all of which means that the flashback is rather too long. While the length means it detracts somewhat from the main story, it does provide a neat explanation for everything that has happened so far and sets up the finale reasonably well.

Overall the film looks good and the special effects are well done, especially those centered on the car. The jump scares are genuinely unexpected and mostly tied in with some comedy which works really well. Jakes Bejoy’s music also fits the mood, particularly the background score, and the songs themselves are reasonably catchy. Sujith Sarang provides excellent cinematography and the action is all well choreographed and suits the characterisation of Shiva. There are no big all out fight scenes, but instead plenty of small action scenes, the most impressive of which require Vijay to act against the car. It’s to his credit that he makes these believable with his reactions. Rekhs and her team (credited for a change!) do a magnificent job ensuring that the subtitles make sense in English, and they have also subtitled the written captions, which are so often forgotten in films. I love the yellow font too, which is so much more visible and easier to read than white.

The only real issues here are the long diversions in the second half to explain the supernatural element and a rather schmaltzy finale which all happens a little too easily for me. For the most part the story moves along well and although there are some obvious plot holes I think that is to be expected when talking about something so unrealistic. The best part of the film is undoubtedly the comedy but with great performances and a well written story, Taxiwaala is definitely another hit for Vijay Devarakonda. It’s clear he’s going places too – last night’s Melbourne show was the first Telugu film in a long time that played to a full cinema and the film had an appreciative reception. This is one definitely worth catching on the big screen to get the full impact of the special effects and really appreciate the comedy.

 

Advertisements

Sarkar (2018)

Sarkar

2018 seems to be the year for political movies, particularly those where the hero is an outsider deciding to run for office. After NOTA and Bharat Ane Nenu, this time it’s Sundar Ramasamy (Vijay) a self-styled ‘corporate criminal’ who decides to take on the corrupt Chief Minister during elections in Tamil Nadu. A.R. Murugadoss has added in some real-life scenarios which help add interest to a plot that otherwise features little more than a routine ‘Vijay saves the world’ storyline. After his recent films supporting education for women and rights for farmers, Sarkar seems to be Vijay’s most overt statement so far that he is considering a career in politics, although I do hope that if he ever does follow through, he has a better campaign manager than Sundar does here.

I’m not sure that being a ‘corporate criminal’, ‘monster’ or ‘the Genghis Khan of the corporate world’ are particularly desirable qualities for the CEO of a company in the USA, but that is how Sundar is described by both his rivals and his colleagues. Sundar himself seems to be more of a wealthy playboy as he runs around Las Vegas with an entourage of women and bodyguards before hopping onto a private jet back to India. Apparently we are to believe that Sundar makes this trip solely to cast a vote in the upcoming elections, which seems fairly extreme and makes him more of an environmental terrorist rather than corporate criminal. However, various CEO’s and company directors are able to breathe a sigh of relief that Sundar isn’t planning a takeover of their company, but is simply a strong believer in exercising his democratic right. Instead, after finding out that someone has already cast his vote due to the corrupt practices of the incumbent political party, Sundar turns his adversarial sights to CM Masilamani (Pala. Karuppiah) and his side-kick Malarvannan (Radha Ravi) aka Rendu.

Vijay is always excellent in these sorts of roles where he has to mix stirring speeches with action and a stern but righteous expression. He still looks incredibly young, but this time sports a salt and pepper beard, which does give him some maturity and suits the more serious situations. However, for the most part his character’s actions are not believable and many of the political issues are dealt with too simplistically to be completely engaging. Still, Vijay has plenty of charisma and is able to carry the film easily.

Sundar gives up his day job to run for office, which doesn’t ring true despite his spirited speech to an antagonist crowd about his lowly origins as a fisherman’s son. However the speech itself is excellent with a well thrown tomato is used as a metaphor for greed and the plight of humble workers. Later, Sundar uses his missed vote as a way to educate everyone about regulation 49-P and to convince his audience that every single vote is important. These are some of the best parts of the film, where Sundar motivates the masses and exposes the corruption at every level of government. When Vijay is in full speechifying mode he is very impressive but when it comes back to individual dialogue the unlikeliness of some scenarios does reduce their impact.

Both Pala. Karuppiah and Radha Ravi excel at traditional-minded, self-serving and corrupt politicians, but their conventional behaviour means that most of the confrontations between Sundar, Masilamani and Rendu follow an entirely predictable path.  As their power, prestige and ability to make millions in easy money is threatened, Rendu employs the police and multitudes of disposable minions to remove Sundar from the public eye. He never considers that every action will be recorded by the common man on his/her mobile phone, and that the media is on hand too to record every shady deal, even going as far as to walk out of a TV interview when Sundar arrives. However, Sundar’s response is also classic underdog reaction and despite all the wonderful slow-motion fight scenes and rousing rhetoric, for the most part Sundar is just as predictable as the politicians he opposes.

Perhaps to counteract this old-school predictability, Murugadoss adds another villain in the form of Komalavalli (Varalaxmi Sarathkumar), Masilamani’s daughter. This could have worked well, except for Varalaxmi’s stilted dialogue and odd expression, as if there is continually a bad smell right under her nose. I can’t understand how such a usually expressive actor is so lifeless here, but then little about her character makes sense. She tells her father not to worry, that while Sundar may be a corporate criminal she has been a criminal since birth, but there is no explanation of why. Why is Komalavalli the brains behind her father’s political career?  Why then was she in Canada instead of Tamil Nadu when the elections were being held? So many questions and absolutely no answers. Instead Komalavalli is a one-dimensional character whose sole reason to exist seems to be to cause general misery wherever she goes. While at least her presence does give Sundar an opponent with the smarts to fight back, she’s too little too late and just too shallow to be a completely worthy adversary.

Even worse though is the inclusion of Keerthy Suresh as Sundar’s love interest, Nila. Nila is Sundar’s sister-in-law, although the marriage between Nila’s sister and Sundar’s brother has broken down. Sundar and Nila restart a relationship seems to be more friendship rather than anything else apart from one dream sequence song. For most of the time Nila follows Sundar around, stands in the background, and then follows him around some more. This type of political film doesn’t need a romance, certainly not a nothing of a romance that doesn’t even deserve the word, and there really seems to be little point in including Nila or her jealous reaction when Sundar dances with someone else.

Sarkar isn’t a bad film, it’s just a surprisingly ordinary offering from a film-maker who normally delivers a more exciting and well-polished story. Vijay is excellent and the film technically looks great with well choreographed fight sequences and good use of crowd scenes. A shout-out to for the generally very good subtitles, although none of the writing (including a very long piece of text at the start of the film) was subbed. Still, good to see other groups using the same style as Rekhs and adding English idiom rather than direct and nonsensical translations. The other departments are all fine too. A.R. Rahman’s music doesn’t particularly stand out apart from Oru Viral Puratchi, but it is well placed in the film and works as a rousing to action song while the others generally blend into the screenplay without disrupting the action.

The support cast, including Yogi Babu and a large number of students, voters and election officials are all very good and the parts of the story that deal with the mobilisation and politicalisation of the ‘common man’ are well handled. It’s really the predictability of the film that brings it back to earth and the knowledge that whatever happens, Sundar will best his political foes. His path to power seems to happen very easy, and very quickly here – there are massive poll swings from 5% to 80% literally in the course of one day, and a voting result that can be swayed in just a few hours. If only it were that simple! Overall, Sarkar is a watchable and reasonably entertaining film that works fine as a political stepping stone for Vijay but just could have been that little bit better. Worth watching for Vijay, Radha Ravi and the idea of what could happen when ‘ common people’ take action!

Savyasachi

Savyasachi

I have a theory that Indian screenwriters search medical texts for the most bizarre sounding diseases which they then change out of almost all recognition, blend them together and then use this bizarre hybrid as the plot for a film. That might at least go some way to explaining why Vikram (Naga Chaitanya) is introduced as the surviving half of a ‘vanishing twin’ pregnancy, the inaccurate explanation of which is only one of the fantastical medical diagnoses described in the film. That may not have been a bad move if the idea of a separate parasitic twin living through his brother’s left hand was better explored, but Savyasachi doesn’t seem to know if it’s a romance, a thriller or a comedy about alien hand syndrome, and by the end I was no wiser either.

Naga Chaitanya does his best with a terrible script, Madhavan overacts like crazy and it’s not a good sign when the best characterisations come from Vennela Kishore, Bhumika Chawla (who is excellent as Vikram’s sister) and child actor Dishita Sehgal. The other major problem with Savyasachi is truly terrible subtitles which I would ascribe to using Google Translate except that there are many spelling errors. This makes it even more difficult to work out exactly what is going on, when even the actors don’t appear to have any idea. With so much wrong is there any reason to watch Savyasachi? Well, yes. The songs are good, the flash-back and family scenes in the first half are better realised, and even if Madhavan chews the scenery excessively his exploits as a villain are generally entertaining. So not terrible then and given the general incomprehensibility of the subtitles, probably a better watch if you understand more Telugu than I do.

Vikram is the surviving twin while his brother Aditya was ‘absorbed’ into Vikram during their mother’s ‘vanishing twin’ pregnancy. Aditya still lives on as a few neurones in Vikram’s brain and is able to express himself by independent movement of Vikram’s left hand. All this is described in detail by Vikram’s doctor (Rao Ramesh) and his mother Mahalakshmi (Kausalya) which is just as well as this mishmash of a number of different conditions does need a lot of explanation. However, apart from a habit of slapping buttocks and faces, Aditya doesn’t do much else until Vikram is threatened, when Vikram’s left hand suddenly develops uncanny spatial awareness and super-human reaction speed along with the ability to thrash innumerable villains. So, basically the usual hero ability to fight his way out of any given situation. Vikram even manages a bit of hero-style action himself, beating a group of students during a flashback scene at University, with his left hand tied behind his back. Just in case there was any suggestion that Vikram isn’t just as capable as his intangible twin.

The film starts with a bus crash that causes the death of everyone on board, apart from Vikram, and then promptly ignores this initial mystery for the entire rest of the first half. Instead, writer/director Chandoo Mondeti concentrates on developing a romance between Vikram and businesswoman Chitra (Nidhhi Agerwal), who has employed Vikram’s ad company Artihc to promote her company. Vikram is assisted in making his films by his best friend from school Kittu (Vennela Kishore) and Tenali (Satya) who are aware of Vikram’s ‘vanished’ twin and make allowances for the occasional bizarre behaviour of Vikram’s left hand.

Vikram and Chitra have a history together from their time in college which is shown in a series of flashback scenes. While at college, the two gradually begin a relationship, first as friends, but just as it seems to be developing into something more and Vikram was about to declare his love for Chitra, something happened and he vanished from college, never to be heard from again. Until rocking up to make an ad many years later. Despite this long separation, his sudden reappearance doesn’t generate too much reaction from Chitra, and after accepting Vikram’s rather lame excuses for dropping out of touch, the two rekindle their old romance. There isn’t much chemistry between Vikram and Chitra, but to be fair they don’t have many scenes with just the two of them together, and there is a fraction more sparkage in the college flashbacks. In fact, most of the actual romance happens during M.M. Keeravani’s catchy songs.

The first half also deals with Vikram’s relationship with his sister Siri (Bhumika Chawla) her husband (Bharath Reddy) and daughter Maha (Dishita Sehgal). This part of the film is better, and the family dynamic is well developed as Siri becomes annoyed and objects to Vikram spoiling Maha, allowing her to do whatever she wants, while at the same time appreciating the reasons behind her brother’s affection for her daughter. Bhumika Chawla is excellent as Siri, particularly in later scenes as her character has to deal with a considerable amount of complex emotion.

After all the family background and romance in the first half, the second half of the film totally shifts gear when Vikram returns from a trip to America to find his family has been targeted and his sister in hospital. Suddenly the pace picks up as Vikram struggles to find out who is attacking him, and what has happened to his family. Madhavan is rapidly identified as the villain here, but he plays Arun Raj with such cheerful bonhomie that it’s difficult to take him seriously. Arun also has an oddly weak reason for his behaviour that further undermines his villainous stature, so in the end I felt little investment in the outcome of their struggle. However, Arun does have uncanny ability to be able to find and follow Vikram which is explained by various cloning, cloaking and other electronic wizardry, which at least is slightly more probable than Vikram’s pop-up twin brother’s abilities.

Although the story struggles to keep everything moving forward together, the action sequences work well and there is plenty of energy in the confrontations between Vikram and Arun. While Vikram’s rogue left hand does take over for most of these scenes there is enough variety and challenge to keep them interesting, at least until Arun runs out of disposable henchmen to throw at Vikram. Chaitanya does well to keep his character even vaguely on track, but the uneven mix of comedy, action and paranormal doesn’t blend well, making Vikram appear like a fish out of water for much of the second half. Madhavan’s Arun is too one-dimensional to be anything other than a caricature and his scenery chewing plays into the cartoonish nature of the character. However, Arun is entertaining even if he doesn’t appear particularly villainous and the interactions with his servant (Thagubothu Ramesh) are amusing. On the other hand, Nidhhi Agerwal has little to do and really is just ‘the love interest’ while Vidyullekha Raman and Vennela Kisore play their usual type of characters proficiently and effectively.

I really liked Chandoo Mondeti’s previous film Karthikeya which had a much better mix of action and supernatural, but Savyasachi just doesn’t have a strong enough story and the various side-plots detract too much from the central action. This could have been a better film if the story had stuck to the idea of alien hand syndrome with a better realised villain or a more involved romance rather than trying to add both. This is one probably better watched on DVD or Netflix when you can forward past the slow and confusing set-up and get straight to the action.