Monthly Archives: October 2010

Chatrapathi

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There are three reasons that we ended up watching this film. It’s an S.S Rajamouli creation. It was name checked in the opening sequence of Desamuduru. The other was a throwaway remark by our good friend The Mahesh Fan: “Once you’ve seen Prabhas fight the CGI shark there’s not much else to it.” And she said that like it was a bad thing! We ordered the DVD immediately.

The film is a familiar ‘hero looking for lost mother’ tale intertwined with a search for social justice and a jealous half brother to flesh out the storyline.  Some time is spent setting up the back story for hero Shivaji (Prabhas). Separated from his doting step-mother and jealous step-brother after fleeing Sri Lanka, he and the other men who made it across the sea are working as bonded labourers to a local thug Baji Rao. By the time young Shivaji has grown all the way up into rather lanky Prabhas, apathy born of despair seems to be well entrenched into the refugees.  Inspired by his mother’s stories of the heroic Chatrapathi and traumatised by the brutality inflicted by the strong on the weak, Shivaji is truthful, defends the innocent and has never given up on finding his family. He also has a shell necklace given to him by his mother. This will become Very Significant.

But it’s the shark scene we were hanging out for! We applaud Rajamouli’s dedication to the CGI predators in his films. It really is fabulous, and this shark is a scene stealer. It growls!

 

 

 

This very silly episode gives Prabhas a highly memorable heroic entrance scene. It sets Shivaji up as resourceful, capable, tough, resilient and with exceptional lung capacity.

Life is cheap in this refugee settlement, and Katraj (Baji Rao’s man) rules the roost. The level of violence, both implied and actual and especially against women and children is very confronting. It does serve to illustrate the inhumanity of the thugs in charge, the general lack of support for the under classes and most importantly for a film of this type, it allows the hero to arise from the masses. The sight of a child lying near death as people watch on is not easy to view as a light entertainment.

The romantic interest, Neelu played by Shriya, works at a local government office and after some supposedly comic misunderstandings (she thought they thought she was a prostitute, puns on the words “repu” meaning tomorrow and “rape”) locates the necessary file but not the actual address of the missing mother.  Unknown to Shivaji, his mother and brother are alive and well and not far away. And his brother Ashok still doesn’t like him one little bit. Romance blooms. More rape jokes and sadism pranks ensue. And Bhardam, Shivaji’s oldest friend on the settlement and the voice of caution and moderation is killed.

Corruption and rowdyism are the bane of Shivaji’s people and the film takes a darker note when he becomes a popular leader and takes up the ruthless methods of the people he wants to displace.

 

The fight scenes are brutal and gory, leaving nothing to the imagination. The violence is cartoonish and unreal but still seriously dark. He takes to kidnapping, extortion, bombs and guns with no hesitation. The shocking end to a confrontation with his brother Ashok then propels the story into a final escalation of score-settling.

 

Neelu and Shivaji’s friends disappear into the background of the story, often appearing as silhouettes or blurry figures as the second half of the film is pure Prabhas revenge-o-drama. The machinations of Ashok continue to drive some truly bizarre behaviour and Shivaji is no closer to regaining the love of his mother. Baji Rao’s brother muscles in on the action to become the new face of evil and gives Shivaji another enemy to fight.  The final scenes include a travelogue of Hyderabad’s temples and a catalogue of lies, tears and betrayals before things go up in flames. Literally.

In the nick of time, Shivaji’s mother recognises the Very Significant shell necklace. Everyone who is still alive at the end of the film gets the life they deserve.

The fight scenes are beautifully choreographed and filmed, but may be too bloody for some tastes. The same care was given to the songs but Prabhas is not as comfortable dancing as he is in stunts and fights. The camera work in all the action sequences was excellent and really conveyed a sense of an epic struggle between heroic and villainous forces.

The support cast were effective although very much in support. Ajay played his usual sidekick role, and had a bit more range as his character was both a thug and a caring older brother. Kamal Kamaraju was another of Shivaji’s inner circle but mostly just had to stand around looking cross. Venu Madhav was the comic relief and supplied a few laughs especially in his “Anniyan” skit. Shriya was typically girly and shrill as the heroine but also displayed some good comic flair and had a few scenes allowing her to be a bit feistier. The mother (Bhanu Priya) was an irritatingly passive and trusting character for the most part, although conveyed the anguish over her sons very well. Ashok (Shafi) was a bit less successful in making his character seem at all real or memorable. He missed the mark on showing both the madness of twisted jealousy and the neediness of the overlooked son and just went for bug eyed, grimacing and grinning for comedic effect.

 

The soundtrack worked really well and suited both the drama and the performers. In particular, the Mumaith Khan item number was great fun and was tailor made for her. The backing cast and dancers all seemed to throw themselves into it with enthusiasm. The Chatrapathi chant that accompanied Shivaji added that element of mythical heroism, and suited the epic nature of the underlying themes.

Finally, a special shout out to whoever designed Prabhas’ outfits. We do want to know what they were on when they chose some of the shirts! It’s a bit cruel to put a tall lanky man in lolly pink and then make him dance like he means it.

Temple says: Chatrapathi is entertaining enough due to Rajamouli’s ability to make the most cliched story seem fresh and Prabhas’ likeable screen presence. The film is all his and it works most of the time. The story was secondary to the heroics and flexing, and the supporting characters were given little range. I am frequently bewildered by the White Queen style ability of a filmi mother to believe six impossible things before breakfast and this film continues that trend. Ashok’s character was a sketch rather than a fleshed out role and Shafi did what he could— but it felt like a missed opportunity as a bit more depth there would have added to the tension of the final scenes. I know Heather can’t stand Shriya but I think the heroine roles are generally written as irritating air-heads so I try to make allowances . On my personal scale of how annoying was Shriya? this is one of her least irritating roles (perhaps as there was no stupid meringue hair). I quite like the soundtrack and the songs were highlights as they were often a respite from the gore and gunshots.  Mumaith Khan is a favourite as she always looks like she is having such a great time and is totally in on the joke. I love that the South Indian heroes know that they can’t avoid dancing so regardless of their comfort levels, they just do it. I always giggle at the sight of Mahesh Babu in a lunghi (something about those long skinny pale legs) and now I can add Prabhas to the list of men who should stick to wearing trousers please!

This isn’t a film I will re-watch over and over, although the shark fight was on high rotation for a while. There was something endearingly Parvarish-like about the special effects in that scene, and I love that Rajamouli had his shark snarling, snapping and almost literally chewing the scenery. I give this 3 and 1/2 stars.

Heather says: Prabhas is a hero very much in the style of early Amitabh Bachchan in this film.  He is the ‘angry young man’ who is searching for his mother and will let no obstacle stand in his way.  Unlike Amitabh though, he makes a fair attempt at dancing!   In the first half of the film Shivaji is truly the hero with his drive to always do the right thing, and of course his constant search for his step-mother.  His switch from the hero of the docks to violent thug is quite abrupt and rather confronting, and he seems to be almost a  different character.  I did enjoy Ajay’s slightly more sensitive role here, and I like the way that both young Shivaji and the grown up version had the same mannerisms.  There really should have been no need for an identifying significant necklace!  This film also has one of my favourite lines, at least according to the subtitles: ‘trust your whiskers’!

Shriya is still not my preferred actress – there is just something about her that irritates, and I was quite relieved when her character was sidelined in the second half of the film. On the other hand, I thoroughly enjoyed Shafi’s characterisation of the jealous step-brother Ashok.  Especially when he has some money and can indulge his terrible taste in clothes and become as obnoxious as he has clearly always wanted to be.  Overall I felt the story works well, providing there is some major suspension of disbelief that Shivaji couldn’t find his step-mother even though she lives close by! Plus there is that shark scene, which really is fantastic! 3 1/2 stars from me.

Brindaavanam

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We can now confidently state that at least in Melbourne fans of one star do not seem to watch the films of another star.  As we picked up our tickets for this week’s adventure without subtitles, we encountered more questions about whether we were in the right cinema, and concern that we were about to see a film that we wouldn’t understand.  This is despite being at the same cinema at the same time every time there is a new release. We did advise everyone that we knew there were no subtitles and that it was in Telugu.  They did seem reasssured when we were able to name the stars in Brindaavanam. So we were given our tickets and took our place in the theatre.

The film opens with a typical hero entrance by Tarak and an awesome fight scene which included some nifty bike moves.  Tarak, as Krish, is the son of a wealthy industrialist and lives a privileged life lacking for nothing.  He also has a girlfriend who is allegedly studying engineering but looks more like a fashion model in the form of Indu, played by Samantha.  For some reason she asks Krish to help her college friend Bhumi fend off an unwelcome suitor by pretending to be Bhumi’s boyfriend.  Now everyone knows this is a really bad idea, but perhaps she thought that her friend was too traditional to appeal to the sophisticated Krish.  It did seem strange that the two were friends, since they appeared quite different in their clothes and attitude, but perhaps this was explained in the dialogue. Or not.

Off our hero goes, leaving behind his fancy cars and superbikes to take a bus into the countryside. There was an opportunity for another fight scene using the bus as a weapon, which was great fun, and there were machetes galore to our amusement.

When they finally reach their destination, Brindaavanam, we find out that it is a beautiful house sumptuously decorated and furnished, but home to an unhappy family, divided and feuding with itself.  Krish resembles Krishna – flirting with the girls, alternately charming and infuriating the family members, pulling practical jokes, fighting, dancing and generally stirring up mischief while also righting wrongs.

Prakash Raj with the ‘Amrish Puri Eyeballs of Hate’ (TM PPCC) plays the head of one branch of the family, while Srihari heads up the other side.  Their father is the only one who can talk to both sides of the family as everyone else communicates by machete and there are many convoys of black jeeps travelling over the bridge between the two houses.

The wardrobe department excelled once again. There are two brothers who have an amazing array of psychedelic shiny shirts, possibly the left overs from Solomon in MAGADHEERA, worn in combination with clashing lunghis.  Venu Madhav plays another member of the family with the same bad taste in outer wear, while Krish has an impressive selection of T-shirts and stripey jumpers.

The set design is just stunning, especially the interiors. There is also a veritable Noah’s ark of animals featured including chickens, geese, cows, goats, a turtle and even rabbits!  We did have to pity the poor animal wrangler who obviously had instructions along the lines of – just get the goats to run through here in a diagonal line between the dancers.

The dancing is excellent, although there was a little too much of skanky skin show in the first number. The visual effects and editing in the song picturisations were impressive and really suited the music.  We liked the songs before seeing the film, and they improved on screen with the expected excellent choreography and brilliant dancing by Tarak.  We did particularly like the bouncing men in their over large straw hats in the Eyi Raja song, and the colourful Vachadura. The traditional appearance of NTR via special effects was used very well and provided a fun conclusion to the film.

The dialogue was obviously very amusing as the audience was laughing throughout the speeches, and we suspect that there were a lot of older filmi dialogues included.  The second half did drag a little as the story was reiterated a few times as the various characters found out about Krish’s charade, but there was some excellent emoting from Srihari and Prakash Raj to make up for this.  In fact, Prakash Raj got to balance his Eyeballs of Hate with his excellent Googly Eyes of Love. Ajay was in great fighting form as the crazy suitor, but once again was destined not to get Kajal as his bride.  Tarak gives a high energy performance, with his usual excellence in dancing and physical scenes.  Both female leads fit their characters well despite those characters lacking any depth. Prakash Raj and Srihari make the most of their roles as feuding brothers.  The action sequences, by Peter Hein with a special fight choreographer also credited, were awesome, with plenty of bodies exploding from the inevitable jeep convoys, and machetes in practically every scene.

This was a good all round entertainer of a film.  We enjoyed it, and the audience’s reaction to the appearance of Brahmi’s bald spot!  We give this film 4 stars!

Vinnaithaandi Varuvaayaa

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A number of people recommended this film to me, and I really should have listened to them and watched it sooner!  VTV (to save on space!) released earlier this year and was an instant hit.  Much of its success must lie with the performances from the two leads – Silambarasan (Simbhu) and Trisha as much as from the excellent direction, beautiful music by A R Rahman and a very realistic story.  The title, which is translated to ‘Will you reach for me across the sky’ is actually a lyric from Minsara Kanavu, a film by Rajiv Menon, and this is credited in the opening titles – a very nice touch.

The film is the story of a relationship between Karthik and Jessie.  Karthik sees Jessie walking along his street shortly after his family has moved in, and falls instantly in love with her.  One of the few typical filmi devices used in the film.

 

 

 

 

Jessie is his neighbour, and as Karthik sees her every day he tries various ways to get her attention.  After exchanging meaningful glances and brief conversations he eventually blurts out that he loves her, and she instantly tries to dissuade him.  She is Malayali Christian while Karthik is Tamil Hindu and Jessie knows that her family will never consent to the match. Despite this and her initial reluctance Karthik pursues Jessie, but we never feel that this is creepy filmi stalker love.

He is very open in his admiration and Jessie appears to reciprocate – she obviously has feelings for Karthik, but her upbringing and the fact that she is trying very hard to stay true to her family’s values means that she holds him at arm’s length.

This indecision is wonderfully depicted in a scene in the train back to Chennai.  Karthik has followed Jessie to her family’s home in Kerala and after managing to meet her, he catches the same train home.  We can see Jessie’s developing feeling for Karthik warring with her loyalty to her family.  She is attracted to Karthik, perhaps even excited by his obvious adoration of her, and while she wants to kiss him, and take things further, she is reluctant to take those steps.

This realism is what makes the story so compelling.  Karthik’s frustration is very evident – both with Jessie when she blows hot and cold, and with the whole situation.  He clearly just wants her to be with him, and has no real thought to her family and the consequences to her if she marries him since his family does not seem to have the same reservations.

Whereas Jessie has seen the problems caused when her sister fell for a man her father did not approve of, and doesn’t want the same pain for herself.  Almost in spite of herself we see her fall in love with Karthik and then struggle with how to reconcile her family and her love.

The couple is often pictured with the gate, or some other barrier between them very poignantly illustrating their troubled relationship.  In fact, they are often not shot together, and the camera switches between them.

But when they are together they look fantastic and the chemistry between them zings!  Karthik is an aspiring film director, and this is cleverly worked into the film.  However it’s another source of their separation as Jessie doesn’t watch films, and Karthik ends up going to Goa for a shoot.  Yet another divide is the age difference – Karthik is a year younger than Jessie.  Despite all of this, and in spite of Jessie’s family’s opposition, their romance flourishes.

The end comes as somewhat of a surprise for such a romantic story, but is absolutely brilliant and just works!  The Telugu version, shot simultaneously with Naga Chaitanya and Samantha, has a different ending which for me diluted the film’s impact, making it less powerful and memorable.

Both leads in this film are fantastic in their roles, and have great chemistry together.  They convey their growing attraction to each other in such subtle but very natural ways adding to the realism of the film.  Since the whole story revolves around them, their performance has to be perfect to capture the audience’s attention, and they succeed admirably.  I haven’t seen Simbhu before, and while I’ve read that this isn’t his typical type of role, I will definitely keep an eye out for more of his films.  Gautham deserves much praise for the restrained way in which he handles the screenplay.  The soundtrack is beautiful and the songs by Rahman add to the whole romantic feel of the film.  Even the more upbeat numbers contribute to the overall feel of the film.  As always for his music, I was left singing the songs, (or rather humming along since I don’t speak Tamil), for weeks afterwards.

The supporting actors are really just there to provide reactions to the main couple, but all do a good job in their much less realised roles.  Ganesh is very good as Karthik’s friend, while Kitty as Karthik’s father and Babu Anthony as Jessie’s make the most of their small roles.   The conflict between Jessie’s father and brother and Karthik is very well played, and their interactions with Jessie are also well depicted.  A clever touch is that the Telugu leads play the roles of Jessie and Karthik in his film within the film, and vice versa in the Telugu version.

The other standout of the film is the scenery, captured so well on camera by Manoj Paramahamsa.  The locations, particularly in Malta for the songs and in Kerala, are stunningly beautiful.  And what a way to arrive for your wedding!Perhaps the only flaw to this film is that it is paced quite slowly.  There is only 1 fight scene and not a machete in sight!  However this approach worked for me considering the subject matter, and I was never bored.  In fact I absolutely loved this film!  The story is simply and well told and the actors are amazing.  5 stars. Heather