Yearly Archives: 2016

Ab Tak Chhappan (2004)

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The film opens with a pile of clothes and shoes on a beach, and someone whistling “For He’s A Jolly Good Fellow”. A man is wading in the sea, maybe suicidal, maybe cleansing his sins. Or just washing off the bloodstains on a nice sunny day.

Sadhu Agashe (Nana Patekar) is an encounter specialist. He is honest and pragmatic about what that really means, and is untroubled by any ethical concerns. He is doing a necessary job as the legal system cannot stop gangsters, so extreme measures are required. The cops are basically just another gang in the Mumbai ecosystem. Within the department there are people jostling to take over his prime position. Imtiyaz (Yashpal Sharma) is a sook who wants to be the top cop but lacks Sadhu’s instincts and connections with the useful informers. Shukla (Nakul Vaid) is the wide eyed newbie, determined to deliver justice through state sanctioned murder.

Zameer (Prasad Purandare) is an offshore crimelord, running operations from his luxurious Malaysian retreat. He has a random Australian girlfriend and a strange attachment to Sadhu Agashe, who he often calls for a chat. The cat and mouse game between cop and crim is tense and disarmingly friendly by turns. New Joint Commissioner Suchak (Jeeva) has a different agenda from outgoing Mr Pradhan (Dr Mohan Agashe) and the department has to learn to navigate the new landscape. When Sadhu Agashe is put on the other side of the gun, he uses all the resources at his disposal to try to outwit his adversaries.

Nana Patekar is both ordinary and charismatic, and delivers a compelling performance that carries the film. Agashe is a public servant tasked to kill bad guys and has no obvious ethical issues with his job description. He believes he is taking care of a problem afflicting the general population, the people he swore to protect. His simplicity is deceptive, a man who acts first and stops to feel and care later. His relationship with wife Nammo (Revathi) is loving with lots of nagging and joking in a comfortable couple-y way. She is a political science teacher and yet exhibits no qualms about what her husband does, or the potential danger to herself and their son. I know they have been married for years but I still expected that when Shukla brought his fiancée Vaishali (Hrishitaa Bhatt) over for dinner that they may talk about what it meant, or at least how to get blood out of clothes. It was just such a non-thing in their lives. Revathi is elegant in a comfortable middle class way that suits Nameeta, not blingy or impractical looking. Revathi doesn’t get a lot of dialogue but her silent interactions and bustling about the home show Nammo is the cornerstone of his life. She is warm and grounded which plays well against Nana Patekar’s sharper edges. When people break the unwritten law that keeps family and dependants out of the fray, they mess with the only thing that could influence Sadhu Agashe to be moderate.

Yashpal Sharma and Kunal Vijayakar have prominent supporting roles and play the world weary seen-it-all-before cops to perfection. Justice is not their priority, hitting their targets (literally) is more important.  Nakul Vaid is suitably wide eyed as the rookie on the team. Agashe sees potential in the kid, and shares his jaded wisdom with his protégé but I wouldn’t say the boy was all that innocent to start with. Looking queasy when you shoot someone is not necessarily an indicator of moral fibre. Jeeva is threatening and oozes corruption as Suchak who disrupts the team with his new agenda. Mohan Agashe is weary and understanding as Sadhu’s old boss, the only man he really trusts and respects. Their conversations shed light on Agashe’s motivation and his view of the world, and point out the dangers if he sets a foot wrong.

Shinit Amin set his story in the non-glamorous Mumbai of films like Company and D, a dog eat dog city. Traffic is constant, everyone knows everyone else, the honour code is fairly strong. No matter what happens, gangsters and cops all stop to watch the cricket and even a hardened criminal should be entitled to a cup of tea and a lift home after he has been beaten to a pulp. There are rules. And then there are laws. The film was produced by RGV and it is like the sensible version of (the very disappointing) Department. There is an internal logic, cause and effect, nothing happens out of blind coincidence or guess work.

The background score by Salim-Suleiman is dramatic without being too obtrusive. Their soundscape helps create a sense of urgency and velocity as the protagonists travel through the hurly-burly of Mumbai.  The camera also navigates the rabbit warren of streets homes and office, giving a feeling of being a fly on the wall. Faces are often framed in close up but off centre, maybe to underscore the unknown and secret sides of human nature. Or maybe just because it looks cool. There is a lot going on in the background and periphery as people go about their work and daily business. It’s a lively yet very contained filmi world.

There is a lot of violence and death in the film, but it is almost understated. The characters hardly notice the carnage, so nor did I. I was more interested in the why than the what. And the implication of the corruption of the system and the internecine conflicts was far more frightening than a shooting.

This is a solid film with a well thought out plot and excellent performances. It’s not uplifting but neither is it completely depressing. It is a different way of looking at that filmi chestnut – where do you look for justice? And does doing something bad to prevent something potentially worse ever work out? 4 stars!

24 (2016)

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For a science fiction film about time travel there is something more than a little magical about 24. Vikram Kumar has come up with a compelling story and made a technically excellent film with a well-chosen cast who all perform beautifully. Suriya is outstanding, favourites Ajay and Saranya Ponvannan are impressive in rather more substantial roles than expected and the whole film is a wonderful masala mix of action, drama, romance, comedy and mystery. Definitely one to catch in the cinema to fully appreciate the VFX but also well worth watching for the expertly crafted story and first-rate cast.

24 combines many of the usual elements of a Tamil film, but although the ingredients may be commonplace the resulting story is refreshingly novel. First there is the rivalry between two brothers; Sethuraman and Athreya (both Suriya), one a brilliant but obsessed and oblivious scientist working on a device that will allow travel through time, and the other his jealous and coldly calculating elder brother who will stop at nothing to steal the device for himself. Moving 26 years into the present day, there is Sethuraman’s son Mani (also Suriya) who knows nothing of his past, his adopted mother Sathyabhama (Saranya Ponvannan) who has sacrificed everything to keep Mani safe and the evil Athreya still trying to track down the device to try to rewrite his own past. These are all familiar plot elements but here cleverly put together to ensure there are plenty of surprises throughout and just when it seems the next step in the journey is inevitable, Vikram Kumar twists the path and the story heads off in an unexpected direction.

The opening scenes are amazing and although supposedly set in 1990, the steam train, cars, motorbikes and fairy tale-like mansion give an older-world ambiance. This is helped by the lighting which is golden, warm and suggestive of candle-light especially when compared to scenes set in the present day that are lit more brightly with colder, bluer lighting. Sethuraman has converted his entire house into a gigantic laboratory to work on his invention, and in typical mad-scientist style he has secret rooms, hidden passage-ways and odd devices everywhere. Think Wallace (Wallace and Grommit) with a bigger budget. Thanks to the intervention of a CGI eagle, Sethuraman manages to create a watch that will allow time travel but before he can celebrate his success, his elder brother Athreya shows up to steal the invention. Suriya’s Sethuraman is a classic bespectacled and nerdy inventor, right down to his abstraction when his wife Priya (Nithya Menen) tries to get him to help with their young son Manikanden and various dangerous substances inappropriately placed for safety around the room. This of course allows for maximum damage when Athreya shows up but paint a picture of a ‘typical’ scientist which Vikram Kumar then turns on its head as Sethuraman turns out to be more practical than first impressions suggest. The opening scene sets the precedent for the rest of the film – there is a good amount of humour, plenty of action and drama with Suriya drawing all eyes and commanding centre stage throughout.

The film moves 26 years into the future where Mani is grown up and working as a watch mechanic with no knowledge of his past, or just what he has in an unbreakable box that he cannot open. Athreya is still around too, although after the events 26 years ago he is a crippled shadow of his former self getting around in a motorised wheelchair after waking up from a coma. Athreya is as malevolent as ever and with the help of his trusty sidekick Mithran (Ajay) goes about trying to turn back time 26 years to reverse his accident and regain the use of his legs. Again Suriya does a fantastic job with the character of Athreya – he’s confidently wicked in 1990 when he goes after his brother and his family, and wonderfully warped and bitter in 2016 as a twisted figure in a wheel-chair. Suriya brings the character to life and makes him so much more than a stock evil villain.

Mani is more the kind of character Suriya has played in recent films, but with a hint of mischievousness that differentiates Mani from the likes of Massu and Raju Bhai. There are some well scripted moments between Mani and his onscreen mother Sathyabhama which give Saranya Ponvannan more than the usual mother/son dialogues to get her teeth into. As always she’s the quintessential filmi ma, but here she gets to have a back story and separate personality aside from being a mother and she rises beautifully to the opportunity.

There is also a romance – of course – there has to be a romance! Mani falls for Sathya (Samantha) just as he discovers his father’s watch, and the romance is partly an excuse to showcase all the things the watch can do. The love story is the most conventional part of the film but Suriya and Samantha have good chemistry and Vikram Kumar adds in some light-hearted comedy to ensure the romance doesn’t overcome the action. Girish Karnad, Mohan V. Raman and Sudha as members of Sathya’s family add more background and all are good in their respective roles.

A.R. Rahman provides the music, but it’s around an hour in before the first dance number which is the appropriately electronic sounding Kaalam en Kadhali. I loved Suriya’s dancing in this – it was definitely worth the wait! The rest of the songs are more romantic and fit less well into the narrative, although I did appreciate the black and white co-coordinating costumes in Naan Un. The music itself is lovely, but the songs slow down the narrative and really don’t seem particularly necessary to move the story forward.

Although there is plenty of good comedy in 24, it’s kept light and even Sathyan, as Mani’s friend Saravanan, is more restrained than usual. It is still laugh-out-loud funny in parts though which provides a good contrast to the few more violent scenes, particularly one just before the interval which is shocking in its sudden brutality. However that is the exception and most of the fight scenes rely on intelligence rather than brute force.

24 has the look and feel of a Hollywood film without losing any of its Southern Indian roots. If this had been a Western film, no doubt 3 different actors would have been cast in the different roles of Mani, Sethuraman and Athreya, but in part the film works so well here because it is the same actor in all three roles. Watching Suriya play three very different characters is mesmerising all by itself while ensuring the familial relationship forms part of the story. Plus more Suriya is generally a good thing! The visual effects are slick, polished and look amazing, while the cinematography from S. Tirru is excellent, adding another layer to the story and ensuring a sophisticated look to the film.

Vikram Kumar impressed me in Manam with his ability to make a complex story flow easily and he does it again here. Yes, there are a few too many coincidences and no-one seems to worry about what will happen to the future when the past is altered, but these are small issues that don’t seem to matter when the rest of the film is so well done. 24 is an excellent piece of storytelling and the best big budget film of the year so far. Don’t miss it!

Goli Soda

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Goli Soda is a masala movie with a difference – there is the usual mixture of action, comedy and romance, but this time the protagonists are four adolescents from Koyambedu market in Chennai and the action mainly takes place within the confines of the marketplace. The four are all orphans who have grown up in Koyambedu and Goli Soda follows their struggle to discover their own identities and what happens when their livelihood and self-respect is threatened. While the scale of the story may be small, the theme of teenagers trying to fit in and develop their own self-worth is universal, even if most don’t have to face quite the same obstacles or start with quite so little. S.D. Vijay Milton’s film has engaging characters and an interesting and rather different story to tell, making Goli Soda well worth a watch.

Saetu (Sree Raam), Kuttimani (Murugesh), Pulli (Kishore) and Sitthappa (Pakoda Pandi) are all friends who live and work together in the market. They unload produce during the early hours of the morning, working for Aachi (Sujatha Sivakumar) who pays them according to the amount of bags they have carried into her business. The boys live rough in the market and spend the rest of their time running amuck, ogling the local girls on their way to school and wasting time with market porter Manthiravan (Imman Annachi). The relationship between the four is well depicted with the expected amount of teasing and banter in any group of young men, but there is also plenty of support for each other and together they form a tightly knit family. This is perfectly illustrated when they all share the same ‘best’ t-shirt to wear as they wave at their chosen girl from the safety of the building roof. Regardless of the fact that none of the girls can probably see exactly what they are wearing, they swap the t-shirt so that each feels he looks his best with the limited resources they have. It’s a brief moment but shows their easy camaraderie and how much they rely on each other.

When Aachi finds out that one of the girls they are chasing is her own daughter Yamini (Chandhini) she convinces the four that they ned to do something more with their lives and approaches market kingpin Naidu (Madhusudhan Rao) for a loan. Naidu gives them the use of an unused godown which the boys turn into a small restaurant, named Aachi’s mess in honour of their mentor. They are surprisingly successful too, and take everything very seriously, even down to selecting the right covering for their makeshift tables. They’re helped in their endeavours by Aachi and Yamini and also by Vanmathi (Seetha) another friend who has her own share of problems but manages to take a glass half full approach to life. However Vanmathi is quite committed to her philosophy of one plant, one flower in relationships and only being willing to help if it is definitely true love and not just time-pass!

Problems arise when Naidu’s brother-in-law Mayil (Vijay Murugan) starts to frequent Aachi’s mess, demanding alcohol and non-veg dishes, even spending the night there with his cronies. The subsequent fall-out when the boys turn on Mayil threatens Naidu’s hold over the market and it seems as if Saetu, Kuttimani, Pulli and Sitthappa will lose everything, including possibly their lives as they battle to hold on to the little they have. Aachi, Yamini and Vanmathi are also all affected and in a departure from the normal masala formula, the two girls end up taking part in the fights with Naidu’s men and help the boys in their campaign to regain their restaurant.

What Goli Soda does is take the usual masala issues of bad guys vs good guy and translate them into the world of four adolescents. Instead of land grabbing politicians and gangsters we get petty criminals who take over the boys’ space and take away their sense of self in the process. That space is important as it’s the first Saetu, Kuttimani, Pulli and Sitthappa have had that is theirs to do with as they please – or at least as much as they can in a rented shop. Their insistence on choosing the tablecloths and making tables and benches for the restaurant becomes significant as it’s the first time they have ever had any say in their surroundings. The restaurant becomes their space and defines how they appear to the rest of the market – they are no longer simply nameless coolies, but instead are Aachi’s mess boys.  The successful business confers a sense of self-worth they did not have before and makes each someone rather than just another orphan. Loss of their space means they are back to being nothing – and that’s not something they are going to let happen if at all possible.

The film has a number of fight scenes where the four adolescents take on Mayil and his gang. This could have been ridiculously unbelievable, although perhaps not any more so than in the usual mass film where the hero is able to fling villains around without too much effort, but the choreography here is better than that. There is a lot of slapping and basic survival tactics which makes it seem less incredible that the boys could take on grown men and not suffer horrendous injuries, while the casual brutality of the gang seems plausible. The story overall works as the boys are all typical young men with the usual wants and desires – new clothes to look cool in front of the girls for example, but they also have a sense of responsibility which comes from having something which is theirs alone. All the young actors are fantastic in their roles and each is completely believable – even down to the blubbering and pleading when they are first faced with the prospect of being beaten up by Mayil and his gang. Sujatha Sivakumar is also excellent in her role as Aachi, giving the boys a constant in their lives and imbuing discipline without losing their respect.

Although it’s a simple story, Goli Soda packs a lot into 2 hours. All the masala elements are there, but trimmed of any excess to suit the younger protagonists, making for a neat and crisp narrative that easily pulls the viewer into the world of Koyambedu market. The dialogue is fun, snappy and suits the characters while the documentary-style of the camera makes the scenes in the market feel very natural. Goli Soda is something just a little bit different and recommended viewing for a movie with a message that avoids being preachy or overly sentimental. 4 stars.