Monthly Archives: May 2019

Kavaludaari

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Kavaludaari

Hemanth M Rao’s début film was the excellent Godhi Banna Sadharana Mykattu, and he’s followed it up with another gem that’s just as good. Kavaludaari is a crime drama that moves between a thriller and a character-rich neo-noir drama as a traffic cop tries to solve a decades old murder with the help of a retired alcoholic police officer and a journalist with a fixation. It’s beautifully directed and shot, cleverly written and with excellent performances from the entire cast, definitely one not to miss.

The film opens in flashback to the seventies in the immediate aftermath of a robbery and murder in an archaeological office. There is a body on the floor, missing antique jewellery and a raft of suspects, one of whom disappears with his wife and daughter on the night of the crime. In the present, traffic cop Shyam (Rishi) wants to move into the Crime Branch but is met with a firm refusal every time he asks. But then bones are discovered in a construction site, and Shyam is drawn into the mystery. The bones are found to be old, and no-one is interested in investigating a cold case which may not even be a crime. But when Shyam finds a journalist, Kumar (Achyuth Kumar) at the discovery site in the middle of the night he’s drawn into the mystery, despite being warned off the case by his boss.

Shyam has connections and in a beautifully shot scene, he starts going through old case files abandoned in a storeroom. Evocatively, Hemanth M Rao shows a classroom full of shadowy people sitting on the benches who slowly get up and leave as Shyam finds, reads and rejects their file. Finally only one family is left, Gurudas Naidu (Sidhaartha Maadhyamika), his wife Vijayalakshmi (Samanvitha Shetty) and their young daughter Vaidehi (Naila). Mr Naidu was the archaeological officer who disappeared on the night of the robbery and murder, and it seemed as if he was the most likely culprit. But when the bones are confirmed as being the Naidu family it seems as if they were likely murdered as well.

In an effort to find out the truth, Shyam tracks down Muttanna (Anant Nag), a retired police officer who has turned to drink after the death of his own family. Muttanna was the original investigating officer who knows about the other potential suspects in the earlier case, driver Fernandes (Sampath), the Naidu’s servant Bablu (Bharath Gowda), the family cook and the office caretaker to name just a few. But Muttanna has his own problems and is not interested in helping Shyam until his persistence finally cracks through Muttanna’s armour. At the same time, Kumar is investigating Naidu’s disappearance but he’s also on the run from a couple of loan shark heavies who’re looking to call in the loans. With Kumar drip-feeding Shyam information when he can and Muttanna’s reluctant assistance, Shyam gradually starts to uncover more of the puzzle. But when Kumar’s daughter Priya (Roshni Prakash) reports him missing as the real culprit send out thugs to muddy the waters, Shyam appears unlikely to be able to crack the case.

Shyam is introduced by a series of interviews with prospective brides, which is a good way to find out he’s basically a very ordinary bloke. He’s nice enough but has little social life and just isn’t particularly charismatic with women. He is determined though and Rishi portrays this stubborn obsessiveness brilliantly while still allowing his character to appear unsure and out of his depth. Rishi was excellent in Operation Alamelamma and he’s even better here where there is a good mixture of character development, action and drama to get his teeth into. Anant Nag is equally good as the retired cop with a drinking problem and reluctance to get involved. He’s a loner by choice and happy to stay that way until the night Shyam climbs over his wall and forces him to help. The developing relationship between the two men, mentor and mentored is an essential part of the story and yet is so understated and natural appearing thanks to the excellent writing. Achyuth Kumar does a great job with a complex character despite limited screen time, while Roshni Prakash and Suman Ranganathan are very good in small but essential roles.

What really stands out here is the writing. The film is long but at no point is it boring, and nothing on screen is wasted. There is a point to every character and every single action, while the twists unfold perfectly to slowly reveal the plot. Just as in Godhi Banna Sadharana Mykattu, Hemanth M Rao slips some humour in to his characters and there is even a whiff of romance but the story is key and he never loses sight of the plot threads. Advaitha Gurumurthy was a cinematographer for U turn and he captures some of that same unworldliness here, while keeping up the suspense with good use of shadows and different camera angles. The film looks slick and polished but still very realistic thanks to good attention to detail and smooth editing. Even the subtitles are well done, although sometimes hard to read, but the English is good and makes perfect sense. The soundtrack is also excellent. Charan Raj’s music is wonderfully expressive and emphasizes the more emotional elements of the story. Ide Dina, for instance, is a beautiful song that portrays Muttanna’s sense of loss exquisitely while still retaining some of the joy from his previous life.

Kavaludaari was recommended to me by a number of people, and although it took a while before we finally had a few shows in Melbourne (thanks Roopesh!) I’m so glad that we did. This is a brilliant film, beautifully shot, cleverly written and with a great cast who all do an excellent job. Crime dramas are one of my favourite genres which  means I am a tad biased, but this really is one of the stand-out films of 2019 so far. Don’t miss it!

Tumhari Sulu

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Suresh Triveni’s film is a lovely, warm, very funny, domestic story about an ordinary middle class housewife who has dreams that take her on an unconventional path. It’s generally a kind and well considered film although it goes off the rails a little towards the end.

Sulochana or Sulu (Vidya Balan) was never academic but she is energetic and curious. She is mocked by her stitched up sisters and father for her trail of hobbies and her relentless participation in school sports events like the lemon and spoon race. Her husband Ashok (Manav Kaul) is the lone voice of sanity at his eccentric workplace but he is soon displaced by a grasping grandson. He has a playful side which he sometimes uses at Sulu’s expense. But they have great rapport and laugh at the same dumb jokes, sing the same old songs. Even if they argue before sleeping they’ll wake up in each other’s arms.

Sulu wins a radio competition and goes to the station to collect. Her morning journey is intercut with a song including guys doing parkour. Her seamless navigation of obstacles is different but equally unique. She sees another competition but this time the winner will be an RJ. Nobody is very interested in helping her but she is politely insistent. The station staff seem equally appalled and enchanted by her unselfconscious repartee and lack of embarrassment at what they see as kitsch or suburban. They decide to let her audition, assisted by people’s poet Pankaj Rai Baaghi (Vijay Maurya). Sulu finds the cheesy lines and the breathy sexy delivery a bit too hilarious and she and RJ Albeli Anjali (RJ Malishka) lose it several times. But station boss Maria sees potential in Sulu. She goes home, full of spark and with a free pressure cooker to give her sister.

As luck has it, Maria decides to give Sulu the job as payback for Pankaj storming out in a hissy fit. Sulu gets the late night agony aunt/love song dedications gig after demonstrating how she would (sexily) berate her husband for his self-pity. Sulu does things her way – proudly wearing her sarees and speaking the way she feels comfortable. Pankaj tries to coach her but he is all cheesy insincerity while Sulu comes from the heart with genuine empathy, a wink, and a laugh.

It seems the greatest tragedy that can befall a man is having his wife get a better job than he has. Ashok is a little snakey about her new job but he wants to support Sulu. His job may be in doubt but his love for Sulu seems solid. But her family mock her, assuming it’s one of her wild ideas again, and Ashok isn’t sure she will make it or stick with it. While Ashok and Pranav get used to getting themselves up and out the door, Sulu’s sisters are adamant that she is on the slippery slope to who knows and she must give up her job. When they say that she’d come running to them if anything goes wrong she agrees saying they’re family after all.

I really loved the way Sulu articulated her feelings, and Vidya’s characterisation is lovely. I laughed with her, and sometimes at her which made me feel a little guilty about being a judgemental snob. The writing is so good and I would catch my own judgement being reflected back by other characters, raising questions about my reaction. And it’s funny, not preachy. Sulu has second thoughts, but Maria says never look down while you are climbing up. She seems to be where she is meant to be and pretty soon everyone is dancing madly to Hawa Hawaii.

The changing dynamic between Sulu and Ashok plays out through domestic responsibility and commitments. He is under pressure at work and transfers that pressure on to Sulu but she is more determined and happier in her work. When she tells him it is OK to quit – as he wants to – and once she gets a pay increase they can set up their own business 50/50 – as he had offered her before – he cracks the sads. He is trying but not coping with the change in breadwinner status. And Sulu is so happy despite knowing that she is not able to be as hands on a mum and housewife as she had been before. Ayushmann Khurrana makes a fun special appearance as himself, highlighting how her world has expanded beyond her own household. Manav Kaul and Vidya Balan are utterly delightful. Their conversations, whether flirty of fiery have a ring of truth and it’s easy to believe they’re an established couple. I had some frustrations with Ashok’s inability to support Sulu when her family went on the attack, but he is an introvert and the pacifist in the marriage so it wasn’t unexpected.

Unfortunately for reasons I cannot fathom, Triveni comes unstuck towards the end of the movie. It’s a pity because the songs, which could have been an unwelcome interruption, are used to perfection. The music is just okay but the lyrics and visuals amplify and extend the drama. He manufactures an incident involving Pranav that tips everyone into overacting crisis mode. As a result Sulu realises she can’t have it all if she has to do it all and be responsible for it all, all by herself. And that is all fair and reasonable and many women come to the same realisation. But in place of the beautifully organic story and character development, things end with another wave of the Happily Ever After wand.

I loved the story, except for the wobble at the end. This is a film that takes you right into the characters world, and the performances bring it to life. 4 stars!