Category Archives: Kollywood

Kaashmora

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Written and directed by Gokul and starring Karthi in a double role, Kaashmora is a full on masala supernatural thriller with an amusing antihero, an evil villain, a beautiful princess, a mystic child, loads of characters with little to do and tonnes of cheesy one-liners. Much more fun than I expected, not as smart as I’d hoped, I still felt I got my money’s worth.

Kaashmora (Karthi) is a successful exorcist whose popularity is on the rise. He acquires a research assistant, Yamini (Sri Divya) who is secretly doing a thesis on fraudulent spiritualists. Eventually, and after many shenanigans, he arrives at a mysterious ruined palace which is haunted by a seriously evil spirit, Rajnayak (Karthi again). His family (including dad Vivek) who share the exorcism biz are also brought there, and they are given a hard deadline to achieve a task. Both Rajnayak and a mysterious child need Kaashmora to lift a curse and allow either a) Rajnayak to leave his confinement or b) long dead Princess Ratnamahadevi (Nayanthara) to finish him off once and for all. There’s not much Why but there is a whole lot of What! I think it’s best to just go see it and let it all roll. Or if you must spoil your own fun, read the usual painfully detailed summary a Wiki killjoy has already published.

Being a supernatural historical thingie, there is a lot of over the top design required from the palace and city through to the armour and other costumes. Overall I would say the design is great but the execution is a little lacking, and if you’re not as fond of dodgy CGI as I am, you may be in pain during some sequences. The old time city and palace are pleasingly epic in scale, and there is a nice commitment to eagles throughout. Ratnamahadevi has an excellent peacock bed, Rajnayak’s armour is hilarious and would probably get him killed or at least badly tangled up, and Kaashmora’s modern day exorcisms have the right blend of stock horror elements. The songs are colourful and their design and costuming ranges from totally unhinged to opulent and over the top. I was particularly taken by the Mad Max inspired Dhikku Dhikku Sir, although it was more “Furry Road” than Fury.

Often the device used to explain a far-fetched thing was not explained at all. Kaashmora is caught in part because of publicity about his Guinness Book of Records exorcism attempt (no, I did not know that was a category either) and naturally, we are to believe that the ghosts read the paper and watch the TV news. This was explained by a man who needn’t have been there except that there was no other way to explain that. So while I kind of liked the ideas, I wish Gokul had a better notion of how to link them together and how to keep moving without so many stops for “as you know Bob” exposition.

It’s not a terribly scary film, although there are a couple of moments that startled me a little. There’s a lot of violence but not so much gore. And despite Rajnayak being at best a sex pest and at worst a serial rapist, there was no depiction of violence or rape and all the ladies (and there were lots) he acquired gyrated around his enormous round bed and kept their spangly draperies firmly in place. Well, except his intended and unwilling bride, Ratnamahadevi, who had other ideas about their future.  Small mercies.

Sri Divya got a raw deal with her character. Yamini must be the worst at research ever. Just the worst. (I feel a bit Trumpesque making that statement.) She was supposed to be doing a thesis but had no idea how to actually do research, not even check Youtube for pertinent clips. And her character was completely pointless, adding nothing to the drama and doing little until a point when other solutions could easily have been written. I would have ditched Yamini completely and used the time to explain why Rajnayak stood around covered in bats.

Karthi is much more effective, and fun, as the slippery and smug Kaashmora than the one note Rajnayak. Kaashmora is serious about his business but his reactions and one liners ranged from droll to dad joke, making the most of Karthi’s comic timing. I was distracted by a continuity issue with a bit of disappearing crud on Rajnayak’s teeth which kept me a bit more interested in him than I might have been. But I was annoyed by the ending a little as it implied that Kaashmora would not learn anything from his near death experience and possibly worse, there might be plans for a sequel.

Nayanthara is both impressive and stunning as Ratnamahadevi. I wish more time had been given to her, not just because her multi-coloured hair looked great, but because I was more interested in her back story and her connection to the mystical child. Her outfits are very fairytale princess, but Ratna is both a warrior and a diplomat, using whatever tactics will be to her advantage. When Rajnayak was pawing at this woman he had coveted for so long, Nayanthara showed both disgust and the determination to seduce him and catch him off guard. And she imbued the final confrontation with a sense of the high stakes and her absolute fury at him. Does anyone know who played the child? She was quite impressive too.

Kaashmora is less grim than Arundhati, and less engaging than Magadheera, but it is good fun in a ripping yarn kind of way. It’s worth seeing on the big screen so you can at least be absorbed in the spectacle. And thanks go to Ajith who was credited with the subtitles – much appreciated!

Aandavan Kattalai (2016)

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M Manikandan’s Kaaka Muttai was one of the best films from last year, so my expectations were high for Aandavan Kattalai, particularly since one of my favourite actors Vijay Sethupathi plays a main character. Now normally having high expectations is the worst possible scenario as it’s usually met with disappointment…. but not this time! Aandavan Kattalai delivers in every possible way. Co-writers Manikandan, Arul Chezhiyan and Anucharan have taken a simple story and imbued it with clever characterisations, entertaining diversions and a moral that’s delivered subtly enough to avoid even a hint of appearing preachy. My only gripe is that the songs and none of the written material (newspaper headlines, notes on paper etc) were translated, but otherwise this is a thoroughly  enjoyable film.

Aandavan Kattalai follows the story of Gandhi (Vijay Sethupathi) and his friend Pandi (Yogi Babu) as they attempt to fraudulently obtain tourist visas and then work illegally in England. Gandhi has incurred too much debt in his home village and has to try to pay the money back to salvage his reputation with his brother-in-law and sister. Later it is suggested that Gandhi isn’t a wastrel himself, but that his debt is partly due to raising dowry for his sister’s wedding but this part of the story isn’t explored in any great detail – at least not with subtitles. After another villager arrives back from overseas with plenty of money and shares his story, Gandhi and Pandi decide that working in the UK will be their ticket to riches too.

The pair travel to Chennai to meet with a broker, who has plenty of cons and shortcuts to circumvent the system. One of these leads Gandhi and Pandi to add a spouse’s name to their passport application. Pandi somehow manages to pass his visa interview and heads off to London with instructions on how to mimic a Sri Lankan refugee once he lands. Gandhi’s intrinsic honesty however sees him rejected for a visa and he is stuck in Chennai for at least 6 months until he can try again. Both Gandhi and Pandi are lost and bemused by the big city with Manikandan evoking thoughts on how they will possibly cope with London, where they will not only be in a large metropolis, but one where the customs and language are completely different. The little things; trying to find somewhere to stay and the vagaries of the Chennai householders, finding their way around the maze of the city and getting all their paperwork together are all shown as major struggles for the pair and serve as a way to further develop their characters.

While Vijay Sethupathi is excellent as the more aware and thoughtful of the two, his sidekick Pandi has simply the best dialogue with the funniest and most natural one-liners I’ve heard for a long time. Yogi Babu is simply superb here and his character is perfectly nuanced to be funny but also logical for his persona and completely genuine. His facial expressions are hilarious and he uses his remarkably untameable shock of hair to great effect. I don’t usually enjoy the comedy tracks in films but Yogi Babu shines here, even among the highly accomplished cast, and he really is very entertaining.

Vijay Sethupathi is excellent in a role that allows him to be at his laid-back best. He perfectly blends concern about his friend, his frustration with the system and his naivety about his visa application to give an overall realistic portrayal of an essentially honest man (at least most of the time) trying to deal with a difficult situation. The character suits him well and Vijay Sethupathi makes it look effortless as he demonstrates every possible emotion while making the audience laugh, cry and despair at the bureaucracy and limitless red tape. It really is a fantastic performance and the best role I’ve seen him play so far this year.

The rest of the cast though are just as good. Ritika Singh is great as a TV journalist named Karmeghakuzhali (the name Gandhi has given for his wife) who inadvertently gets dragged in to the divorce case. Again, her character is realistically written with genuine responses and a believable outcome, even if the coincidence of her name is just a tad too pat. I love how she is fiercely independent which helps make her suspicious of everything and everyone (with good reason in Gandhi’s case), but how she still has a kind heart.  Also excellent are the lawyers who work the divorce case, the crotchety judge who suggests marriage guidance rather than a divorce, and a genuine Sri Lankan refugee who is part of the immigration con. They’re a motley group of characters, thrown together by coincidence, corruption and fraud but Manikandan ensures that it all makes perfect sense by the end. No moment is wasted and every small detail is relevant to the final outcome – even when it seems that a scene is just to establish character, there is always something else that has relevance later on.

There are no big dance numbers in the film but there are a couple of good songs from K (Krishna Kumar) used as part of the narrative and these work well to move the story forward. The only thing missing are subtitles which really were needed in a song that includes dialogue and possibly further scene development. But really this is a small issue and overall the subtitles were excellent – easy to read and generally grammatically correct.

I really can’t find fault with Aandavan Kattalai and can’t wait to watch it again, as I’m sure there is more relevant detail I missed the first time through. This is a perfect film, a simple story expertly developed into a detailed saga of epic proportions with excellent performances from all involved and plenty of laughs along the way. Highly recommended for all the right reasons and definitely one not to miss.

Thodari (2016)

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It’s hard to decide exactly what Prabhu Solomon was aiming for with his latest release Thodari. Perhaps he wanted to make an old-style masala movie with a dash of everything as seasoning for an adventure storyline set on a speeding train?  Or maybe he wanted to create a spoof of a disaster movie along the lines of Airplane! It’s hard to say, since instead of any of these he’s made a film with too much of everything except plot and plausibility. The film has a surplus of comedy, romance, action and even social commentary, and yet none of it works together at all, resulting in a lumbering fiasco of a film that slows grinds though its full 168 minutes of run time. The only saving grace is Dhanush, who somehow manages to make his scenes watchable despite the ludicrousness of his character’s actions, and Keerthi Suresh who has a little more to do than the average heroine.

The first half of the film is a jumble of scenes set in a train running from Delhi to Chennai. The pantry staff is introduced, including supervisor and manager Chandrakanth (Thambi Ramaiah) who claims to be ex-military and tries to run his kitchen as if it’s an army platoon. Chandrakanth is responsible for a loud and intrusive comedy track that reaches its nadir when he is accused of being a terrorist and responsible for sending the train out of control. It’s anything but amusing.

Then there is pantry assistant Poochiyappan (Dhanush) and his friend Vairam (Karunakaran) who are vying with the rest of the team to serve refreshments to a Malayalam actress travelling in first class. Again, I think most of this is supposed to be funny, with Chandrakanth using Poochi as a surrogate to romance the actress, and instead only managing to charm her gluttonous mother, but it’s tired, cliché-ridden and basically not comical at all.

Poochi manages to win through to first class but rather than falling for the actress, instead he’s smitten with her make-up girl and immediately decides he’s in love with her in typical Tamil cinema style. Saroja (Keerthi Suresh) has reservations, but a quick song and dance on top of the train and the unlikely hope that Poochi can further her dreams of becoming a famous singer, and she’s happy to melt into his arms. There is also an odd feud that develops between Poochi and a security guard (Harish Uthaman) who is travelling with a government minister (Radha Ravi). There is no apparent reason for the guard’s enmity, although there are suggestions that he has an anger management problem and may even be on medication, but apart from being an excuse to add a couple of fight scenes this entire thread seems completely pointless and superfluous.

The action starts in the second half when the train ends up speeding out of control with no way to bring it to a safe halt. There are all sorts of technical reasons behind why no-one can stop the train, but the media become obsessed with the idea that the engine has been taken over by terrorists. The passengers on the train are able to watch the news of their hostage situation and imminent demise on their mobile phones as they hurtle along the track but despite all this disinformation, they don’t come up with any great ideas to save the day. Instead, their only possible salvation is a make-up girl stuck on the engine with no idea what is actually happening and whose main concern is her developing romance with the train pantry assistant.

The action of the second half is disrupted by the songs and by frequent switches between the different characters. Rather than focusing on the drama, Prabhu Solomon adds more ‘comedy’ involving Chandrakanth, another fight scene with the security guard and shots of the TV crews chasing the train. There are long dialogues supposedly set on a panel discussion with politicians behaving like school children while army personnel who board the train become embroiled in petty  feuds and disputes amongst the staff and passengers instead of doing anything to stop the speeding train. Even the scenes in the control room, which should have been tense and full of anticipation, are watered down by attempts at comedy and yet more digs at the government.  None of it is credible or even feasible but it’s all irrelevant anyway. What really matters, and what the TV audience want to see happening on the out-of-control train, is the success of Poochi’s romance with Saroja before the train runs out of track and the couple run out of time.

Thodari could have been much better if Prabhu Solomon had kept to the basics and put a simple love affair together with the drama of a runaway train. There are some good ideas here although they are almost buried under the huge cast list and wreckage of a plot. I like that it’s the heroine who has the best chance of saving the day and that the hero leaves it all up to her. Keerthi’s Saroja has some good lines too (although the abysmal subtitles meant I didn’t understand everything) and mostly behaves as any normal person would when faced with similar situations. Some of the suspense with the runaway train works, although it is only a small amount, and the romance between Poochi and Saroja is mostly engaging, despite the difficulties encountered when Saroja is stuck at the front of the train and Poochi is reduced to mouthing sweet nothings over a walkie-talkie with the entire nation looking on. The scenery too makes a spectacular backdrop for the songs as Dhanush and Keerthi shuffle along the top of the train and D. Imman’s music is catchy, even if the songs do act as major speed-humps for the screenplay and are unnecessary in this style of movie.

Overall the film suffers from too much going on at a superficial level, but not enough of  a plot to give a firm foundation. Dhanush is as good as always but even his performance isn’t enough to stop the film running out of steam long before the train reaches its destination. Worth a one-time watch in the cinema for the scenery and Dhanush but disappointingly that’s about all.