The Thieves (2012)

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Boasting a large ensemble of established and popular stars, and making use of locations in South Korea, Hong Kong and Macau, Choi Dong Hoon’s The Thieves is often spectacular. The plot is packed with incidents and conflicts, twists and turns, rarely lagging before hitting the next mark.  I was glad to see this as part of the 2013 Korean Film Festival as the action is best appreciated on a big screen. (Sidenote: Melbourne is fortunate to have so many excellent film festivals and I like to get along to support them. The Korean festival is brilliant – a small but interesting program and very well organised, with lots of extra events around the films)

Things start to heat up when Macao Park (Kim Yoon Seok) assembles a team of ten thieves to steal a legendary diamond. The Korean thieves know each other, as do the Chinese members, but they’ve never worked together. There is open conflict, and hidden resentments and betrayals. Once the pressure is on, who will stick to the plan and who will look out for themselves? Maybe they don’t know each other as well as they think.

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The Korean team consists of the leader Popie (pronounced Popeye) (Lee Jung Jae), cat burglar and wire expert Yennicall (Jeon Ji Hyun aka Gianna Jun), technical assistant and token cute boy Zampano (Kim Soo Hyun) and middle aged con artist Chewing Gum (Kim Hae Sook). They are joined by safecracker Pepsee (Kim Hye Soo), just released from jail after a gold heist gone wrong. Her partners in that gig were Macao Park and Popie. In China, Macao Park recruits veteran Chen (Simon Yam) and his sidekicks Jonny (Derek Tsang) and Andrew (Oh Dal Soo) plus another safecracker, Julie (Angelica Lee). The game is afoot!

The characters are clearly defined in terms of type (competent, eye candy, comedy fodder etc.) from the start but the personalities and history emerge throughout the course of the action. Personal and professional rivalries bubble to the surface, and almost everyone has their own agenda.  Often in this kind of film the nuances of characterisation are missing or overshadowed by the action. I was pleasantly surprised by the female characters, most of whom were more developed and complex than the guys. There is some romance between thieves, but not always what you might expect, and it doesn’t seem to distract the ladies from the task at hand.

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Jeon Ji Hyun is lots of fun as Yenni. One minute she is trading on her beauty, the next she could be doing a dorky victory dance or coolly rappelling down a skyscraper. Yennicall is often the butt of jokes but she is not as dumb as some might like to think. She just concentrates on what works for her. And Yenni is not just the token hot chick, she is a skilled thief with fairly good instincts even if she does seem a bit dim. Zampano has a crush on her and they have an oddly sweet relationship. She knows he is into her, she is out for herself, but they are friends and colleagues. Her rapport with Chewing Gum and her vague jealousy of Pepsee are well played. It’s a nice performance as Jeon Ji Hyun doesn’t mind playing against her glamour girl image and has good comic timing.

Pepsee and Julie are extremely competent and each has a strong back story that informs their present choices.  Kim Hye Soo gives Pepsee a tough façade over a wounded heart. Angelica Lee is all business and Julie’s sharp eyes rarely miss a trick. They are very different from each other on some levels, and I appreciated seeing diverse strong women in the story. Their rivalry is on a professional level, it has nothing to do with any of the men in the team. They can respect each other but that won’t get in the way of what needs to be done.

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Lee Jung Jae plays Popie with almost teenage angst. He wants to be taken seriously, to be the leader, he wants Pepsee to forget Macao Park and why doesn’t she love him instead. It’s a well-judged performance as while some of Popie’s actions and dialogue are incredibly silly, he plays a major part in what happens so needs to be credible. And I appreciated the stick on moustache which no one ever believed was real.

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It’s a long wait to find out what drives Macao Park and exactly how his relationship with Pepsee went sour. The character is a brilliant strategist and thief, and he stays cool in the most trying of situations. That makes him less relatable and human and consequently I was a bit less invested in his situation than I was in the other team members. Kim Yoon Seok does well in the scenes where he can show some of the complexity and emotion under that calm surface, and he underplays most scenes to great effect.  He also gets the best and most explosive action sequence of the film culminating in a vertiginous fight on cables down the side of an apartment building.

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In between marvelling at the camera and wire work I was a bit distracted by the ease with which so many airconditioning units were dislodged. Maybe they don’t get really big pigeons in Busan.

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Kim Soo Hyun is underutilised as Zampano, the guy on the other end of Yenni’s wire rig. He gets little to do, but makes the best of his limited role and some of his scenes with Yenni are charming. And of all the guys in the cast, the only one you’d really want to see shirtless is him, so that worked out well.

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Simon Yam and Kim Hae Sook stole the limelight when they were sharing their little corner of the subplot. I always like seeing secondary characters with a sense of purpose or dreams of their own, and Chen and Chewing Gum gave the story some welcome uncomplicated affection.

Apart from the main ensemble, there is a sizeable supporting cast. Ki Gook Seo and Ju Jin Mo stand out as the dangerous fence Wei Fong and the dogged policeman on the trail of…well, everyone.  All of the threads lead back to a couple of key factors so as things unfold, some of the peripheral characters move in or out of focus.

Choi Yeong Hwan makes great use of contrasts to set the mood with striking visuals and composition. The shady rooms and derelict factories where thieves do business are tucked away beneath the high gloss of Macau, with casinos doing the work of thieves in parting people from their money. You can almost taste the greed and aspiration. The action scenes are beautifully composed and edited, sometimes giving an aerial view of the moving parts ofa clever scheme and other times plunging into the action and confusion. In some scenes the film speed slows and speeds up to synch with the dramatic ebb and flow. Jang Yeong Gyoo’s soundtrack is perfect for this genre. Bouncy and brassy, sometimes even a bit funky, the music matches the pace and adrenalin of the action and visuals. It’s another very accomplished and confident effort from the team that made ‘Tazza: The High Rollers’.

The Thieves has so much going on that I am impressed the sense of urgency  and consequence was maintained even when the revelations were all out in the open. The blend of action, humour and drama is deft and the characters are well drawn. I enjoyed it immensely. 4 stars!

R…Rajkumar (2013)

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Prabhu Dheva (where did the extra ‘h’ come from?), the dance guru, directing Shahid Kapoor, one of the few Hindi actors who can dance – surely that has to be a good thing?

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Well… the premise is there, but in delivery R…Rajkumar is not as good as expected.  While the dancing is excellent (and it is fantastic to see a director make full use of Shahid’s talents in that respect), there are a few too many distasteful misogynistic moments to make this film anything other than just OK.  Shahid makes a reasonable attempt at masala served southern style, and his goofy shirts, dreadful hair and love struck Romeo are entertaining if somewhat reminiscent of Siddharth in Nuvvostanante Nenoddantana.  Although Shahid does his best, the story is standard fare, and adheres strictly to the usual Telugu formula complete with cartoonish fight scenes and ineffectual heroine.  It’s such a shame when all the ingredients are there to make a much better film, if only a little more thought had gone into the screenplay.

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Romeo Rajkumar turns up in a small town where two rival gangs are battling for control of the opium trade, managing to arrive just at the right time to save Chanda (Sonakshi Sinha) from a stray bullet. Simultaneously he falls deeply in love with her after just one brief glance – so deeply in fact, that the mere sight of his ‘lollipop’ (gah!) is enough to halt him in his tracks.   And I do mean completely stop – no matter what – even when taking part in an assassination or when driving the getaway car after another attack on a rival gang. Much hilarious comedy ensues. Well, to be fair, it is funny the first time or two, but it just gets repeated a few too many times.

Rajkumar signs up with Shivraj (Sonu Sood) and soon becomes one of his top men in the fight against rival gang boss Parmar (Ashish Vidyarthi) becoming good friends with Qamar Ali (Mukul Dev) in the process.  The first half is full of outrageous shirts, bad hair and some amazing dance moves from Shahid along with a brief appearance from Prabhu Deva himself.

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But while Shahid is blowing kisses and generally making an idiot of himself, there are darker scenes such as an apparent rape in the police station which is treated as an everyday occurrence and not worthy of further mention.  Further threats of violence and rape against the heroine are also treated as comedy and while some of the lewd dialogue is funny, most is offensive rather than comical.

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Sonakshi Sinha starts off as a feisty village girl with great attitude as she beats up a gang of louts who dare to wolf-whistle at her and her friends. She berates Rajkumar for his unwanted attentions repeatedly, until she manages to overcome her aversion to eighties hair and loud shirts and decides that maybe Rajkumar isn’t so bad after all. But that’s the end of any personality for Chanda, who rapidly becomes vapid and useless, totally unable to defend herself against her uncle and his plans for her marriage, and completely helpless in the face of Shivraj’s attempts to seduce her. It’s a role Sonaskshi Sinha has done many times in the past but she has less conviction in her character here, and it shows.  There is no energy in her performance and zero chemistry with her co-star which makes me wonder why Prabhu Deva didn’t pick someone like Trisha or even Charme Kaur (who turns up in a song) who surely would have brought more oomph to the role.

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Equally disappointing is Sonu Sood who is less menacing and more buffoonish than expected as a gang boss.  Ashish Vidyarthi is even more of a caricature as his rival, while Asrani is actually rather restrained in his role as spiritual advisor to Shivraj.  It’s bitter sweet to see Srihari appear here as the über villain Ajit Taaka, in one of his last appearances.  Generally he’s fine in spite of a rather unconvincing storyline and one rather bizarre scene where he appears gyrating with some bikini clad women on top of a hotel in (supposedly) Hong Kong. Best to just ignore and move along – when did masala ever have to make sense?

What does work well in the film are the songs by Pritam.  Prabhu Deva does an excellent job with the choreography, as for example here in Saree Ke Fall Sa where he uses the backing dancers and a few basic props to good effect.  The only exception is the last item song with Ragini Dwivedi and Scarlett Wilson which is shambolic with much less of a southern feel.

While the film initially feels like a series of short comedy sketches, everything slows down in the second half and becomes a little more serious with more fight scenes and fewer songs.  The inevitable final showdown is good, although I don’t think Shahid is quite as convincing in ‘back-from-the-edge-of-death’ recoveries as, for example, Shahrukh in Chennai Express, which does make the last fight scene funnier than I think it was meant to be. The film could definitely do with fewer rape references, and a more socially responsible hero would have made for less uncomfortable viewing.  Still, Shahid puts in a good performance and seeing him dance up a storm southern style, makes R…Rajkumar worth a watch, even if it doesn’t quite reach the heights I expected.

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Chithiram Pesuthadi

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Chithiram Pesuthadi is the first Tamil film I’ve seen that thanks a roller skating stadium in the opening credits.  So – possibly not one of director Mysskin’s typically dark stories based on crime and murder then?

Well, no.  Chithiram Pesuthadi is billed as a love story, but even in this first film from Mysskin there are plenty of fights, numerous gangsters and an underworld theme added into the plot.  The features that I’ve come to expect from Mysskin’s film are also present, although less frequently here than in his subsequent films, but his trademark low angle shots of feet and a few odd camera angles from above still appear.  Despite the underworld theme, in many ways this is typical love story where a boy from the wrong side of the tracks falls in love with a middle class girl and there are numerous obstacles to overcome. However there are enough fresh features to keep the story interesting, while Narain and Bhavana share good chemistry together, which makes the love story a little more believable than usual.

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Thiru (Narain) is an angry man. He’s angry about the bribes he has to try and pay to get a job, he’s angry at his mother because he feels she prevented him from completing his education (which would have helped him get a job) and he’s angry at his sister because she needs money to finish her education (which means he has to get a job).  This rage makes him an excellent an somewhat ruthless fighter, and when he inadvertently rescues local don Annachi’s son from a beating, he ends up recruited as a general enforcer and thug on call.  The job with Annachi (Kadhal Dhandapani) allows him to vent his rage on a variety of hapless victims, although this doesn’t seem to improve his general disposition.  However there is more to Thiru than his frequent flashes of temper suggest.  He has his own code of conduct which he tries to adhere to, he has three loyal friends who respect him and despite his tantrums at home Thiru is trying his best to support his mother and sister.

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Inevitably, Thiru clashes with a girl who is equally angry, although Charu (Bhavana) doesn’t seem to have any real reason for all her aggression.  She lives with her father and works alongside her uncle in an organisation which promotes the health and welfare of orphans. Charu is a crusader and is ready to leap to the defence of anyone she feels might need her support, whether they want it or not. This leads to several clashes between her and Thiru, whom she sees as a nasty vicious thug.

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Thiru on the other hand doesn’t seem to think much about her at all, until finally one day he starts to see her in a different light.  Either that or he develops severe indigestion – it’s hard to decide from his expression but I’m pretty sure he falls in love.  Either way, we end up with this amazing song which, although it’s the ‘falling in love’ song in the film, it doesn’t seem to have anything much to do with love and romance.  Unless of course, I’ve missed some kind of symbolic significance in the way Narain is dressed as a Roman carrying a goat – or the many other bizarre situations in this song!

Naturally Charu also changes her mind about Thiru and without even a sniff of parental opposition the two end up setting a date for the wedding.  Of course Thiru’s decision to give up his life of crime and sell stuffed toys by the side of the road instead may have helped win over Charu’s father. But only, I suspect, if he didn’t actually see Thiru and his friends in these shirts.

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Charu and Thiru appear set for a life of wedded bliss when suddenly Mysskin appears to remember that this is a Tamil film and various tragedies beset the lovers.  But here again, Mysskin diverges from the traditional path and allows both of his characters to behave badly.  Both are selfish and unpleasant, although of the two, Thiru does get painted in a slightly kinder light.

Charu is abrasive, obnoxiously rude to her father and dangerously confrontational throughout.  When her relationship falters, she blames everyone but herself which showcases the immaturity of her character perfectly.  Bhavana does an excellent job and even manages to create sympathy for her character’s challenging persona.  Most importantly she cries convincingly and looks generally unglamorous and suitably ‘girl-next-door’ for the role. I found it quite impressive that she made me care about what happens to Charu (even if only superficially), as I really didn’t like the character at all.

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Narain also puts in a good performance, although he’s helped by the fact that his character is a little more sympathetic. Thiru is a man of contradictions and occasionally Narain splits his personality a little too much so that angry Thiru becomes too much of a caricature.  However his Thiru is likeable despite the angry outbursts and casual violence. Thiru’s loyal friends are equally impressive, with each developing a distinct personality through the use of just a few little quirks in their limited time onscreen.  I love how one of them is always eating – no matter how serious the situation or how inappropriate, he always has some food in his hands.  There are plenty of similar little touches that make the characters feel more real, including the way Annachi rules his area from his banana yard, discussing deals and deaths in between the more mundane day to day activity of selling fruit.

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While the story develops smoothly, the songs seem to be added rather haphazardly and don’t always add to the film.  There are also some very bizarre translations –  I have no idea what assembling eyes with fingers is all about, but it does sound interesting.

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And of course the roller skaters!

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There is a better than usual item number with Malavika, but again it wasn’t really necessary, and most of the songs appear to be used more because songs are expected rather than as a way to further develop the story.

Overall Chithiram Pesuthadi is an impressive début by Mysskin and illustrates why he has gone on to become such a successful director.  He has the ability to spin a good yarn and keep the plot interesting, even with unlikeable protagonists and relatively dark themes.   Good performances, a new twist on an old story and some clever character development combine to make Chithiram Pesuthadi well worth a watch, and definitely a cut above most other first films. 4 stars.