Allaudinum Arputha Vilakkum


There are so many great actors in Allaudinum Arputha Vilakkum. But you’d never guess they were that great just from watching it, if you catch my drift. The cast includes Kamal Haasan, Rajinikanth, Gemini Ganesan, Savitri just to name a few. I.V Sasi made his gaudy 1979 Aladdin and the Lamp film in both Malayalam and Tamil. I happened upon the Tamil version first so that is what I will be discussing here.

The story opens with a sorcerer in a cave, who reads something disturbing in his big book of spells and then uses his great powers to conjure up….dancing girls. And HELEN! He also uses his magical powder to give Helen several outfit changes. He may be evil but I think I like his priorities.

Allauddin (Kamal Haasan) is a layabout. He gets into a fight after his opponent cheats on an armwrestling challenge, and actually uses the rough end of the pineapple as a weapon! Nice. His poor mother (Savitri) looks quite done in by all the drama. He is also the only person who can retrieve the fabled lamp from a cave. The Evil Sorcerer disguises himself and persuades Allauddin to accompany him to another city. Conveniently they pass by the secret cave. Allauddin is sent in to collect a lamp and is given a magic ring that will protect him. He evades some not totally terrifying special effects – although considered cumulatively, it would have been quite enervating. I noted snakes, demons, snakes, bits of demons, snakes, dancing ladies, snakes, demons with extra bits, a lion, lake of boiling acid, snakes.

Allauddin accidentally rubs the magic ring three times, and summons the spirit who helps him get home via a leisurely flight. There is a genie in the ring and also it turns out, one in the lamp. I wonder if there is some kind of formal demarcation. They don’t seem to communicate but there must be rules, surely?

Allauddin makes a wish and his lifestyle goes from poor but honest to grand and gaudy in an instant. Seriously. His outfits are just something else. And Savitri looks a lot more like, well, Savitri when she is in her fine silks and sparkles. He makes the transition from lazy rogue to competent hero with minimal effort. And I mean minimal effort. Kamal Haasan puts no energy into the action scenes, preferring to conserve his resources for the abundant opportunities to overact. He doesn’t even dance much.

He meets the ruling family when he accidentally saves one from ambush, when all he’d meant to do was have a perv at the dancers. And that brings him into the path of Kamaruddin (Rajinikanth!!!!). Back at the court, the Shahenshah (PS Veerappa I think) rewards Allauddin for his bravery and is furious at his security people that this incursion was allowed so easily. He berates his courtiers, especially Mir Qasim (Gemini Ganesan in a fetching lilac top and gold cloche) who is demoted. He appoints Kamaruddin to a job that requires a fancy sword. Kamaruddin also has notions of marrying Princess Roshni (Jayabharathi) although she doesn’t seem thrilled and I can see why. Kamaruddin is an unappealing, nasty tempered man with a taste for gaudy tunics and contrasting capes.

Rajinikanth’s facial expressions are priceless as he seems to have decided surely this must be a parody so he will go all out all the time in all the scenes. He also does very little “dancing” but that is hardly a surprise.

Allauddin also falls for Roshni just on hearing about her beauty, but decides to make sure by going to perv on her during a ritual bath. There IS a theme here.

I feel inspired to make bath time more of an occasion. I can do without the scores of onlookers, but I may make myself a gold chicken headdress.

To be fair Roshni returns the favour by disguising herself as a man so she can go check out Allauddin at his shop.  Theirs is a love based on mutual ogling and love of dress-ups.

Allauddin asks his mum to go ask the king for Roshni’s hand but Kamaruddin has already called dibs. When the courts cannot decide, they settle their differences as tradition dictates – by gladiator fight. The genie gives Allauddin fancy gold undies and a cape. Perhaps for protection. Maybe just for fun. It’s a gladiatorial triathlon! Horses and pointy sticks, then just the pointy things, then paperthin wobbly swords and shields. Allauddin wins, just, and I think Kamaruddin says something like “Fine. I never really liked her anyway dude”. And I marvelled at two of the biggest stars in Indian cinema. In gladiator outfits.


Allauddin goes home to break the news to girl next door Jamila (Sripriya) who has always been sweet on him. He tells her it would never work out. Sorted! For no obvious reason, Kamaruddin is catapulted off his horse and lands with pinpoint accuracy in a tiny patch of quicksand, just big enough for one person. His horse stands by pretending it doesn’t know what is expected in these circumstances – it had not seen MAGADHEERA! Happily Jamila walks by and she comes to his rescue. Although. Surely the idea is to use the rope to drag the victim out, not drag yourself towards them…Anyway.

Kamaruddin is easily distracted by a glimpse of shoulder, and the idea of a girlfriend who will rescue him.  I think another wedding is on the cards (although this one may require a shotgun).

While the ladies are very much pushed into the background by the story and their male co-stars, I did like that Jayabharathi and Sripriya brought some individuality and expressiveness to their roles. And Savitri could overpower Kamal Haasan’s overacting with just the raise of an eyebrow. Plus, outfits.

While love bloomed, they all forgot about the Evil Sorcerer who is now in league with disgraced Mir Qasim. But our heroes are game for anything, AND Allauddin has his trusty genie. What could possibly go wrong? You’ll need to watch it to find out!

There is a lot going on but nothing of substance really happens so I didn’t really miss having subtitles. I did find that whenever anyone spoke for a very long time, I drifted into happy contemplation of all the gaudy frocks and sets. The visual effects are showing their age but there is a cheeky good humour at play. I even laughed out loud at Allauddin and the genie playing hide and seek around the house. And I could not believe this cast in this film, getting up to these shenanigans.

This is a film I would have loved when I was seven and really, not much has changed. It’s a ripping yarn with some unintentional hilarity and a commitment to searing it’s images on your retinas. I don’t think it would warrant frequent repeat viewing but gosh it was a fun way to spend a couple of hours. 4 extra sparkly SBIG stars!

Yennai Arindhaal


Gautham Menon’s third and final instalment in his ‘police trilogy’ has a more complex and interesting storyline than the previous two films, although there is still plenty of action and more than a few thrills. This time Menon focuses more on relationships, using these to define top cop Sathyadev (Ajith) and his reactions to various events throughout his life. One of the most important is Sathyadev’s relationship with Victor (Arun Vijay), a thug who ends up running an illegal organ trade, and who has a significant history with Sathyadev. Gautham Menon plays with the similarities between the two men who seem polar opposites but in reality have much in common despite sitting on opposing sides of a thin line.  There is also his relationship with his step-daughter Eesha (Anikha Surendran),  Eesha’s mother Hemanika (Trisha Krishnan) and right at the start, his relationship with his father (Nasser) whose murder is the starting point for that thin line.

The film starts by introducing Thenmozhi (Anushka Shetty), a smart modern woman who works as a software engineer. On a flight back from Boston to visit her sister, Thenmozhi ends up sitting beside a man she describes as the most gorgeous she has ever seen, but since she spends most of the flight vomiting into a sick bag it isn’t the most auspicious of meetings.  Her flight companion is Sathyadev, who is there to protect Thenmozhi from a kidnap attempt from the gang of organ thieves, although she doesn’t discover this until later. Somehow Thenmozhi’s heart has been identified as a perfect match for one of the gang’s clientele and a team of dodgy doctors are ready and waiting to perform the surgery just as soon as they can get their hands on her. Sathyadev’s old rival Victor is leading the gang and the film moves into flashback mode to explain the enmity between the two men and Sathyadev’s involvement in the current case.

The flashback goes right back to the murder of Sathyadev’s father, a moment where he had to decide which path to follow and on which side of the line to fall. The possibilities were there – to become a gangster and seek revenge, or to become a police officer and seek justice. No prizes for guessing which way Sathyadev decided to go, or that the very next scene sees him in jail. Of course all is not as it seems. While inside, Sathyadev becomes friends with Victor and the two escape together allowing Victor to marry the love of his life Lisa (Parvathy Nair) and have a jolly good knees up at the wedding.

After Sathyadev reveals himself as a police officer who has only befriended Victor as a way to get to his boss Matthew (Stunt Selva), Victor is devastated at the double whammy of the betrayal and his bad judgement in trusting Sathyadev. Unfortunately Menon doesn’t spend much time establishing the character of Lisa, but from snippets later on, it’s clear that she is instrumental in much of Victor’s later actions and she has a passionate vendetta against Sathyadev. I really wanted to know more about Lisa and why she was so deeply involved in Victor’s wicked schemes, but she glossed over quickly and her motivation is sadly never explored. Victor too doesn’t get as much character development as I would have liked but since he is basically completely evil maybe there isn’t much else we needed to know. As the tension mounts and his schemes are thwarted by Sathyadev, Victor has a couple of excellent hissy fits that perfectly convey his frustration and anger. Although he doesn’t have much scope, Arun Vijay does a good job with the character of Victor and his screaming, spitting frustration boils off the screen in the final scenes.

Lisa is the love of Victor’s life, and as such is his greatest weakness. For Sathyadev, it’s Hemanika, a Bharatanatyam dancer he meets while working undercover as an auto driver. The romance between the two is sweet and develops slowly, allowing Sathyadev to show a more introspective and human side. Hemanika has a daughter, Eesha, and for all her modern outlook (divorced single mum) she’s strangely reluctant to believe that Sathyadev can really love another man’s daughter as his own. This part of the film is beautifully done and Trisha is superb as she expresses all of Hemanika’s hopes and fears for the relationship.  Her characterisation is subtle but effective and fits perfectly into this more emotive storyline.

Of course we know it’s not going to end well, and as events unfold Sathyadev is left to look after Eesha on his own. Rather than brushing this off as an inevitable consequence of the relationship and using Eesha purely as a bargaining tool against Sathyadev in the later scenes, Gautham Menon instead uses the developing relationship to give deeper insight into Sathyadev’s character. The way Sathya breaks the news of her mother’s death to Eesha is poignant and natural while the road trip the two take to allow Eesha to grieve for her mother is an excellent depiction of Sathyadev’s developing fatherhood, particularly when set against his memories of his own father. These two parts of the film, Sathyadev’s romance with Hemanika and the development of his relationship with Eesha are sweet and gentle and really should be out of place in a rough and tough cop drama, but their inclusion is perfectly done, and adds so much to Sathyadev’s characterisation that instead they feel essential to the story development. These are my favourite scenes in the film and Ajith is perhaps surprisingly good at showing this more tender side. I’m more used to his manic killer persona in films like Vedalam but he does an excellent job with a more introspective character here and is good at displaying compassion in his developing relationship with Eesha. Just as good is his frustration and helplessness as he tries to change to a desk job for her sake and realises he just can’t continue as a police officer if he wants to keep Eesha safe.

Perhaps the only misstep in the film is the character of Thenmozhi . Although she starts off as a strong and independent character, once she meets Sathyadev she seems to lose all reason and self-respect, propositioning him despite overhearing what appeared to be an intimate conversation he had with someone else. As the film progresses she becomes more and more of a doormat and seems to lose all of her gumption as the threat to her life increases. Anushka does the best she can but her character is too much a victim to allow much sympathy for her plight.

Along with the mostly excellent characterisations, the more mass elements of the film are also well done. The fight choreography works well and there is a good mix of different styles – knife fights, good old fisticuffs and a number of gun battles. Stunt Selva has cameo as the gangster Matthew and Gautham Menon himself pops up as a police intelligence officer. The film looks stunning too, and the cinematography by Dan Macarthur (an Aussie – yay!) is excellent, particularly during the scenes with Eesha and Sathyadev travelling around India. Harris Jayaraj’s music works well too and is a perfect soundtrack for some of the most poignant moments in the film, such as Eesha showing Thenmozhi her mother’s picture and Sathyadev braiding Eesha’s hair before she goes to school. A word too about Anikha Surendran who is very good as Eesha and conveys many emotions throughout the film simply and easily and perfectly suits the role of Sathyadev’s adopted daughter.

Yennai Arindhaal shows just how good an action thriller can be when there is more to the story than just the action. The characterisations are excellent and provide motive and the reason for Sathyadev and Victor to act the way they do. There is so much happening in this film and yet it is still the story of a cop and a villain and a plan to illegally harvest organs. Well written, well acted and beautifully put together this is definitely one to savour. 4½ stars.

Iru Mugan

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Vikram is on fine form playing a dual role in Anand Shankar’s latest action thriller, but the film is hampered by oddly placed songs, gaping plot holes and a meandering screenplay. There are some plus points – the action sequences are good, Nayanthara looks stunning and plays an interesting character, but none of it is quite enough to overcome the lack of suspense and surprising dullness of the storyline. Iru Mugan is a thriller without many thrills despite the best efforts of the cast, make-up department and stunt crew.

At least the start of the film is excellent. We see an old man queuing for a visa in the Indian Embassy in Malaysia, but rather than wait his turn, instead he uses a rather unique way of demanding attention. The result is classed as a terrorist attack against India and when the link is made between the pharmaceutically enhanced actions of the terrorist and über-villain Love, ex-RAW agent Akhilan Vinod (Vikram) is called back into service to discover exactly what is going on in Malaysia. Akhilan’s last action before he left RAW was to kill an illegal drug manufacturer by the name of Love (also Vikram), however Love is the chef suspect behind these latest attacks and Akhilan has a personal reason to find out if Love is really dead or not. Love was the man behind the death of Akhilan’s wife Meera (Nayanthara), although Akhilan has systematically slaughtered anyone else who was involved – hence the ‘retirement’ from active service.

Vikram’s Akhilan is a dour and haunted man with major anger management issues. He believes that violence is the answer to any problem no matter – whether he’s dealing with a suspect, a fellow agent or his boss. However, Malik (Nasser), head of RAW decides that his best option is to send Akhilan to Malaysia along with rookie agent Aayushi (Nithya Menen). So far so good, but Akhilan is the stereotypical ‘lone-wolf’ agent and displays every single hackneyed characteristic possible. Even worse, Aayushi is just as clichéd as a young inexperienced female agent. Her main role is to dress as a prostitute in order to get into a drug manufacturing lab. Really? That was the best option they could come up with? It’s trite, unoriginal and basically a complete waste of Nithya Menon’s acting skills.

Along with the frustration of watching a good actress in a badly written part, the first half suffers from a never-ending plague of flashbacks to Akhilan’s happier time with his wife. Unfortunately, these mainly occur as songs which act as effective speed breakers for the plot and completely destroy any tension that Anand Shankar has finally managed to build. The switch from drug labs and chemically enhanced violence to sundrenched beaches and Nayanthara in skimpy outfits is awkward and makes the film feel dated. Adding to this general late 90’s vibe is Thambi Ramaiah as a bumbling and inept Malaysian police officer and Riythvika as an exploited sex slave.

Vikram also plays the villain Love, a gay/transgender pharmacist who has managed to create a drug that gives superhuman strength and reaction time, but only for 5 minutes. Love is flamboyant and frequently feminine while maintaining his ruthless attitude and determination to cause mayhem with his invention. Although at the end of the day it’s the money that matters, selling the drug to terrorist organisations who will use it to attack governments worldwide is a bonus Love can’t pass up.

Despite all the clichés, it’s Vikram’s performance here as the two separate characters that makes Iru Mugan worth watching. The contrast between surly Akhilan and extravagantly ostentatious Love is excellent and although the two characters are somewhat extreme stereotypes, once both are together on-screen the deficiencies of each seems lessened. Perhaps this is where the ‘two faces’ of the titles comes in, since each character is ruthless in their own way and both are equally quick to jump to a lethal solution for any perceived problem. Nayanthara also makes an impression with her role as another RAW agent and does a good job with both her romantic and more action-orientated scenes, although her character would have better with just a little more depth. But then again Akhilan has very little backstory and Love even less, all of which adds to the scrappiness of the plot. It would have helped to have some idea how Love became such a genius pharmacist and why he decided to fuel international terrorism rather than turn his skills to more altruistic uses since there is a reason given for Akhilan’s excessive use of violence.

There are some more positives; the film looks slick and R.D. Rajasekhar makes the most of the Malaysian backdrop, both in the songs and for the chases through the city. Vikram’s transformation into Love is well done, and the fight choreography is impressive although it does get somewhat repetitive after a while. And although the placement could have been better and the picturisations a less abrupt change of pace, Harris Jayaraj’s songs are catchy and generally the soundtrack is good.

Overall Iru Mugan isn’t a terrible film, it’s just a lot duller than expected given the potential in the storyline. A drug that makes ordinary people into super-soldiers for 5 minutes should have made for a more exciting film than Anand Shankar ends up with here. Worth watching for Vikram, Nayanthara and the Malaysian backdrop, but go in prepared for the slow exposition and numerous plot holes.