Janatha Garage

I want to grab Koratala Siva and shake him till his teeth rattle, then kick him into the middle of next week. He has managed to get a top notch cast and the beginning of a good idea and turn it into something far less than the sum of its parts.

Sathyam (The Complete Actor Mohanlal) is the head of Janatha Garage, a leader, and is genuine in his desire to give the little people a fair go. Mohanlal has great conviction and gravitas when he speaks of what is right and fair, and he gives the impression of a man who seeks to take a balanced view but who will never take the easy way out. He gathers a small crew of like-minded men who also represent in shorthand the diversity of Hyderabad. Janatha Garage repairs engines and problems.

Anand (Young Tiger NTR) has an unusual hero entrance where he arrives to … plant a tree. Or actually, tell someone he’s busy and so can they please plant the tree. Anand’s environmentalism is very simple. Trees good, humans bad. He doesn’t seem to have a problem with wanton destruction as long as it is him dishing out the destruction. He is given an overblown fight intro where he beats some thugs up while claiming to be giving them a taste of Mother Nature’s temper. He tells people what to do and believes they will do it because he has told them so. Sathyam sees him as a good fit for Janatha Garage, and welcomes him into the fold.

Some of the movie’s highlights are the scenes between NTR Jr and Mohanlal. Their characters have a connection that is unknown to either of them for quite some time, so that added a bit of interest for the audience. They both bring more to the table than that flimsy screenplay required. The actors portray a nice dynamic – warm, mutual respect, and a recognition of the gradual changing of the guard and what that means. But there are too many gaps and things that Anand in particular just accepts too easily. This is not a lack in Tarak’s acting – I felt he added as much complexity as he could. Both Anand and Sathyam are so sure they are right, and that their right is more right than anyone else’s idea of right. Anand in particular brooks no discussion and has no compassion for anyone who opposes him. It robs his character of any inner life, and makes them both rather joyless.

And that lack of heart is the real problem with this film. For a story that should be so intimately tied to people and their daily struggles, once the story moves to Hyderabad Janatha Garage seems to take place in a lifeless bubble. The sound design makes it seem like they are on a stage with echoing dubbing and swelling string music every time Janatha Garage is invoked. In contrast, an early scene of Anand running through a slum area in Mumbai had a real sense of place and the vibrant, persistent signs of life in high density cities. Even in the impressively choreographed action scenes, Anand takes on all comers alone. He finally allows the other Garage guys in on the final fight but they are barely on camera. And he never even gets a mark on his linen shirts, let alone get his hair messed up. I wonder if his construction strength hair product was environmentally friendly? His apparent invulnerability also saps the drama of tension because you know how every fight will end before it starts.

The support cast are pushed so far into the periphery that I was actually a bit sad to recognise so many capable actors. The Janatha Garage family includes Rahman as Sathyam’s murdered brother, Sithara as Anand’s aunty, Suresh as his uncle, and Devayani as Sathyam’s wife. Perennial favourite Ajay is likeable and sympathetic, Brahmaji doesn’t look angry for maybe 40 seconds of his total screentime, Saikumar is suave as police chief Chandrasekhar, and I liked Vennela Kishore’s fleeting appearance as an inappropriate office manager flirting with Samantha. I have just spent as much time on developing their characters as Koratala Siva did.

The baddies were played by Sachin Khedekar and Ashish Vidyarthi who both exuded an urbane egotism in their pursuit of wealth. They both want to keep a distance from what is being done, but have no illusions about the outcome. Unni Mukundan plays Sathyam’s son Raghava who goes over to the dark side. Raghava is slimy and bit of a sook and I cared not one jot for his well-being. But I did wonder just how he turned out that way when everyone else even tenuously associated with Janatha Garage was lining up for sainthood.

Samantha and Nithya Menon are capable, and both project warmth and liveliness which was sorely lacking in the rest of the film. But their relationships with each other and with Anand were never developed, and their storylines just fizzled out. Even Anand, apart from one tearful scene, seemed largely to forget that he had a girlfriend and a spare.

Luckily there are beautiful visuals from cinematographer S. Thirunavukkarasu, especially when the story heads out of town and Anand gets his groove on while frolicking in the mountains. Tarak can express such joy when he dances and it was a relief to see Anand lighten up. Rock On Bro is exactly what you’d expect if you briefed a 70s metal cover band to write a theme for a tourism ad with a hippy vibe. Having said that, the Apple Beauty song has possibly the worst lyrics I’ve heard since Eurovision. I pitied the subtitle team for having to work with such gems as “when you devour me I am like the Apple logo on an iPhone”. But don’t take my word for it. Here is a sample:

And who on earth thought Kajal could deliver a skanky item? She’s very attractive, she gives it her all, but she has none of the sensuality or basic coordination required to dance her way in and out of trouble. And casting a Mumbai girl to perform a Telugu item called Pakka Local…Luckily Tarak decides he can’t see the excellent sets go to waste so he jumps in.

I’m putting the flaws in Janatha Garage firmly on Koratala Siva’s account. He had a super cast, a decent budget, and a good idea and he threw most of it away with shoddy writing and empty clichés. One for the Tarak or Mohanlal fans who will enjoy the star performances.

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!

Bujjigadu

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Puri Jagannadh and Prabhas are a winning combination and while Bujjigaadu lacks the wardrobe excesses of EK Niranjan, it is a fun if ludicrous film.

Little Bujji and Chitti are neighbours in Vizag, inseparable until they have a fight. Bujji always does what Chitti says and she tells him to not speak to her for 12 years, after which she will marry him. He knows he can’t stay without wanting to talk to her so he runs away. Time passes, and Chitti’s family move away. Flash forward and we see our grown hero (Prabhas) beating up goons in Chennai. As evidence of his Tamilification, Bujji is a huge Rajinikanth fan, desperate to get to the FDFS of the Superstar’s latest film. And that leads handily to a corking tribute to the man himself.

Bujji returns to Vizag after 12 years, confident that Chitti will be there waiting. He is distracted and strays into a comedy subplot which results in some jail time. While in jail he is offered 1 crore if he breaks out and kills a man. After a moment of soul searching and confirmation the target was a bad guy, he accepts. After all, he needs money to marry Chitti. Meanwhile she has returned from studying overseas to look for Bujji, only to be sent away by his folks with a flea in her ear.

The pair cross paths, each unaware of the other’s identity. Bujji’s nom de crime is Rajinikanth and apart from knowing Chitti (Trisha) is in Hyderabad, he has few leads to go on. Eventually Bujji discovers that Chitti is the sister of Sivanna (Mohan Babu), the man he was paid to kill but has since befriended. Bujji has been living in her home all along. Sivanna asked Bujji to keep his true name a secret as he knew his little sis would leave home as soon as she found her childhood love. So Bujji agrees, albeit with some conditions.

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Hero and heroine under one roof with the erstwhile villain, more villains breathing down their necks, true love and secret identities…What could possibly go wrong?

Bujji and Chitti still imagine each other as they were in childhood, and their adult selves don’t really hit it off. I wondered how long they would last once they had to spend a lot more time together and the idea of a mutual destiny started to wear thin. Trisha plays Chitti as a little stuck-up, vain and intolerant, but still with some likeable characteristics. Good friend The Mahesh Fan once damned Trisha’s acting by saying she always looks a little more in love with herself than with her hero (Mahesh in that instance) and I tend to agree. Trisha and Prabhas do have an easy rapport but it never seems like a sizzling chemistry.  On the other hand, when Trisha looks at herself in a mirror, all bets are off.

Prabhas is immensely likeable, and despite his slightly dorky charm he can muster up a good death stare and punch dialogue when needed. Bujji is fairly easy going but he is a Telugu film hero so there were a few moments of brain melting ‘logic’ and chauvinism. His declaration that if Chitti said she loved him he would have to kill her because she could only ever love him and she didn’t know who him was so clearly would be guilty of cheating and thus deserve to die made me wish again that every film had a Tight Slap Administrator, and that it was me.

Mind you, Prabhas does get props for his Chihuahua wrangling skills.  And I love how much love Bujji has for Sivanna and his constant calling people Darling.

If we define love as mutual respect and affection with a dash of chemistry, then the strongest relationship in this story is between Bujji and Sivanna. Sivanna sits back to watch his goons take Bujji apart, but instead finds himself cradling his bloody opponent, shouting at him not to die because he loves him. Mohan Babu and Prabhas play off each other very well, and their characters seem more complex when they are together as they get down to the truth of things rather than just posturing.

Of the large supporting cast, MS Narayana is a standout as Bujji’s boozy, soft hearted dad. The scene where he recognised his runaway boy was sweet, and I really do like him in roles where he gets to act and not just be the butt of jokes. Sanjana plays Chitti’s sister Kangana and she is pretty and not completely terrible so I suppose she met the brief.

The villains are Machi Reddy (Kota Srinivasa Rao) and his two lions – Ajay and Supreet. House favourite Subbaraju is excellent as hapless third son Venkat , who seems a bit too sensible and not really hard-core enough for his dad. Sunil and Ali provide more than enough pointless comedy. Brahmaji is Sivanna’s hot headed sidekick. And Mumaith Khan does her thing as a welder/item girl.

I liked that she wore professionally appropriate gear for both her day jobs.

The fight scenes are campy and funny, with lots of flexing and posing by Prabhas. Every single breakable thing on set is utilised, and the sound effects team are given full rein on the biffo and squishy stabby noises. The finale took place on an abandoned film set so there were lots of fragile brick walls and stained glass windows, enough for everyone to have a go. Almost all the boys get to fly about either through wires or effects. I kind of love the moment when Bujji sets his foot on fire, all the better to kick the goons with. That’s commitment. I liked that Bujji could pour out his feelings in Tamil to Telugu people and in Telugu to Tamil friends and thus get to wallow in his woe while keeping his secrets. There were some zingy one liners and some mystifying subtitles, and that all adds to the fun.

The costume department made some interesting choices, and I applaud their application to the task of dressing the overseas backing dancers with only the materials commonly found in hotel rooms and budget clothing chains. And Prabhas takes denim in some unexpected directions. The songs are mostly fun (even if just for the outfits) and help you take a breather in between fight scenes.

Bujjigaadu has a hero who knows exactly how to hit all the right spots in a mass potboiler, and a director with a big budget and a sense of fun.  4 stars!