Tag Archives: Chemban Vinod Jose

Vikram (2022)

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2022 is proving to be an excellent year for Indian cinema. Pushpa, RRR, KGF2 and now Vikram have really raised the bar and we’re only halfway through the year! In Vikram, Lokesh Kanagaraj delves back into the world he created with Kaithi and adds more threads to his tale of drug dealing, police corruption and gang warfare. With a who’s who of Southern Indian actors, an engrossing story and fabulous action sequences, Vikram is another ‘not to be missed’ film that deserves to be seen at the cinema.

The story begins with Police Chief Jose (Chemban Vinod Jose) bringing in a ‘black-ops’ team headed by an agent known only as Aram (Fahadh Faasil). The police have been sent a series of videos showing black-masked terrorists murder the local Head of Narcotics Stephen Raj (Hareesh Peradi), ACP Prabhanjan (Kalidas Jayaram) and Prabhanjan’s adopted father Karnan (Kamal Haasan). With the final murder seemingly unconnected, Aram immediately starts investigating Karnan, trying to find any possible link that might explain the deaths. His investigations reveal a man who had turned to drink and prostitutes after the death of his adopted son, but no link to the case Prabhanjan was involved with before his death. However, in the course of his inquiries, Aram discovers a missing shipment of drugs belonging to drug kingpin Sandhanam (Vijay Sethupathi) and identifies two more men involved with the drug trade who may be in danger. Veerapandian ((Gowtham Sundarajan) and Rudra Prathap (Aruldoss) are both likely targets as they reportedly know the location of the missing shipments, but despite the police, Sandhanam and Aram all trying to protect the men, the ‘men in black’ are hard to evade.

Aram and his men have no boundaries and as such threaten, beat and bully their way to the information required. Oddly, during the investigation Aram also marries Gayathri (Gayathrie Shankar) despite her ignorance about his real job and seeming unconcern about the man she finds being held prisoner in Amar’s offices. Apart from this one glimpse into a possible softer side, Fahadh Faasil’s Amar is as brutal and dangerous as the men he is seeking. As one of the top actors in the South, Fahadh Faasil is always impressive, but he is electrifying here to the point where he almost manages to steal attention away from Kamal Haasan. Fahadh’s body language, expressions and dialogue delivery are simply brilliant throughout and when his life starts to fall apart, his portrayal of a man at the limit of his ability to cope is excellent. One moment that really stands out is his absolute frustration when trying to resuscitate Prabhanjan’s young son which was simply perfect (standard filmi medical miracles aside of course). I also recognised the Queen of Subtitles rekhs as the dubbing voice for Dr Annie on the line assisting Amar with the process which added just the right note to the whole scene.

Vijay Sethupathi has played the role of a demented brutal gangster before, so the character of Sandhanam isn’t a stretch for him, but Vijay gives the character plenty of traits that set the gangster apart from his previous roles. Sandhanam has 3 wives, and there is an excellent montage where we see Sandhanam, his family and one of his wives practicing target shooting, perhaps to show he’s a supporter of equal opportunities for all. He certainly believes in keeping it in the family since his the main members of Sandhanam’s gang producing the drug supply are all from his large extended family, and he is ultra-protective of them, although happily expends his henchmen elsewhere when necessary. Able to switch between fake doctor, urbane businessman and unhinged gangster with a tendency to use his own product, Sandhanam is more complex than first appears and Vijay Sethupathi brings out all of these different facets of his character even with limited screen time.

Kamal Haasan is the focus of the film and despite not appearing much in the first half, his presence is still felt as the ghost manipulating much of the action. He is amazingly agile in the fight scenes, and if he appears rather less sprightly in an early dance sequence, there are reasons behind that which are revealed later in the story. This is another outstanding performance from one of the greats of Tamil cinema and he does not put a foot wrong. There is a good mix of humour in the dialogue too, and the addition of scenes with his family help to break up the actions sequences and add more fuel to the film’s fury. And if you thought Yash had a big gun in KGF2, think again – guns are so passé when you can have a cannon instead! The other support cast are also excellent from Narain reprising his role as Inspector Bejoy to Chemban Vinod Jose, Kalidas Jayaram, Sampath Ram and Ramesh Thilak. My favourite moment in the entire film comes from Agent Tina (Vasanthi) and I also loved the totally unhinged appearance by Suriya, who has a brief appearance at the end.

The action sequences here by Anbariv are excellent and Girish Gangadharan captures the effects beautifully. The scale of the film is huge with wide shots over the city of Chenni, massive gunfire and explosion sequences and then a total change to close-ups of Sandhanam’s gold teeth. Girish ensures it all looks stunning regardless. Even at 3 hours of runtime, nothing in the film drags and with Anirudh’s soundtrack underpinning the action and emotions of the film, the balance is perfect. Thanks to rekhs who has subtitled the entire film with perfect English although the use of ‘shucks’ and ‘crap’ as substitutes for the actual dialogue did make me smile. I’m assuming there is a censorship reason behind the change since the original words are clearly audible. Thanks too for the yellow font which is much more readable than white.

Vikram is high octane action with plenty of plot detail and connections that make the plot intriguing as well as exciting. The performances are uniformly excellent and I honestly think the film is many times better than anything I’ve seen from Hollywood in recent times. While a number of the characters from Kaithi resurface, Vikram is a self-contained story that can be enjoyed without having seen the earlier film, and the references aren’t so obscure that it’s impossible to work out previous links. I’m looking forward to the next instalment and seeing just what Lokesh Kanagaraj comes up with next in his mad and crazy world of drug lords and special agents.

Jallikattu (2019)

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Jallikattu starts with a chorus of household noises that gradually give way to the birdcalls and insect sounds of the forest. But the peace is quickly disrupted by the chaotic cacophony of groups of men chasing after an escaped buffalo. The pace is frenetic as the buffalo damages crops, buildings and people, old rivalries between enemies are renewed, and the entire male population of the village descend into a kind of primitive madness as they chase after the beast. It’s a potent mix of petty rivalries, domestic and social clashes, underscored by masculinity at its most base, all combining to make Jallikattu a feast for the senses and above all, a wild ride of a film.

After the quick cuts of the opening section, the film introduces the various characters in the village. Varkey (Chemban Vinod Jose) is the butcher who dispenses chunks of fresh meat to a predominately male clientele alongside his helpers, chief of which is Antony (Antony Varghese). Also notable in the early scenes are a police officer (Tinu Pappachan) who is seen abusing his wife (Pravitha Vijayan) although she seems able to fight back quite effectively, and the rich but unpopular Kuriachan (Jaffer Iddukki). As the only supplier, Varkey is asked to provide the meat for Kuriachan’s daughter’s engagement party but when the time comes to slaughter the buffalo, Antony slips up and the animal escapes, starting a madcap chase to capture the beast. Initially it’s just Antony and Varkey running through the fields, but the situation quickly escalates as the buffalo damages crops and the local church before setting a haystack on fire and destroying a couple of small businesses in the village. It’s impressive work for one buffalo and the trail of destruction just gets bigger and bigger as the chase continues.

To try and catch the animal, the villagers first rally together, but the arrival of a group from a neighbouring village sparks the first signs of serious conflict. Adding to the heady mix of testosterone is local hunter Kuttachan (Sabumon Abdusamad), who has recently been released from jail and is keen to extract revenge on the man who put him there – Antony. Kuttachan arrives to his own cheerleading soundtrack, provided by the villagers, and along with his aggressive attitude it seems likely that more blood will be spilled before the buffalo is captured.

As more and more men gather and take up torches and crudely carved wooden spears to hunt the buffalo, the night forest comes alive with streams of light and the sounds of the hunt. The buffalo is heard more than seen – a shadow in the night, occasionally a tossed body or the flash of horns, but mostly there is only the rustle of grass and sound of hooves. In the brief moments when the animal is actually visible, the animatronic buffalo is realistic and convincing to the point where I was happy there was a disclaimer at the start of the film given the level of escalating violence doesn’t bode a happy end for the buffalo. It’s great work from the whole team and the combination of art director Gokul Das and cinematographer Gireesh Gangadharan ensure the buffalo is a central presence despite the mainly fleeting glances.

The film is more about the frenzy of the chase and the sounds and images of men on the hunt rather than a story involving specific characters. The stories around Kuttachan, Varkey and Antony are for the most part short vignettes and the main focus is on the rising blood frenzy of the crowd. Even when there is a brief interlude after the buffalo falls into a well, some of the men are seen killing and cooking a chicken, and the threat of violence is never far away as the different groups clash. With such a male dominated cast there is little scope for any female characters, and only Varkey’s daughter Sophie (Santhy Balachandran) has any real role to play. Her interaction with Anthony requires a screen warning about violence towards women, but despite the character’s attempts to appear manipulative, I felt that she was more resigned to her fate in a village full of such machismo men. The rest of the women seem to be either secretly laughing at the men (given the mostly inept and ham-fisted attempts to catch the buffalo), or just indifferent to their antics. In a sort of ‘watching the children play’ attitude, the women gossip and cook tapioca while mostly ignoring the warnings to hide inside their houses to escape the buffalo.

Probably the most impressive part of the film is the soundtrack – both the music and the ambient sounds are brilliantly integrated into the action and serve to heighten the tension of the chase. Prashant Pillai’s soundtrack underscores the wild excitement of the hunt and the vocal chants sound almost like anthems to the gods of the forest. Along with the stunning visuals, either soaring high above the forest or deep inside the chaotic action, the sounds are vital in conveying the blood-lust and violence simmering in the crowd.

The end is appropriately cataclysmic and while the symbolism may be a tad heavy-handed at times, it’s the overall spectacle that impresses. However, this isn’t a film for everyone. Violence simmers at every turn, frequently boiling over into blood-lust and naked aggression, while the themes are belligerently masculine and at times even misogynistic. But as in Lijo Jose Pellissery’s previous film Ee. Ma. Yau., there is still humour even in the darkest moments of the film. Indeed, this may perhaps be the point – that for all their aggression, the men’s behaviour is so ridiculous that it becomes comical when seen from outside the maelstrom of the hunt itself.

The frenetic pace of the film and incessant beat of the soundtrack sweep you along with the action and leave little room for anything other than wonder at Lijo Jose Pellissery’s vision. Toxic masculinity aside, the film is a departure from standard Indian cinema and as such deserves to be seen by a wider audience. Different and challenging, Jallikattu is well worth watching on the big screen if you can.

Ee. Ma. Yau.

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Lijo Jose Pellissery’s award winning film from last year is a fascinating story of a death and funeral in a small community in Kerala. Although the story sounds sombre there are plenty of comedy moments along with piercingly accurate observations of human behaviour as the family gathers to mourn and bury Vavachan (Kainakary Thankaraj). Chemban Vinod Jose is fantastic as Eeshi, Vavachan’s son, but it’s the minor characters including Eeshi’s mother and his seemingly unflappable friends and neighbours that make Ee. Ma. Yau. such an exceptional film.

My subtitles translate the title to R.I.P., but google suggests that it’s a reference to Eesho, Mariyam, Yauseppe (Jesus, Mary and Joseph), a funeral prayer in Kerala. The opening credits feature a funeral procession that slowly wends its way across the screen with a backdrop of the ocean on a sunny day. This kind of celebration with a band and an array of church officials is what Vavachan tells his son he wants for his funeral as he reminisces about his own father’s demise while drinking a few glasses of arrack. It seems to be a normal conversation, and potentially one which Eeshi has heard before as he agrees to providing his father with a magnificent and impressive funeral without ever considering that he may need to deliver sooner rather than later. 

The film begins earlier as Vavachan arrives back in the village with a duck, several bottles of booze and a bundle of money that’s basically worthless after demonetisation. He looks serene and at peace on the bus with his duck, but on arrival back at the village first he fights with another villager Chavaro (Kunjunju) and then at home argues with his wife Pennamma (Pauly Valsan) who is unimpressed by Vavachan’s long absence. Along with her daughter Nissa (Krishna P.) and daughter-in-law Sabeth (Arya Salim) Pennamma conspires to add ‘medicine’ to her husband’s stash of alcohol and the duck curry, to make him stay at home. But as Vavachan sings, dances and drinks, he suddenly falls, hits his head and is gone before anyone can react to the sudden crash.

Eeshi has no money, so the sudden burden of his father’s fabulous funeral is a huge problem, which he resolves in time-honoured fashion by selling his wife’s jewellery. His father’s last words resonate in his ears as he arranges for a coffin far beyond what he can actually afford, although it also comes with a free suit and even a beautician thrown in for good measure. Although his friend and neighbour Ayyappan (Vinayakan) tries to rein in Eeshi’s attempts to create his father’s perfect funeral, it’s ultimately lack of funds, a suspicious priest and the inclement weather that combine to give a completely different ceremony than Vavachan had described.

There are so many wonderful characters here, each with their own quirks that together paint a colourful picture of life in the village. Pennamma seems to be a typical housewife as she discusses her husband’s failings while cooking his dinner, but once Vavachan dies she transforms instantly into the chief mourner, wailing incessantly over his body with her cries getting louder and more strident whenever anyone arrives at the house. She has an uncanny ability to know when someone is near and start crying just in time! Every visitor is then subjected to her pointed comments and snide remarks, all made under the guise of talking to her husband’s corpse that ensures Pennamma can pay out every insult (real or imagined) she has endured over the years. Pauly Valsan is excellent here and her Pennamma is a compellingly accurate portrayal of a widow making the most of her brief time in the spotlight. P.F. Mathews screenplay is keenly observational and he captures equally realistic reactions from the other members of the family and various other villagers who come to mourn Vavachan’s passing, or just call in to see what is going on. As Eeshi is out trying to organise the funeral, Sabeth is mostly worried about the appearance she will present to visitors now that her husband has pawned her jewellery. Nissa on the other hand is trying to fend off her rather too amorous boyfriend who wants to take advantage of the upset and keeps trying to get Nissa alone.

More and more issues arise as Eeshi tries to organise the funeral. First of all the doctor isn’t available to come and certify the death, and then the nurse is made suspicious by the strong smell of alcohol and the injury to Vavachan’s head. Chavaro causes problems by suggesting that Vavachan’s death was not natural, and Father Zazcharia Parappurath (Dileesh Pothan) takes his concerns seriously. The priest is a wannabe detective and immediately starts to ask questions and investigate the circumstances of Vavachan’s death while berating the local police officer for his inaction. At the same time, a journalist repeatedly calls Eeshi to get details of the funeral, which Eeshi cannot give as the priest has not confirmed the time. Adding the final straw, Vavachan’s prolonged absences are explained at the most inopportune moment, just before the torrential rain hits.

What I really enjoyed about this film are these minor characters and small vignettes as each plays their role in the funeral. The priest’s investigations, Chowro’s troublemaking, the one neighbour who stays with the body and seems unperturbed no matter what happens, the police officer reluctant to venture out and become involved, even the government worker called out to mend the power line are all realistically drawn and relatable to real life. The situation may eventually end up fairly extreme, but on the way there, Lijo Jose Pellissery touches on many typical reactions and conversations that occur in most funeral’s, whether in India or anywhere around the world.

What also stands out is the sense of community that comes through strongly as Eeshi’s neighbours all pull together  – whether it’s trying to find the doctor to certify the death, getting Vavachan ready for his funeral or putting a tarpaulin up to shield the body from the rain, everyone pitches in to help. But while most of the activity revolves around Vavachan’s death and funeral with all the associated comedy, there are touching and poignant scenes involving a grave digger, who has an epiphany of sorts on the beach along with a scruffy stray dog. Here is the compassion and spirituality that is missing from Vavachan’s funeral, and even more markedly, missing from Father Parappurath’s attitude towards the dead. Although the film is about a funeral, for the most part it’s not sad, excepting when the gravedigger himself dies and is buried in the grave he was digging just hours before.

I love the realism in this film that’s cleverly enhanced by the touch of fantasy that brings disparate elements together to create an engaging whole. The attention to detail is perfect while Shyju Khalid’s camerawork captures the miserable weather, grieving family and curious villagers beautifully. The comedy is well written and funny without ever becoming patronising and the variation of light and shade in both the story and characters seems perfectly balanced. Ee Ma Yau is at heart a simple story, but there is so much more going on here and despite being set in a small fishing village the  characterisations and symbolism could apply to almost anywhere. Add in the wonderful sounds of nature, sharp observations and excellent script, and Ee Ma Yau really is a wonderfully engaging film. 5 stars.