Vada Chennai (2018)

Vada Chennai

Vetrimaaran’s Vada Chennai is an excellent gangster film and a promising start to his planned trilogy. As with his earlier work, Vetrimaaran’s characters here are complex and their relationships with each other are tangled and multilayered, while the action is more straightforward although often brutally violent. The film lays a solid base for the character of Anbu (Dhanush) but also provides a detailed introduction to a multitude of other characters, all of whom contribute to Anbu’s development and his gradual fall into rowdyism. However, this isn’t a film solely about Anbu, but rather a story about an area of Northern Madras and the people who live in ‘the hood’, which ensures the film delivers more of an impact and gives a larger canvas to develop the main players. With an exceptional cast, detailed characters including strong female roles, and the exemplary performance of Dhanush, Vada Chennai is a compelling story that has all the elements to be a classic of the genre.

The first half of the film switches back and forth in time as various key characters are introduced and their background story revealed in a series of ‘chapters’. Anbu wants to be a carrom player, and Vetrimaaran plays on this throughout the film, using the analogy to show that every small action starts a reaction, the impact of which start yet more reactions, and so on in an ever-widening ripple effect. From that perspective it’s hard to say where the story of the film starts. Is it at the beginning of the film where there is a gruesome murder, or where Anbu saves one of Senthil’s men from being knifed during their registration at Chennai prison? Or is it when Anbu meets Padma (Aishwarya Rajesh) during a thieving spree when a riot breaks out after Rajiv Gandhi’s death? The constant throughout is Anbu’s reluctance to enter into the violence he sees all around, and his desire to succeed as a carrom player, although his ambition seems doomed almost from the start.

Initially the film revolves around the rivalry between two gangsters, Senthil (Kishore) and Guna (Samuthirakani). Both are out to kill each other and they each control separate wings in Chennai prison. However, they don’t start out as enemies and the beginning of the film shows Senthil and Guna along with Velu (Pawan) and Pazhani (Sai Dheena) collaborating in a murder. In a particularly grisly moment, they throw their blood-stained weapons, still festooned with goblets of flesh, onto the table in a restaurant before discussing the recent death of MGR and the likelihood of Jayalalitha replacing him as Chief Minister. After the murder, Guna and Velu go to jail, expecting to be swiftly bailed out by Senthil, but when this isn’t the case, their rivalry is quickly escalated to an all-out war between the two factions.  Vetrimaaran brings politics into the story early, showing that the gangsters are canny enough to use the politicians for their own ends, but also as a foreshadowing that politics; local, gangster and state are behind much of the skulduggery later in the film.

Anbu enters this atmosphere in the prison and after a number of incidents finally manages to fall under the protection of Senthil, with whom he shares a common bond in their love of carrom. Anbu is almost an ‘accidental gangster’ having grown up in a shady area of North Chennai and associated with various gang members for all his life. But it’s after he meets Padma and the two begin their relationship that his problems really start. When local rowdies start to give Padma a hard time, Anbu is moved to protest their actions. One thing leads to another, and Anbu is suddenly running for his life along with Padma’s brother (Saran Shakthi). From here Anbu continually tries to get back to life as a carrom player, but it turns out that the gangsters have another role for him to play.

The rich detail in every part of the film ensures that every character is realistic and the various events occur organically within the plot. Every aspect of prison life seems to be captured by the camera, including the method used by the inmates to smuggle drugs in and out of the jail, while life in the slum area of North Chennai is just as intimately shown. Each character is built up from numerous different interactions along with the flashbacks that add depth and a rationale for their behaviour. Ameer is brilliant as Rajan, a smuggler and gangster who was also a protector of the people and who stood up to the local politicians when they wanted to clear the entire area for their own money-making projects. Rajan is the man who first encouraged Anbu to take up carrom and his influence is felt across the story, although he doesn’t appear until late in the film.

Also excellent are Samuthirakani and Kishore as Guna and Senthil, while Daniel Balaji is another standout in his role as Thambi. In contrast to Vetrimaaran’s previous films, he has two strong female characters here who also have important roles to play in the story. Aishwarya Rajesh’s Padma bursts onto the screen as a foul-mouthed thief, but her interactions with Dhanush are brilliantly done, with the romance between the two always feeling realistic and plausible. The scene where Anbu goes to ask her father for her hand in marriage is a rare spot of comedy in a generally dark film, but it still fits well into the narrative, as does Padma’s insistence that Anbu shaves before his wedding. Unfortunately the gangsters intervene and it seems as if Padma will also take a second place with her husband.

Andrea Jeremiah is also superb and has an almost Shakespearean role as first Rajan’s and then Guna’s wife, Chandra. She has a godmother who interprets various omens and predicts the future, most notably proclaiming Anbu as ‘the one’, while Chandra herself is a complex character whose dialogues always seem to have a number of meanings. Andrea Jeremiah initially seemed out of place, but as the film develops and her character evolves she ends up fitting perfectly into the role and her initial aloofness makes perfect sense. Dhanush is perfect as Anbu and completely fulfils the role of a gentle man, driven to violence by events outside his control. He easily slips into the role of a teenager but his real strength lies in the more complex older Anbu who has to deal with his time in prison where everyone seems out to get him. The gradual development of Anbu’s character over the course of the film is brilliantly done and Dhanush captures each facet of his personality and slowly allows the persona to develop. It’s another masterful performance and it’s only at the very end where the change from gangster to ‘voice of the people’ seems rather too abrupt, perhaps because the rest of the characterisation has been so slow and detailed in development.

This rushed feeling at the end is really the only downside to the film. In interviews Vetrimaaran has said that he initially had over 5 hours of film which he has condensed to 164 minutes, which may account for the hurried feeling and the final fast metamorphosis of Anbu. However, despite this, the detail included in the film is comprehensive and the layering of events and characters is a major plus that works to build the entire world of North Chennai inhabited by the characters. There are also some stand-out action scenes in the midst of all the character development. A fight that breaks out at a carrom competition in the jail is beautifully filmed as the protagonists battle it out while simultaneously holding up the shelter over their heads. The initial murder, which is shown in detail later on, is also excellent with a brilliant build-up of tension in the moments leading up to the actual attack. Velraj perfectly captures all the action and despite the dark tones, his cinematography paints a surprisingly colourful picture of life in the area, while some scenes, such as a pursuit though lines of hanging washing are excellent in their picturisation.

Although there are a number of songs in the film, these are used only in short bursts to highlight a particular scene, but Santhosh Narayanan’s background score is perfect and thoroughly enhances the film without being intrusive. Some of the melodies are beautiful and it seems a shame that they aren’t heard in full in the film, but there really is no opportunity for any love songs or dance numbers and with so much else in the film, they really aren’t missed.

After working together on Polladhavan and Aadukalam, Vetrimaaran and Dhanush have again produced another excellent collaboration in Vada Chennai. As the first part of a trilogy there is inevitably a lot of time spent on setting up the story, but here that is so detailed with numerous interwoven threads, that the film is almost complete in itself. The strong cast and compelling storyline ensure that even at almost three hours the film doesn’t feel overlong and the final scenes deliver plenty of anticipation for the next instalment. Hopefully there won’t be too long to wait!

 

 

Advertisements

Bairavaa (2017)

bairavaa

Step into the cinema at any point during Bairavaa and you could be forgiven for mistaking it for almost any of Vijay’s previous films. The only thing that seems to vary in these masala outings is his attire, while everything else (love interest, villain, ‘comedy’ friend, evil henchmen etc) is identical. In his latest mass film Bairavaa, even the trusty masala formula fails to deliver as expected mainly due to poorly realised villains and dull, repetitive fight scenes. Not even the songs are inspiring and it’s only Vijay’s presence and on-screen charisma that makes it possible to sit through the full 169 minute run-time. There are some laughs, one or two fight scenes that work a little better than the rest and a couple of good songs but overall Bharathan’s latest release fails to impress.

Bairavaa (Vijay) is a recovery agent for a bank who don’t seem to mind that he uses rather direct methods to reclaim outstanding funds. This leads inevitably to the first fight scene as the bank manager sends Bairavaa out to collect money from a thug who likes to play cricket. The fight itself is quite cleverly choreographed with Vijay imitating cricket stars and using a cricket ball instead of his fists to flatten thugs, but despite the novelty it isn’t particularly exciting and there is absolutely no sense of suspense. It’s a given from the start that Bairavaa will be walking out of there with the money and that all of the rowdies will be writhing around on the floor. And that’s the problem with almost every other fight scene in the movie too. Even when the numbers of rent-a-thugs get upped and then upped again, there is no stopping the one-man army that is Bairavaa. The fights become an unending parade of rowdies being thrown up, down and around in slow-mo while Bairavaa barely breaks into a sweat. The exceptions mainly come in the second half when there is a little more at stake, but overall, even with a few stylish moves thrown in here and there, the fights are mostly monotonously predictable and uninspiring.

After meeting Malarvizhi (Keerthy Suresh) at a wedding and falling instantly in love, Bairavaa discovers she has a problem back home in Tirunelveli after she is attacked by a gang of thugs at Koyambedu bus station. This leads to a flashback that explains her predicament and why she is being targeted by businessman and self-styled champion of education PK (Jagapati Babu). PK is aided in his various criminal activities by Kottai Veeran (Daniel Balaji) and his merry gang of rowdies, while Malarvizhi is supported by her sister (Sija Rose), grandfather (Vittal Rao) and Uncle Narayanan (Thambi Ramaiah). Malarvizhi has taken PK to court to prove that he was responsible for the death of her friend Vaishali (Aparna Vinod) in his substandard medical college and that the college’s explanation for her death is completely untrue. PK has been warned by the judge that the upcoming final hearing should not interrupt Malarvizhi’s studies or endanger her health with the result that instead of killing Malarvizhi, PK tries every possible method of intimidation to make her break down and give up her fight. Naturally Bairavaa takes up Malarvizhi’s cause and immediately starts to oppose PK and his allies.

Sadly PK is a one-dimensional villain who does little other than sneer at the camera and order his seemingly self-replicating gangs of thugs to put an end to Bairavaa. His henchman Kottai Veeran has a little more to work with, but both men are purely obstacles to be overcome in Bairavaa’s pursuit of the girl. There is presumably some sort of message in the revelation that some private colleges are purely money making exercises and Malarvizhi does her best to promote the cause of independent women everywhere, but at the end of the day she is reliant on Bairavaa to defeat the thigs. Her methods of contacting solicitors, providing evidence and the like are casually destroyed by PK and Kottai Verran using methods that seem unlikely to work in real life. Malarvizhi is a fairly typical Tamil heroine in that she has some backbone and a promising career but still falls for the hero in less time that it takes her to find the bus home to Tirunelveli. I’ve yet to see Keerthy Suresh in a role that I think she can do justice too, and this doesn’t seem close. She looks uncomfortable in the songs and while there is some reasonable chemistry between her and Vijay it’s much like the rest of the film – pedestrian and predictable.

There are a number of other threads that seem to have been added to and appeal more to the modern market. Harish Uthaman appears as Malarvizhi’s abusive brother-in-law Prabha who has the world’s fastest rehabilitation after he gets beaten up by Bairavaa. Generally the police and judicial system are honest and the comedy is kept to a minimum with Bairavaa’s friend Shanmugam (Sathish) having only limited time onscreen. Thambi Ramaiah as Malarvizhi’s uncle Narayanan has even less time on screen, which in this instance is definitely for the best.

The songs too are disappointing and often oddly placed although Vijay’s dancing is still the highlight, but even here the energy seems subdued. At least until Papa Papa which is definitely the pick of the bunch. I can usually find something to enjoy in a Vijay film, despite the often wafer-thin plots, but I was hard pressed to find much in Bairavaa. It’s a strictly by the numbers mass film with little animation and even less ingenuity. At 169 minutes Bairavaa does feel like an endurance test and much could have been shortened (all those slow-mo fight moves and echoing repeats!) to improve the film flow. One strictly for the fans, and even then be prepared for a less than thrilling experience.

Polladhavan (2007)

Polladhavan

Frustratingly the only copy I have ever been able to find of Vetrimaaran’s debut film is a relatively poor quality VCD  that doesn’t have English subtitles. It’s particularly annoying knowing how well written the dialogues were in Aadukalam (even via subtitles) and I’m sure there is much I have missed in Polladhavan as a result of not understanding the language. However the story is still clear and easy to follow, with plenty of scenes that suggest a similar attention to developing the flawed characters and their relationships as in Vetrimaaran’s subsequent film.  Although there is much that initially seems familiar about the story, as the film progresses it breaks away from the typical gangster film mould and becomes as much about family as the struggle between Prabhu (Dhanush) and the gangsters who have stolen his beloved motorbike. There is plenty of tension and suspense, and the path to the final bloody showdown is rather more convoluted than expected. It’s a good story, entertainingly told and really deserves to be more readily available to a wider audience.

Dhanush appears in his by now very familiar role as Prabhu, an unemployed layabout, content to spend his days playing carom and hanging out with his friends Kumar (Karunas) and Sathish (Santhanan) or annoying the local bike dealers by repeatedly viewing a Pulsar motorbike. He has no hope of ever being able to afford the object of his desire but continually attempts to get a cheaper price along with a long instalment plan for payment and seems convinced that he will one day be the proud owner of the latest model. Nothing wrong with having a dream!

Prabhu is at odds with his father (Murali) who wants him to get a job, but is supported by his mother (Bhanupriya) who slips him money behind her husband’s back. There are the usual family arguments about money and Prabhu’s failure to contribute to the household, but things change after Prabhu confronts his father following a drunken night out. Prabhu accuses his father of not supporting his attempts to find work compared to his friends whose fathers who have paid bribes or bought them a start in their chosen career. Although this seems a very strange argument to me, it strikes a nerve with Prabhu’s father and he cashes in the money set aside for his daughter’s wedding and gives it to Prabhu instead.

Naturally Prabhu immediately goes and buys the bike.

What is interesting is the way this argument and Prabhu’s subsequent purchase of the motorbike change the family dynamic.  While Prabhu’s mother accuses him of wasting the money, Prabhu’s father supports his son’s right to do whatever he chose, even if he doesn’t agree with that choice. The family arguments feel realistic and plausible and Prabhu’s conviction that his bike will help him get a job seems typical of any young man in similar circumstances. Body language is key and Vetrimaaran uses different angles and distance shots to convey the changing relationships. It helps give the film an authentic sense of a typical family which makes the subsequent scenes of violence a complete and striking contrast.

Amazingly Prabhu’s purchase has the desired result and he manages to get a job, further aiding his reconciliation with his father. The development of their relationship is shown in small moments such as when his father chases away the neighbourhood children playing on the bike, or by his father’s smile when he sees job adverts circled in the newspaper.  It’s effective and develops relationships while avoiding a big family make up scene that would only have interrupted the flow.

As well as dreaming about owning a motorbike, Prabhu has spent the last 2 years infatuated with a girl he sees at the local bus stop. The bike and his job give Prabhu the confidence to finally approach Hema (Divya Spandana) and after a shaky start the two begin a relationship. However, after a good beginning with plenty of humour and promising signs of a personality for Hema, once the action ramps up the romance is relegated to the background with Prabhu’s first love (his motorbike) taking precedence in the story.

As things are going well for Prabhu, in a semi-parallel storyline local gangster Selvam (Kishore) has problems with his younger brother Ravi (Daniel Balaji). Selvam deals in drugs and is involved in various other illegal activities as he runs his area with help from his best friend Out (Pawan). Ravi wants a bigger role in his brother’s endeavours despite his quick temper and apparent general unsuitability for any responsibility. Prabhu crosses paths with Ravi a few times in chance encounters, but most notably on a night when the gang is involved in a murder and Prabhu’s bike is stolen. The two events may, or may not be connected but Prabhu really doesn’t care – he just wants his bike back!

Some of the best scenes occur when Prabhu’s search takes him to different crime operations with a fascinating look at how bikes can be hidden and smuggled around the country. These brushes with the shady side of Chennai bring Prabhu into closer contact with Selvam and his brother Ravi, and the situation escalates as Prabhu discovers exactly what has happened to his bike.

Dhanush gets everything just right here in his portrayal of a young man gradually developing maturity and responsibility but easily distracted by events around him. His spiral into violence is clearly shown as a reaction to circumstance with the infatuation with his bike a convincing reason for the decisions he makes. I had friends who were just as obsessed with their bikes (and I have to confess to a certain amount of obsession with my own!) so it totally makes sense to me that Prabhu would go to such extremes to get his bike back. Ravi is a more typical Tamil film gangster, but his brother Selvam is an interesting character who seems to be a ‘gangster with a conscience’. The interplay between Ravi, Selvam and Out is well done, and once Prabhu is added in to the mix, the story evolves quickly with plenty of suspense thrown in for good measure.

The final scenes revert to more typical gangster film fare with the inevitable final showdown, but Vetrimaaran keeps it interesting by giving his bad guys realistic personalities and reasons to act in the way they do. The fights are short, bloody and more convincing than usual which also avoids sensationalising the gangster element of the story. Although there are a few fights where Prabhu defeats 3 or 4 henchmen, at least it is only 4 rather than 20, and Ravi isn’t a big burly guy either so his fight sequences with Prabhu seem slightly more credible. Apart from the rather Salman Khanesque way Prabhu loses his shirt in the final fight, which is a little OTT but is also a lot of fun too!

While the fight scenes work well, the songs are less successful. Although the music by G.V. Prakash Kumar is catchy enough, the picturisation and choreography are generally mediocre and mostly the songs don’t fit well into the narrative. However the rest of the film looks good, at least from what I could see from my poor quality copy, and the strong cast all deliver good performances. Vetrimaaran’s strengths lie in developing characters with depth and attention to detail in building relationships, and both are used to maximum effect here.  The story may not always flow as well as it could but when it comes to the characterisations and the overall plot, everything works perfectly. The screenplay rarely lags and there are enough twists and surprises to keep the film engaging right to the very last frame. While Polladhavan may not be perfect it is a great first film for Vetrimaaran and well worth watching for a gangster film with a difference. 4 stars.