Velaiilla Pattadhari (VIP) 2

VIP Poster

Sequels are always tricky. Returning to a popular character or scenario is fraught with unfavourable comparisons, and finding a new story that works while retaining the aspects that made the original film so popular is another minefield to cross. There are a few sequels that turn out better than the original film but they are the exception, and sadly VIP 2 isn’t one of them. However, while it may not be the best sequel ever made, it’s certainly not the worst and as an all-round entertainer, it fares reasonably well. Most of the success is due to Dhanush who carries the film over some occasionally rough ground, but Kajol makes a better than average adversary while the presence of many of the original cast (including Harry Potter) ensure good continuity with the first film.

After dealing with Arun in VIP, the sequel opens with Raghuvaran (Dhanush) still working for Ramkumar (M.J. Shriram) at Anitha Constructions and winning the Engineer of the Year award. This brings him to the attention of Vasundhara Parameshwar (Kajol) who runs the biggest engineering firm in South India. Raghuvaran’s dismissal of her offer of employment rankles, but not as much as his admonishment to be less arrogant when Anitha Constructions wins a big contract over Vasundhara. A self-made woman who has clawed her way up from the bottom, Vasundhara makes it her mission in life to squash Raghuvaran like the bug she perceives him to be, but of course it’s not going to be as simple as she believes.

All the elements are there from the previous film, Raghuvaran’s beloved cycle, his dedication to the memory of his mother, and his unfortunate tendency to drink too much when faced with a problem. What doesn’t work quite so well is the change in Shalini (Amala Paul) from a sensible romantic interest to a shrewish and nagging wife. Supposedly this is due to giving up her job and taking over all the household chores, which to be perfectly honest is enough to drive anyone to grumpiness, but the constant bickering wears thin very fast. Worst still, Shalini’s nagging is supposed to be funny, but it’s just as irritating to the audience as to Raghuvaran’s family.

Kajol is a huge improvement over Arun and his father as the villain of the piece. Her entrance is more typical of a hero as the first glimpse is of her stylish and very pointed stiletto hitting the ground as she arrives at the Engineering awards ceremony. In fact, the crowd reaction was just as loud and enthusiastic for Vasundhara’s entrance as it was for Raghuvaran’s first appearance on screen. Kajol totally owns the role and her arrogance and confidence are a perfect balance to Raghuvaran and Ramkumar’s humility and attention to detail. And yet she’s not evil or out to destroy the poor of society, simply determined to push though her own ideas and methods regardless of anyone standing in her way. However, after a great start, her repeated attempts to get the better of Raghuvaran start to seem petty and churlish rather than decisive and it seems unlikely that someone who had the strength and ability to run a successful company would be quite as petulant and narrow-minded. Still, Kajol is stunning as she sweeps around in her tailored suits and stylish sunglasses, while her menacing dialogues are surprisingly effective.

Raghuvan’s father (Samuthirakani) is a more supportive figure this time round, but his brother Karthik (Hrishkesh) barely gets to say a word and most of the VIP boys suffer the same fate. Without any substantial input, they become a faceless mass without any of the charm or appeal that allowed a connection to develop to these characters in the original film. The film is significantly more focused on Dhanush, who has the acting chops to carry it off, but at the expense of a more coherent storyline. The plot wanders as story and screenplay writers Dhanush and Soundarya Rajinikanth try to include as many of the characters as possible from VIP 1, but run out of things for them all to do. Saravana Subbiah pops up as an unscrupulous developer while Vivek reprises his role as Raghuvaran’s side-kick Azhagusundaram. While both are fine in their roles, the characters seem to be added in, one for comedy and one to have a reason for the fight scenes, rather than have a true background and reason to be in the script. The final confrontation between Raghuvaran and Vasundhara is also a little disappointing although otherwise the chemistry between Dhanush and Kajol is excellent and the atmosphere between the two crackles at each meeting.

Sean Roldan’s music is perfectly fine but the songs don’t have the same anthemic qualities as Anirudh’s previous tunes, a fact underscored every time the original theme for Raghuvaran plays in the background. However, the choreography is slicker than in the first film and the fight scenes are also of a high quality.

If this was a stand-alone film, I would have rated it as a good action movie with an interesting concept and two excellent characters in Raghuvaran and Vasundhara. The addition of a strong and powerful female character works well here, and Dhanush emphasizes gender equality a number of times throughout the film, although it doesn’t quite gel with his wife having stopped work to look after the family home. The problem is that this is a sequel, and while the original elements are cleverly arranged to form the foundation of the film, too much feels to be added simply because it was part of the first film, while VIP2 doesn’t have a strong enough identity to pull away and succeed without that original scaffolding being firmly in place. It is however much better than I expected and both Dhanush and Kajol turn in strong performances under Soundarya’s direction to make VIP2 more than just a film for fans, but one that’s unlikely to reach quite the same cult status as the original movie.

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Pa Paandi (aka Power Paandi)

Pa Paandi

I watched Dhanush’s directorial debut in Mumbai which meant no subtitles, but the story came across clearly despite a few dialogue heavy scenes. It’s a sweet tale about an older man and his quest for meaning in his life after his non-conventional ways annoy his son one too many times. There are a few overly sentimental moments, but the film succeeds thanks to excellent performances from all involved, a better than average soundtrack and the novel premise of a sexagenarian hero who still packs a punch!

Rajkiran is Paandian Pazhanisami aka Power Paandi, a retired film stuntmaster who has a shelf full of memories after working with the great heroes of Tamil cinema. I love that he is introduced in true filmi style and throughout the film his characterisation is similar to a typical modern day hero – this in spite of the fact that he is in his sixties and retired.

Paandi lives with his son, daughter-in-law and their two children, but unintentionally creates tension in their house with his activities in the neighbourhood. Paandi is a born meddler, whether it’s helping his young neighbours find true love or facing off with the local drug dealers, he can’t seem to help but get into trouble. His son Raghavan (Prasanna) prefers a quiet life and is constantly at odds with his father, prompting Paandi to remember similar incidents from Raghavan’s childhood. It’s a good illustration of how the power in their relationship has shifted over the years and how Raghavan now looks at his father as more irresponsible than his own children. However, for the most part Raghavan is tolerant of his busybody father although it’s clear he resents the extra work caused by his father’s attempts to ‘help’, while his wife does her best to keep the peace. The conflict between the generations is at times clichéd and overdone, but for all that there is a simple sincerity to the relationship, helped by the contrast in Paandi’s friendship with his young neighbour that bolsters the story in the first half.

For his part, Paandi is aware of how he frustrates his son and attempts to keep out of his hair by getting a job. His previous experience in the film industry leads him to try his hand at acting, with Gautham Menon providing a cameo as the exasperated film director trying to make Paandi to deliver his lines. Paandi then goes back to what he knows best and his success in an action scene allows him to relive the past glories of his youth. This is beautifully written to show just how much being appreciated, even in such a small way, means to Paandi. Here is an older man with plenty of experience and much to offer the world, but he has been made to feel irrelevant and unwanted by his family. When Paandi completes his sequence in one take, the accolades of the other stuntmen and the praise of the director (Stunt Silva) are all balm to Paandi’s ears and reaffirm his worth, despite his advanced years. Suddenly he has reason and meaning to his life again and the years drop away.

However, this success is short-lived, as Paandi cannot resist a fight with drug dealers that results in yet another trip to the police station and a more serious argument with Raghavan and Prema (Chaya Singh).  In the aftermath Paandi decides to leave on his treasured bike to search for something to bring meaning back into his life. A chance encounter with a group of similarly aged bikers on the road solidifies his quest into a search for his first love Poonthendral (Revathi).

Naturally there is the obligatory flashback to Paandi’s past – but despite the clichés the romance adds to the story and gives deeper dimension to the character of Paandi. Madonna Sebastian is charming as the young Poonthendral, while Dhanush’s young Paandi does seem exactly the sort of youth who will grow up to be the ageing hero of the first half. The romance is simply told, and it works well with good performances from all of the support cast including Vidyullekha Raman as Poonthendral’s cousin.

When the film moves back into the present day Dhanush seems to hit his stride as director, and the final scenes are well written and effectively filmed to ensure empathy with Paandi and Poonthendral. Revathi is wonderful here and gives her character poise and respectability with just a smidge of mischievousness that makes her instantly likeable. It’s inevitable that we want Paandi to succeed with his romance and there is only one ineptly placed fight in a car park that mars the final half of the film.

The best part of the film for me is the tongue-in-cheek approach to Paandi’s character as a modern-day hero. The usual filmi standards apply, so that Paandi is as quick to get into a fight as any other hero, and similarly with just one blow of his fist he can effortlessly knock the villains into the middle of next week. Rajkiran is excellent in the role and has plenty of charm and enthusiasm, making Paandi a likeable character despite his tendency to solve problems with his fists and his occasional naiveté. The mix of kind-hearted grandfather, lonely retiree, soul-searching wanderer and rejuvenated suitor is well blended with a natural progression that works well as the story develops. One of my favourite moments is after the reunion when Paandi messages Poonthendral on his phone while hiding under the bedclothes. The young man of the flashback is re-captured in that instant, but it’s the experienced older man who turns up on Poonthendral’s doorstep asking why she hasn’t replied.

There are some dips into obvious sentimentality as Dhanush pushes the lack of appreciation for elders by the younger generation, but for the most part he lets the characters just get on with the story. There is also a tendency for the first half to resemble a TV series rather than a movie, but these wrinkles are smoothly ironed out in the second half of the film and overall Dhanush has produced a good directorial début. Perhaps it’s a consequence of working with experienced actors, or possibly as an actor himself Dhanush knows how to get the best from his performers, but everyone here seems perfectly cast and the performances are all excellent. Even the two young actors Chavi and Raghavan are good in their roles and Rinson Simon is superb as Paandi’s young neighbour. The music is good too with Sean Roldan’s background score and songs fitting both the modern and the flashback sequences well.

Writing with Subramaniam Siva, Dhanush has produced a good masala blend with plenty of feel-good vibes for his first film. While technically the film has a few issues, the story works well and the choice of an older hero makes the film individual enough to rise above other romances. Worth watching for Rajkiran, Revathi and the premise that even at the age of 64 it is still possible to find your true-love.

Kodi (2016)

kodi-poster

Kodi is an interesting political thriller that sadly did not release in Australia with English subtitles. As the film is dialogue-heavy this meant that I missed most of the subtleties of the film, particularly annoying since the female characters seem to have more substantial roles than usual and the plot appears to be well-developed with unexpected twists. However the basic story is pretty easy to follow and the characters all clearly delineated ensuring Kodi is worth the trip to the cinema. It’s still completely baffling to me that in today’s global market the producers would choose to release Kodi overseas without subtitles, although it does follow the recent trend of not including subtitles on Tamil DVD releases either. Come on Kollywood – lift your game!

Dhanush plays a double role in the movie, portraying twin brothers, Kodi and Anbu. Despite being mute, their father (Karunaas) had political ambitions and was prominent in the local party as an activist and avid supporter of the local leader.  On his birth, Kodi was presented to the leader and from that point on it seems that his father transferred all his political ambition onto Kodi, dragging him around to various political events and giving him speeches to declare on his father’s behalf.

Initially Kodi seems relatively happy to follow the party line, but he is horrified when his father suicides right in front of him in order to highlight mercury poisoning at a local factory. Rather than lessen his passion for politics, this ensures Kodi grows into a hot-headed and passionate politician who craves social justice and presumably the power and prestige such a role would bring. As a young campaigner Kodi seems to have a fairly prominent role in the local party office, although there are grumblings from the older generation about the young upstart who seems to be taking a lead role. Along with the problems Kodi faces from his party, his girlfriend Rudhra (Trisha) is also a wannabe politician, except she’s firmly on the opposing side and the two seem to frequently clash in the public arena. Luckily for their romance, they seem to be able to put their opposing views aside once they are alone together and apart from the hassle of having to keep their relationship secret, Kodi and Rudhra happy together.

Anbu on the other hand is a gentler character who works as a teacher at a local college and is content to let his brother lead the charge for democracy. He finds romance with a local egg farmer Malathi (Anupama Parameswaram) although he isn’t above swapping roles with his more volatile brother when the occasion demands it. Dhanush keeps the two characters separate with ease, and not just because Kodi has a full beard and Anbu a moustache. Kodi is harsher, often appearing stern and forbidding, and only leading down his guard with Rudhra. He is argumentative, struts around combatively and is a typical mass hero when it comes to any fight.  Anbu on the other hand is softer, smiles more and even his posture indicates he’s a man who can be more easily pushed around. In his first double role, Dhanush effortlessly makes the two brothers separate individuals, perhaps even more so than real twins as Kodi appears more like an elder brother, and Anbu the younger.

Anbu  discovers more about the mercury factory which leads his brother to some unsettling revelations and as events unfold, Anbu ends up taking his brother’s place in politics. This is where the characterisation breaks down a little, as Anbu playing Kodi is really just the same as Kodi. It would have been even more effective if there had been some Anbu mannerisms left behind, although it’s possible that I missed some of this through not understanding the dialogue.

While Dhanush is superb as Kodi and Anbu, Trisha is just as good as a young and ambitious female politician. She has to battle against the prejudice of both her gender and her youth to win her place in the party and in doing so displays a ruthless streak that serves her well later in the film. Trisha is regal in sober saris that reflect her political ambitions, but lets her hair down in the romance scenes where she is softer and more likeable than in the rest of the film. There are also glimpses of the continuous rivalry between Kodi and Rudhra as they grew up together, with the childhood flashbacks proving more substance and clarity to the two characters. I love the interactions between the two – both in public as rival politicians and in private as their romance heats up. Writer/director R.S. Durai Senthilkumar has ensured that the female role is just as well-developed as that of the male protagonists, and in some ways Trisha has the more thought-provoking role with a complex and ambiguous character.

The story has a number of twists and turns with the machinations of the two political parties, the plots of the various members and the truth behind the mercury factory all having a part to play. I wish I had understood more of the dialogue as I missed the significance of Kodi and Anbu’s friend Bhagat Singh (Kaali Venkat) and I’m still not sure why Malathi disappeared from the story for most of the second half. This was a shame as Anupama was excellent, as were the rest of the supporting cast. S.A. Chandrasekhar was good in the role of Kodi’s party leader while Saranya Ponvannan was excellent playing the only role she ever seems to do nowadays (but then she does it so well!) as Kodi and Anbu’s long suffering mother. There are only a few songs in the film and these are mostly focused on the two romances, but Santhosh Narayanan’s music seems to fit well, although I did miss watching Dhanush dancing.

Like his previous films Ethir Neechal and Kaaki Sattai, R.S. Durai Senthilkumar concentrates on telling a good story rather than simply showcasing a star or indulging in mass action scenes. As a result, Kodi is an intelligent and engaging thriller, with excellent characterisations and clever twists in the plot. Dhanush does a fantastic job in a double role, keeping his presence somewhat understated so that the focus really is on the story and not the few fight scenes or dramatic speeches. I really do hope that this one releases on DVD with subtitles as it deserves to be seen by a wider audience and I’d love to finally understand all that dialogue.