Asuran (2019)

Vetrimaaran’s latest film Asuran is a graphic and violent tale of oppression and intimidation of a small landowner and his family, but it’s also a story of revenge, survival and of the fight for justice in an unjust world. Dhanush is in his element, playing both Sivasaamy, an ageing and broken-down small freehold farmer and also his younger self in a flashback that explains how he ended up as a pacifist. The rest of the cast are just as good, including Ken Karnuas as Sivasaamy’s son and Manju Warrier as Sivasaamy’s wife. Asuran seems set to be another Vetrimaaran classic as yet again he has captured the flavour of rural Tamil Nadu while telling a rousing story, this time adapted from Poomani’s novel, Vekkai.

The story starts quietly, with Sivasaamy (Dhanush) and his youngest son Chidambaram (Ken Karunas) wading through a river in the middle of the night. Sivasaamy urges caution, explaining to his reluctant son why they are walking in the river, rather than on the road (it’s to hide their tracks). At one point as the water is gradually getting higher, Chidamabaram complains that his bombs will get wet. I thought this was likely a euphemism for something else, but surprisingly, as clearly demonstrated later, what he’s carrying are indeed explosive devices! As the father and son slowly make their way deeper into the forest, Vetrimaran shows the searchers, hunters and police who are on their trail, while in the other direction, Sivasaamy’s wife Pachaiamma (Manju Warrier) and daughter are also running to hide. At this point Sivasaamy seems confident and capable – he knows how to hide their trail and how to keep silent, unlike Chidambaram who seems to be singularly clueless, wandering off, lighting fires and generally making himself far too visible.

Gradually we discover why the family are in flight as, in flashback, the film shows the family’s struggle against the rich Vadakkoran Narasimha (Aadukalam Naren) who wants their small plot of land. This leads to clashes between Vadakkoran’s men and Sivasaamy’s older son Murugan (Teejay Arunasalam) who wants to fight back and cannot understand his father’s servile attitude. Even Pachaiamma grabs up a sickle to defend herself, but Sivasaamy urges caution and tries to ignore the provocations, including the death of one of the family dogs. Murugan is frustrated by his father’s faintheartedness and responds by aggression and violence, although mostly as a result of threats and taunts from Vadakkoran’s men. It’s obvious that neither Sivasaamy’s approach, not his son’s aggressiveness will work against the upper class Vadakkoran who has the law and the power of his money on his side, and this futility underpins all of the action in the film. The violence escalates until Murugan is murdered in a particularly gruesome and bloody manner which starts to tear the family apart. Chidambaram is only 16 and cannot understand the class politics that make his father unable to act, but instead regards him as a coward. As a result, to try and alleviate his mother’s grief, Chidambaram attacks Vadakkoran, leading to the family’s midnight flight.

Dhanush is simply amazing as the older and broken Sivasaamy. His subjugation at every turn is perfectly nuanced to make us feel his pain and despair as Sivasaamy struggles to keep his family safe. His alcoholism is part of the whole picture of a deeply flawed man, while the contempt of his sons and stoicism of his wife is shown to cut deeply. Murugan and Chidambaram deride their father for his cowardice but Pachaiamma and her brother (Pasupathy) have a much better idea of the situation, and although they don’t always approve, they tend to support Sivasaamy’s approach. However, when Murugan is killed, Pachaiamma can no longer support her husband’s viewpoint with matters coming to a head when Chidambaram seeks his revenge. The family drama is beautifully written with the emotions raw and realistic, while the relentless persecution from Vadakkoran seems unnecessarily harsh but also very plausible.

Despite Chidambaram’s low opinion of his father, he’s still young enough to rely on him during their flight. But when they are cornered at the end of the first half, it’s Chidambaram who is shocked when his father finally picks up a stick and fights back in spectacular style. It’s massy, but loads of fun and the fight scene is well staged to make Sivasaamy’s sudden prowess believable.

The second half starts with a flashback to Sivasaamy’s youth, and once again his subjugation by a rich local landlord which ends with the death of his family including his activist brother (Subramaniam Siva) and his fiancée Mariyammal (Ammu Abhirami). This time the divide is more about caste but the outcome is the same despite having lawyer Venugopal Seshadri (Prakash Raj) on their side. While the story is compelling and a bitter statement on the realities of being poor in rural India, it’s the characterisations that stand out in Asuran. Ken Karnuas is fantastic in a role which requires him to be naïve, passionate and impulsive but then have to grow up really fast. Manju Warrier is a rock steady presence beside her husband, until her son is murdered and her world comes crashing down. Her grief roils off the screen in waves of pain in the distressingly realistic scene where Muruguan’s body is discovered. The visuals hit hard, and the acting is simply superb throughout. Although his time onscreen is short, Teejay Arunasalam makes an impact in a powerful performance of a young man determined to defend his family at all costs.

 

The film looks amazing as Velraj captures the stunning scenery around Tirunevelli. The cinematography emphasises the isolation when Sivasaamy and Chidambaram flee into the forest, but also captures the heart of rural India and the wonderful colours associated with different crops. The film soundtrack from GV Prakash Kumar is also excellent while the songs are perfectly matched to the action on screen. There is also clever use of sound, where during an action scene, all the music stops and there is just the sound of breathing, which works very well to focus attention on the protagonist and let us wonder what is going on in his mind, right at that very second.  Vetrimaaran keeps the romance sections short and the fight scenes bloody and violent, but it all fits snugly into the narrative despite a somewhat rushed feeling of the ending. Thanks are also due to the subtitler for using yellow font and being clear and concise – sorry I didn’t catch who was responsible for these.

Asuran combines father and son relationships with village power politics and the result is a powerful societal film that also has the warmth and intimacy of a more personal story. The performances are all amazing and as always I am stunned by how Dhanush can transform between a feisty young man in his early twenties to an older fifty-plus worn down farmer and be totally convincing in both roles. Wonderful actors, a compelling story and stunning scenery all combine to make this one of the best Tamil movies so far this year. Don’t miss it!

Advertisements

Maari 2

Balaji Mohan revisits the concept of the bad Don that everyone loves to hate, but this time gives the titular character a best friend and a heart of gold that unfortunately reduce Maari’s onscreen impact. The standard mass formula doesn’t help either and the story feels tired despite attempts to refresh it with Sai Pallavi as Maari’s love interest and Krishna Kulasekaran as bestie Kalai. Still, in terms of generic gangster flick it’s not totally terrible, and there are a few flashes of the ‘old Maari’ while Tovino Thomas is better than the script deserves as the film’s villain. Overall the film is entertaining enough for a one-time watch, but as a sequel Maari 2 doesn’t come close to matching the appeal of the original.

Maari 2 opens well with the 100thassignation attempt on Maari’s life after which the gang celebrate his continued survival in plenty of style with cake and a party. A few years have seemingly passed since the end of the first film, and Maari’s boss Velu has died, leaving the leadership of the gang open. This is where Balaji Mohan adds in the new character of Kalai (Krishna Kulasekaran), the son of Velu and Maari’s best friend since they were both kids. While everyone wants Maari to become the leader (which in itself is a major turnaround from the first film), he proposes Kalai takes charge while he remains in the background.

Maari is seen to be trying to do the right thing, even as he cracks the usual jokes and slaps around his henchmen, Sani (Robo Shankar) and Adithangi (Kalloori Vinoth). Despite the loud shirts, sunglasses and gold chains, this Maari is a totally different character, with one of the biggest changes being the attitudes of the people around him – the only people who hate him now are the rival gangs. Adding to this newfound popularity, Maari has a stalker in the form of auto driver Aanandhi (Sai Pallavi) who refuses to be put off her attempts to coerce Maari into a relationship, despite Maari’s truly appalling treatment. The reason for her devotion is revealed later in the film but appears simply as a blatant attempt to appear feminist-aware and completely misfires given the film’s general attitude towards women and Aanandhi in particular. 

Aanandhi states that she isn’t a “loosu ponnu”, but she veers uncomfortably close while her character initially appears mainly as a butt for numerous jokes. Although Aanandhi tries to give as good as she gets, she’s limited by her determination to make Maari fall in love with her, and as a result does look just like any typical mass film heroine. The hearty demeanour of the character and over-the-top attempts to gain Maari’s attention don’t work well either despite Sai Pallavi doing her best to make her character sympathetic. Where she does shine however is in the songs, and her dancing in Rowdy Baby in particular is simply superb. Her energy is amazing and she matches Dhanush step for step, in some parts even surpassing him for passion and commitment to the routine. Prabhu Deva provides the choreography and ensures that Rowdy Baby is the most memorable song of the film.

Tovino Thomas plays the villain Beeja, aka Thanathos. Although he is first seen in a prison cell, Beeja is portrayed as a more intellectual gangster, speaking in English and using the name of the Greek god of death as his alias. However, he’s still the crazy psychopath Tamil cinema loves to have as a mass villain, since he sports dreadlocks, a gold tooth and has scrawled the words “Kill Maari” all over the walls of his prison cell. No doubts at all then about his plans for the hero. Tovino Thomas is an accomplished actor, and in the first half of the film he does a better than average job of making Beeja a more menacing character than his overdone theatrical traits would suggest. Unfortunately, he is let down by the plodding dialogue and nonsensical storyline in the second half, while the final fight sequence doesn’t do much for either Tovino or Dhanush. The later channels his inner Salman Khan in a rather unnecessary shirtless fight scene, while Tovino’s character rolls over much too easily for someone who has made the death of his opponent his driving force for the last few years.  

Varalaxmi Sarathkumar makes yet another appearance as a respectable member of government, this time as IAS Officer Vijaya Chamundeswariin charge of law and order. It’s a role with a rather similar feel to her last appearance in Sarkar and she really only gets to look stern or concerned in roughly equal measures as she hunts for Maari as a potential witness. The rest of the support cast are fine in equally narrow roles, mostly reprising characters from the first film. Worth a mention is Aranthangi Nisha who has a small comedic role as one of the other auto-drivers also named Aanandhi. Most of the fight scenes are well choreographed by Stunt Silva, but there isn’t anything that stands out as particularly new or innovative. The music too from Yuvan Shankar Raja works well enough within the film, but apart from Rowdy Baby none of the songs are memorable after leaving the cinema. Om Prakash captures the colour and energy of Maari and his sidekicks and I did like his contrasts between the worlds of Maari and Beeja. Both are gangsters in the same area of Chennai, but Maari is always bright while Beeja revels in dark costumes and equally dark lighting.  

While there are a few flashes of the old Maari, for the most part he is a more considerate and thoughtful character this time round. This softening of the character is completed by the romance with Aanandhi and without the ‘gangster everyone loves to hate’ persona as a point of difference from other gangster flicks, Maari 2 is just another mass masala movie. Even Dhanush seems at times to be unsure exactly which role he is supposed to be playing as he switches between callous gangster, the infuriated target of Aanandhi’s advances, caring friend and concerned lover. It’s only in the first of these that Maari 2 really comes to life and these are without doubt the best parts of the film. Further déjà vu comes from numerous references to Rajinikanth films, particularly in the second half, and the overall unlikeliness of the story further reduces the impact of the film. However, if all that you want is a potboiler gangster story with plenty of fight scenes, some good comedy and the odd dance sequence then Maari 2 fulfils all of that and adds just a little bit more. 

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!