Super Deluxe

Super Deluxe

Thiagarajan Kumararaja’s Super Deluxe is a significant step up from his previous film Aaranya Kaandam, aided by a sumptuous colour palette from P.S. Vinod and Nirav Shah, and the presence of a number of top actors from the South. Included are the likes of Vijay Sethupathi, Samantha, Fahadh Faasil, Ramya Krishnan and Mysskin but the newcomers are just as good and hold their own against the established stars. It’s an interesting story too, although after a good start the middle section does wander and become rather self-indulgent before ending with a stronger finale. It’s still a compelling watch, not just to discover what happens in the various threads, but also to spot influences, note the repeated motif’s and ultimately try to figure out just what Thiagarajan Kumararaja is trying to say. Super Deluxe isn’t for the faint-hearted – the language is strong and there are a number of confronting themes, but the juxtaposition of topical issues and out-and-out fantasy is intriguing even with a close to 3 hour run time.

The film consists of a number of different threads which don’t interconnect as such, but instead superficially intersect and occasionally influence each other. The first involves a cheating wife Vaembu (Samantha) and what happens when her husband Mugilan (Fahadh Faasil) discovers her infidelity when her lover has the bad taste to die during their lovemaking session. Next there are a group of schoolboys who arrange an elaborate plan to bunk school and watch porn movies. Their problems start when one of the four recognises his mother Leela (Ramya Krishnan) in the movie and the ripples from his subsequent actions have far-ranging consequences. Part of this sparks an existential crisis for Leela’s husband Dhanasekaran (Mysskin) who has become a faith healer after surviving the tsunami by holding on to a statue of Jesus. The other boys end up in trouble when they try to raise the funds to buy a new TV and end up in a truly out of this world experience. And then there is the story of Shilpa (Vijay Sethupathi), a transgender woman trying to reunite with the wife and young son she left behind many years before. It’s a fascinating blend of narratives and some of the stories work better than others. Or perhaps it’s more that some parts of each story are simply brilliant (and brilliantly simple), but then at times Thiagarajan Kumararaja and his co-writers seem to get carried away and try just that little too hard to be edgy and confrontational.

As well as a lot of swearing, there is a lot of sex in this film. Vaembu is first seen in bed with her lover, the teenage boys are obsessed with sex (although that’s not surprising) and there’s a creepy cop (Bagavathi Perumal) whose rapacious tendencies provide an important plot point in two of the stories. One of these is nasty but effective, while the other is too drawn out and staged to be convincing. In those parts where the film is subtle and suggests rather than shows, it is more chillingly real and packs more of a punch compared to the more filmi scenes with Vaembu, Mugilan and SI Berlin. Perhaps it’s a consequence of too many writers (Mysskin, Nalan Kumarasamy, Neelan K. Sekar and Thiagarajan Kumararaja are all credited with the screenplay), but Vaembu and Mugilan’s story is the least successful for me, despite fine performances from the two actors. Their relationship just doesn’t ring true and the characters are an odd mix of modern and traditional that doesn’t seem plausible. However, I appreciate that the fallen woman gets a shot at redemption and isn’t permanently tainted by her infidelity. Something which is also the case with Leela who is proud of her film achievements and sees no reason to disavow her presence in a porn movie. It is refreshingly different even if at times there is a feeling that some of the dialogue has been written by grubby little boys sitting and sniggering at the mere mention of sex. That may be more to do with the subtitles though as I have read a number of comments that some concepts weren’t translated accurately, particularly in respect to Ramya Krishnan’s character.

The most successful thread is that of Shilpa, and despite all the issues around a cis male actor playing a trans woman, Vijay Sethupathi is much more here than just a man in a wig. The issues here feel true to life, shocking as they are, as Shilpa tries to navigate a brief visit to her son’s school and faces prejudice and abuse at almost every turn. Ashwanth Ashokkumar is outstanding as her son Rasukutty and although Gayathrie has very little screen-time as the abandoned wife, she makes a strong impact as her facial expressions say so much more than any dialogue could possibly manage. Vijay transforms himself yet again and adds many layers and nuances to his character, alternating between comedy and tragedy but still providing a sense of the underlying weakness that drove Shilpa to abandon her family.

The first half has a lot of well-written comedy but immediately after the interval the film shifts into more serious territory. The pace is also more uneven in the second half, and the labyrinthine feeling of diving down a rabbit hole, so well done in the first half, falters as the frenetic pace slows. There is still a lot going on though, and with the richness of the visuals the film at times becomes almost overwhelming. There are close-ups of ants running up and down a door frame for example – the implication initially seems fairly straight forward, but is it really? There are so many questions and possible explanations for even the simplest shot and it seems that every single part of the set could have a secondary meaning. This is a film that I think does need multiple viewings, and I’m sure that I will see more detail each time.

There are plenty of film references here too – to both Indian and Western films and probably a lot more cultural references that completely passed me by. Despite the variability in the second half this is definitely a film that I’d recommend for the sumptuous visuals, excellent performances and intricate story. Thiagarajan Kumararaja has built a complex world that tries to encompass the natural, unnatural and everything in between. The best part about Super Deluxe is that he so very nearly succeeds.

 

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Kumbalangi Nights

Kumbalangi Nights

Kumbalangi Nights finally made it to Melbourne over the weekend, and I was lucky enough to get a ticket for one of the packed out shows in Clayton. Madhu C. Narayanan’s directorial début is a coming of age story, but one where a family grows and matures together rather than simply telling the tale of a single person. With exceptional performances from the entire cast and an unexpected twist at the end, this is a must watch film that hopefully will get a wider release in Australia.

The film begins with Franky (Mathew Thomas), the youngest of four brothers coming home after spending time at a soccer camp. He has a scholarship and is receiving a good education, but he’s ashamed of his poor home and dysfunctional family so he keeps his school friends at a distance. Franky and his two older brothers Saji (Soubin Shahir) and Bobby (Shane Nigam) live in a partially unfinished house at the end of an inlet. It’s definitely not in the best part of town (it’s where trash is dumped), but it still looks to be a pretty spot just at the edge of the water. The house may be rickety but the brothers can navigate home by boat and are able to organise dinner by walking outside and casting a net to catch a fish. The fourth brother Boney (Sreenath Bhasi) doesn’t live with the others, mainly because of incessant fights between Saji and Bobby but Boney has a full-time job and a separate set of friends which may contribute to keeping him away from his brothers.

The story of the family is gradually revealed, but more by small day-to-day actions rather than by any major event. For instance, when Frankie arrives home he’s upset to find an egg shell full of cigarette ash – a sign that his brothers haven’t been cleaning while he’s been away. He’s taken on the role of their absent mother and does most of the cooking and cleaning but his despair at the half-finished state of their house is constant. Boney is seen paddling a canoe over to the house but turns away when he sees Saji and Bobby arguing yet again, while Franky finds a sack of abandoned kittens, proving that they really do live in a dumping ground for unwanted strays. In this way, Narayanan gradually reveals a family in crisis, where Saji seems to be content to live off his partner’s earnings in their ironing business, Bobby wastes his time away lounging around with his best friend Prasanth (Sooraj Pops) and Franky escapes to play soccer with his friends as much as possible.

Meanwhile, across the water, Shammi (Fahadh Faasil) has recently married Simmi (Grace Anthony) and moved in with her, her mother (Ambika Rao) and her sister Baby (Anna Ben). Shammi has a good job and Baby also works in a local hotel while their upmarket house is also used as a home-stay for tourists in the area. Although on the face of it this family seems the total opposite of Franky’s, there is something not quite right – first seen in Shammi’s adamant objection to the local kids playing football on ground outside the house. Fahadh Faasil is wonderfully creepy here, with considered arrogance and a scary smile that he keeps plastered on his face while he asks ever more intrusive questions to his wife and her sister. He’s the quintessential patriarchal male who wants to control everyone in the family and expects them to follow his rigid morality. There are so many small mannerisms that Fahadh Faasil adds that together make up the portrait of a not-very-nice man as he eavesdrops, spys on his guests and makes snide and demeaning comments at every opportune moment. One excellent demonstration is when he uses his razor to remove his wife’s bindi from the mirror in the bathroom showing his toxic masculinity at its most blatant with Shammi even calling himself the ‘complete man’ as he preens his moustache in the mirror. It’s a superb performance throughout and although Shammi isn’t onscreen much in the first half, he always leaves an impression.

Meanwhile, Bobby is in love with Simmi’s sister Baby, but the difference in their social status is huge, and the gap in their personal goals appears even more vast. Bobby is content to spend his days drinking and smoking, while Baby has a much more upwardly mobile mindset. However the romance is a realistic portrayal of a relationship trying to span the social divide and there are some beautifully written scenes here too.  Baby persuades Bobby to get a job, which he hates, but he’s determined to stick it out as the only way he’s ever likely to persuade her family to consent to their marriage. Shane Nigam and Anna Ben are delightful here with each perfectly complementing the other and reacting exactly as would be expected to each new problem. Initially Bobby asks his friend why would anyone buy a tea shop just to get tea, when Prasanth reveals he’s planning to marry his girlfriend Sumisha (Riya Saira), but when he falls in love with Bobby he gradually changes his point of view. Realistically, it’s not an instant change, but one that feels plausible given the development of their relationship. Sooraj Pops and Riya Saira provide the perfect contrast too since although Prasanth is just as job shy as Bobby, he has more get up and go, while Sumisha has the confidence Baby lacks.

Syam Pushkaran wrote the screenplay, and as in Maheshinte Prathikaaram (the only other film of his I’ve seen ….so far!), he uses a mixture of comedy and drama to underpin a story that gets to the basic heart of a society and the social constructs that define what makes someone a good person. Saji is argumentative and hot-tempered, but does want the best for his family. When his friend Murugan (Ramesh Thilak) is killed, Saji takes in his widow and her young baby proving that is heart is in the right place, even if sometimes he forgets to listen to it. This is a beautifully nuanced performance by Soubin Shahir and there are moments of absolute brilliance as Saji has to come to terms with the consequences of his actions. So much is not said, but rather is shown by his mannerisms and the way he deals with every set-back and put down. Shane Nigam too does an excellent job with his role, and his Bobby is the quintessential slacker who realises he needs to change his ways or he will lose the woman he loves. The question is whether or not that’s a strong enough incentive, particularly since Bobby has no strong role model to follow.

My absolute favourite though is Grace Anthony as Simmi. There is a real gender divide in the film with the men generally failing to deal with the issues in their lives. The women on the other hand, just get on with things without any drama or fanfare. Simmi initially seems to be just another long-suffering and put upon wife but she has an inner strength and determination that finally breaks out towards the end of the film in a brilliantly written and performed scene. It’s this combination of normal routine life and small moments of drama that makes Kumbalangi Nights such an engrossing and relatable film. Although ultimately it’s the story of Franky’s family and their gradual transformation as different women enter their lives and help to turn them around, it’s also a study of ordinary human behaviour that will ring true for most of us. There is so much more I could write about almost every scene, but I don’t want to give away any more of the plot, so all I can do is advise everyone to go see the movie!

This is a beautifully told story and Shyju Khalid adds the finishing touches with good use of the camera to capture both the beauty and the ugliness in this small area of Kerala. Sushin Shyam’s music fits perfectly and every single member of the cast plays their role as if it was one they were born to fill. The only odd note comes at the end where the plot takes a sudden turn, but it’s still so well executed that even this doesn’t seem all that out of place. I loved this film and highly recommend watching Kumbalangi Nights for a simply great little slice of life in small town Kerala.

 

Maheshinte Prathikaaram

maheshinte-prathikaaram-poster

Maheshinte Prathikaaram is the début film from Dileesh Pothan, who has previously worked as an actor and as an assistant director on a number of Malayalam films. The experience has stood him in good stead as Maheshinte Prathikaaram is a well-crafted and entertaining film with a good balance of drama, comedy and romance. Screenwriter Syam Pushkaran has based the story on true events in his home town, building a simple tale of revenge into a more complex plot with plenty of interesting characters and situations. Fahadh Faasil stars and is excellent in the lead role, but the support cast are also good and with Shyju Khalid’s superb cinematography and Bijibal’s steady hand on the music, Maheshinte Prathikaaram is well worth a watch.

Mahesh Bhavan (Fahadh Faasil) is a photographer in Kattappana where most of his work involves taking passport photographs with a well-rehearsed spiel, although he does occasionally attend weddings and funerals and other such functions too. He’s a generally happy bloke, if rather quiet and somewhat set in his ways, possibly because he lives with his ageing father Vincent (K.L. Antony Kochi). Fahadh Faasil is always excellent as an ‘average bloke’ and his performance here perfectly captures the day to day life of a small-town businessman with plenty of details that ensure the character has plenty of charm. It’s the small touches that resonate so well, such as his bathing in the river, feeding his dog or fishing pieces of egg shell out of the bowl when he is cooking. Mahesh is a well-developed character and as such it’s easy to understand why he behaves the way he does for most of the film.

Mahesh is in love with his childhood sweetheart Soumaya (Anusree), but due to her job they only meet occasionally. When Soumaya returns home for her grandfather’s funeral her father approaches her with a marriage offer from an NRI living in Canada. He has a good argument too – presenting the offer to Soumaya when she is washing clothes the old-fashioned way and asking her if she wants to stay in the same town all her life, or if she would prefer a more comfortable life overseas. Soumaya’s indecision is beautifully written and it’s obviously a difficult choice for her, but finally she decides to follow her head rather than her heart and end her long-standing relationship with Mahesh. There is much here to enjoy, from the way Soumaya realistically agonises over what to do and her method of finally breaking the news to Mahesh, to Mahesh’s stoic acceptance, his appearance at the wedding to reassure Soumaya and his despair when alone. The relationship and the two characters are well portrayed to ensure the situation is kept believable but light without dipping into melodrama.

At the same time, Mahesh is dealing with the day-to-day running of the studio, helped by his father and his friend Baby Chettan (Alencier Ley Lopez). Baby runs a printing shop adjacent to the photography studio and has a good relationship with both Mahesh and his father. Baby is assisted by Crispin, aka Crispy (Soubin Shahir) and between them Baby and Crispy share most of the comedic dialogue in the film, although the rest of the cast also add some humour as the story progresses. Thankfully, instead of relying on slapstick and crude jokes, the comedic dialogue here is often subtle and relies on the characterisations carefully built up in the preceding scenes for its full effect, while overall the comedy fits perfectly into the main narrative. It’s effective and genuinely funny too, although I suspect I still missed a lot due to relying on the subtitles.

Events become more serious when Mahesh is involved in a fight with Jimson Augustine (Sujith Shankar) and loses badly. The build up to the fight is one of the best scenes in the film, as is the end where, in a move to save face, Mahesh vows to stop wearing his chappals until he has revenged himself on Jimson. However by the time Mahesh discovers exactly who is his nemesis and that he works as a welder, Jimson has moved on to Dubai for work. Rather than back down however, Mahesh continues to go barefoot, although there are times when it looks as if he regrets his vow, particularly when there doesn’t seem to be much chance that he will achieve his objective of revenge any time soon.

Mahesh also takes a hit professionally as his attempt to take a studio photograph for university student Jimsy (Aparna Balamurali) is less than successful with Jimsy ridiculing his work. However, her comments inspire Mahesh to stretch his photographic skills and in the process, he falls in love with Jimsy too.

Although initially the character of Jimsy is irritatingly brattish, she redeems herself later, turning out to be a pleasant young woman with a good understanding of how to nudge Mahesh out of his comfort zone. She’s frank and unafraid to speak her mind, and Aparna does a good job of ensuring her occasionally prickly character is still friendly and approachable when appropriate. She’s good in the more romantic scenes too, although here again her character is refreshingly down to earth and pragmatic. Plus any film with a flashmob scene wins my approval!

The entire concept of the fight and Mahesh swearing not to wear shoes until he has his revenge seems incredibly juvenile to me, but I can see that Mahesh feels his masculinity has been questioned by his defeat. Mahesh is not a natural fighter and has never been in trouble before, so his resolution to beat Jimson does make sense, even if the concept of a rematch seems a fairly pointless way to demonstrate he can fight. Sensibly, he responds by taking karate lessons and although they may not help much when it comes to fighting Jimson, at least it gives Mahesh something to do while he waits for his nemesis to return. I love that Jimsy and her mother appear to have the same opinion as me about the potential rematch, while Baby Chetan and Crispy are rather more encouraging, although they too try to persuade Mahesh to start wearing shoes and forget all about Jimson.

Maheshinte Prathikaaran

The story flows well and the blend of comedy, romance and drama ensure that there is never a dull moment. The film looks beautiful too with gorgeous shots of the Idukki region and local wild-life, even on the rainy days which seem to be the most common.

The songs and background music are also well suited to the narrative, adding more light and shade to the story. With excellent performances from all of the cast, particularly Fahadh Faasil and Alencir Ley Lopez, and a funny but still insightful screenplay, Maheshinte Prathikaaram is a refreshingly different and thoroughly enjoyable movie. 4 stars