Tag Archives: Hareesh Peradi

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.

Kolamavu Kokila

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Kolamavu Kokila

Nelson’s début film is a dark comedy that unusually for Tamil cinema, has a female lead and a strongly female-centric storyline.  Nayanthara is the titular Kokila who gets caught up in the drug trade when she needs to raise some money fast, but the success of the film is really down to the strong performances from Saranya Ponvannan and Yogi Babu, along with the family dynamics which help to keep the story grounded. I did struggle a little with some of the comedy as my DVD is not subtitled and the only subs I could find online were patchy and rarely made sense, but for the most part the story is self-explanatory and relatively easy to follow.

The film starts with gangster Bhai (Hareesh Peradi) flexing his muscles and getting rid of a police officer who has been interfering with his cocaine operation. Having convinced us that the drug dealers are a vicious bunch best avoided, the film then introduces Kokila (Nayanthara) who is looking for an increase in her sales assistant salary. She’s the main breadwinner in her family as her father’s job as an ATM security job doesn’t pay well and with her sister at college, every penny counts. However, her sleazy boss suggests that the only way she will get a raise is if she meets him after work and makes it worth his while, so Kokila promptly leaves her job to look for something more rewarding. She ends up working as the manager of a massage company which pays much better and seems to have less risk of sexual harassment. But things take a turn for the worse after Kokila’s mother (Saranya Ponvannan) is diagnosed with lung cancer and the family needs to raise 15 lakhs for her treatment.

These introductory scenes work well to introduce the different characters and give a quick sense of who they are. Although Kokila’s father (R.S. Shivaji) has little part to play in proceedings, his passive acceptance of his lot in life illustrates just why the family is in the situation of needing more funds. The interactions between Kokila’s more aggressive mother (Saranya Ponvannan), her sister Shobi (Jacqueline Fernandez) and her father are excellent vignettes of domestic life. Kokila is protective of her father against the rest of the family’s dismissive comments perhaps because Kokila understands the difficulties of working in a dead-end job every day. This introduction also shows Kokila as a strong personality who stands up for herself against her boss’s sordid suggestions, but unfortunately, she loses this confidence later in the film and seems terrified of her own shadow.

Nelson doesn’t let his leading lady jump straight into the drug trade as an easy fix for her problem. Kokila tries a number of different ways to raise the money first. She speaks to relatives, asks for an advance for work and even approaches an NGO, but during a visit to a broker to see if she can sell some land, she inadvertently helps the police apprehend a drug pusher in the building. His boss, Bobby, insists that Kokila make good her mistake and sends her in to retrieve the hidden drugs. So, when all else fails, Kokila decides to approach Bobby and work as a drug mule to raise the cash for her mother’s treatment.

Bobby introduces Kokila to Mohan (Charles Vinoth), one of Bhai’s gang members, who decides that she looks innocent and unlikely to be suspected of carrying drugs, and he immediately employs her to take cocaine to his partner Alphonse (Rajendran). However a number of close shaves with the police lead Kokila to decide she wants out of the operation, but of course it’s much harder to leave than it is to join the business. Finally, after an altercation with Mohan, Bobby comes up with a final delivery of 300kg of cocaine that Kokila must deliver before she can leave.

What makes the film work so well are the peripheral characters. The story starts off well, but a combination of unlikely scenarios and a few too many coincidences mar the second half. Also, Kokila seems way to meek and nervous to ever go against the gangsters so it doesn’t make sense that she would take such tremendous risks and try to beat them at their own game. Nayahthara always has the same expression, downcast eyes and a stammering voice when dealing with Mohan and Bhai, and this continual overly meek appearance that ensures that there is very little tension or suspense as the story unfolds. There is never any glimpse into what Kokila is really thinking, and although she deceives the gangsters it seems to be almost by accident, since she always seems so scared of everyone. I wish there had been some acknowledgment of her plans and visible reactions from her when she did outsmart the gangsters which would have put an entirely different spin on the whole shenanigans. Instead it’s Saranya Ponvannan who steps up and really makes her presence felt as a determined and very capable ally in Kokila’s fight against the gangs. She’s scared but feisty and steps out of her usual mother role to play a very competent scam artist! She is the strong character here, and I love how she deals with potential rapists while the rest of the family appear shell shocked by her capacity for violence. It’s a brilliant portrayal that literally saves the second half of the film.

Yogu Babu is also excellent here and he provides most of the comedy in the first half, first appearing as grocery store owner Sekar who is in love with Kokila and is determined to marry her. Although much is made of his appearance and the unlikely match-up between him and Kokila, the real jokes start when Sekar gets mixed up in the family’s attempts to deliver the 300kg of drugs. Also dragged in is Shobi’s suitor Lakshman Kumar (Anbu Thasan) who mostly seems mentally deranged to me but that could be partly due to the lack of subtitles.

The character of Shekar fits well into the narrative and  Yogi Babu has perfect comedy timing, particularly when he realises exactly what is happening and the danger he has mistakenly stumbled into. I also love this song where he declares his love for Kokila. A brilliant tune from Anirudh and simply perfect choreography!

The film looks incredibly stylish and cinematographer Sivakumar Vijayan sets up each frame beautifully. He contrasts colour and shape to produce some stunning images while still capturing Kokila’s reluctance to smuggle drugs and her family’s desperation. The images are also an excellent contrast to the sleazy world of drugs and the grubby men involved in the trade. Nelson uses these contrasts to good effect, and if only the character of Kokila had had the same light and shade this would have been a much better film. Instead, while there are many excellent individual scenes in the film, overall it starts to drag towards the end when the interactions between Kokila and the various gang members become repetitive and less convincing. On the plus side though, Nayathara is excellent in scenes with her family and in the first half her characterisation works well with the story. Also good is Anirudh Ravichander’s soundtrack and I really love the songs here. There is a good mix of haunting melody and more upbeat music, including the excellent Kabishabaa Coco (aka the gibberish song!)

Although Kolamavu Kokila isn’t perfect, there is enough here to make it a worthwhile watch. Using a heroine instead of a hero is inspired and the black comedy around the central figure of Kokila works well. There is a good story here and it just needed a little more variation in Kokila’s character to give it some extra tension and suspense which would make it a great story. Despite the one note in her characterisation, Nayanthara holds the film together well and does make an empathetic central character. As a début film it’s definitely better than average and well worth catching for Nayanthara, Yogi Babu, Saranya Ponvannan and the awesome soundtrack. 3 ½ stars.

Kolamavu Kokila

Mersal (2017)

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Mersal

After drought ravaged farmers in Kaththi and violence against women in Theri, Vijay latest crusade is against corrupt medical practitioners in Atlee’s Mersal. There are few surprises in the storyline which follows a standard revenge formula, but the approach is stylish and the addition of a magician does ensure a few unexpected tricks. Vijay takes on a triple role that puts him front and centre for most of the film, which is just as well since it’s mainly his charisma that lifts Mersal above its well-worn story. But there are also energetic dance numbers, excellent special effects and a credible and suitably nasty villain making Mersal a major improvement on Vijay’s last film and worth catching on the big screen if you can.

Vijay plays a triple role – two brothers (one who is unaware of the other’s existence), and then their father in an extended flashback sequence. The story jumps around a lot as well as moving in and out of flashback so it’s deliberately not always clear which character we are watching at any given time. The film starts with the abductions of 4 men, all connected in some way to the same hospital, although it’s takes a while before we find out who they are and why they have been abducted. The police receive an anonymous tip off which leads them to arrest local hero and all round good guy Dr Marran (Vijay) who is known as the ₹5 doctor due to the fees he charges his patients. His arrest almost sparks a mini riot but once Police Officer Rathnavel (Sathyaraj) begins his interview (which for no good reason is conducted in a derelict building on a construction site) the story of the two brothers starts to unfold.

The other brother, Vetri (Vijay), is a magician and uses his powers to take revenge on the men he feels were responsible for his father’s death. It’s never clear how the brothers ended up separated or why Marran is brought up by his foster mother Sarala (Kovai Sarala) in ignorance of Vetri’s existence, but then Atlee seems to prefer focusing on the result rather than bothering with such basic explanations. Vetri is ably assisted in his magic and in his revenge by Vadivu (Vadivelu) who also moonlights as Maaran’s helper. This means Vetri knows exactly where Marran is and can use that information to his own advantage. While in Paris (really Poland, but close enough), Vetri meets Anu Pallavi (Kajal Aggarwal) who is acting as a general gofer for the rather greedy and lecherous Dr Arjun Zachariah (Hareesh Peradi). Dr Zachariah is the polar opposite of Maaran, believing that good medicine is commercial medicine and the only reason to be a doctor is to turn a huge profit and benefit from the misery of disease. Maraan on the other hand is a proponent of universal free health care as a basic human right, although he doesn’t seem to have really thought through exactly how this style of medical care will be funded if his dream is to become a reality.

While Vetri dances his way into Dr Anu’s heart in Paris, Maaran meets journalist Tara (Samantha) during an interview on a TV talk show. Love blossoms through another song but Maaran’s TV appearance has brought him to the attention of Dr Daniel Arockiyaraj (S.J. Surya) who recognises Maaran as being the spitting image of his father. Daniel and Vetrimaaran (Vijay) had an acrimonious history and Daniel immediately sets out to find and destroy the son of his enemy.

The best part of the film is the extended flashback after the interval which focuses on the reasons behind Vetri’s revenge and Daniel’s antipathy. S.J. Surya revels in his role as a conniving and deceitful doctor in wide collared shirts and spectacular flares but Vijay steals the show here with his performance as a villager with a big heart and even bigger muscles.  Nithya Menen is also superb as Vetrimaaran’s wife Aishwarya (aka Ice), although she does have the best of the three female roles. Her Ice is passionate and inspiring in her devotion to the idea of readily available health care in their village, and she gets the chance to really bring out the emotions of her character well. She also has excellent chemistry with Vijay and this is the relationship that works the best out of the three, although to be fair both Samantha and Kajal get little screen time with the hero and little chance to develop their respective relationships.

There are a few oddities in this part of the film though. There is a sudden jump between Ice’s admission into the hospital and her final fate without much explanation of what goes wrong. Also, a potential fight between Vetrimaaran and Daniel’s henchmen is over before it begins with the gang all lying on the ground bleeding and moaning seconds after they approach Vetrimaaran. I’m not sure if these cuts are an Australian specific issue since I haven’t seen any mention of them in any other reviews, but it does seem odd and makes these final flashback scenes seem rushed and a little confusing.

Although the main focus of the film is Vijay, the rest of the support cast are all good, including Rajendran as an unlikely Health minister and Kaali Venkat as an auto driver whose daughter died due to corruption in the health service. The music from A.R. Rahman doesn’t stand out as anything special, but it does fit into the screenplay well while Atlee places the songs wisely throughout. G.K. Vishnu works wonders with the cinematography and the effects are magical despite the sometimes cheesy nature of the tricks. Watch out for a scene where Vijay fights with a deck of cards – the fusion of the magic storyline into a standard masala tale is a better fit than I expected. Of course the real magic here is that Vijay seems to be growing younger with each new film and he’s just as energetic as ever too.

However Mersal is more than just a revenge drama and there is a definite political slant to the story. To start with, medical negligence and corruption is an emotive topic, that has been much in the news recently with a series of high profile deaths in the Indian medical system. Vetri makes a rather political statement towards the end of the film as he speaks to the crowd outside the courtroom and asking why India can’t fund heathcare as well as Singapore when the Indian government collects a much larger amount of GST. This is much more direct than Vijay’s message about suicidal farmers in Kaththi and does come across as a warning to the current government that they are being judged as lacking leadership in this issue. Vijay underscores the political theme with several nods to MGR, including a scene where Vetrimaaran walks in to a cinema to accuse village officials of corruption just as MGR strides onto the screen in the background. Is this the next stage in Vijay’s political campaign or is he just making the best use of his star power and philanthropic tendencies? Only time will tell, but in Mersal, Atlee has combined politics and entertainment without diluting the message or preaching to his audience- something a lot of Holywood films could do well to emulate.