Magalir Mattum (2017)

Bramma’s female centric film has a lot going for it, from the fantastic cast to the gentle mood of nostalgia and friendships that transcend time. But if you’re expecting a robust feminist statement, look elsewhere.

Warning: SPOILERS AHEAD!

Prabhavati (Jyothika) arrives on the scene like a hero. She rides a motorbike, wears jeans and t-shirts, calls all the shots with her film crew, abbreviates her elders’ names and speaks casually to all. This is how we know she is a modern, empowered woman. She has a close relationship with her soon to be mother-in-law Gomatha a.k.a Goms (Urvashi). Prabha comes to know that Goms had a couple of very close friends at school but when one of the girls was expelled, the trio went their separate ways and haven’t seen each other in close to 40 years. She decides to use Facebook to track down the ladies, and get the gang back together. Rani (Bhanupriya) is married to a chauvinistic politician (Nasser) and describes herself as a glorified servant, looking after the family in return for food, lodging, and a little bit of affection. Subbu (Saranya Ponavannan) is married to a drunk (Livingston) and stuck at home with his ailing mother, cleaning bedpans and listening to endless complaints. Prabha coerces them all into taking a road trip for just 3 days, time to be themselves.

Bramma uses flashbacks to the friends’ college days and the three young actresses who play Rani, Goma and Subbu are delightful. The dynamic between the women hasn’t really changed, even though their circumstances and lives have forced them into different shapes. They quickly fall back into Rani being the firecracker, Subbu being daring, and Gomathi being timid but refusing to be left out. The links between timelines serve to remind the ladies who they used to be as well as showing the audience.

Prabhavaty eggs them on, wanting these women to live for themselves and stop holding back, to have the freedom she has. She is effusively informal, persuasive, and persistent. I had a bit of a chuckle at her being “like a hero” as, like many male stars, she is only about 10 years younger than her screen mother. I like Jyothika and she looks great and delivers a well-modulated performance as part of the ensemble.

Prabha says “men aren’t the problem, the system is the problem” which neatly overlooks that “the system” is largely constructed and maintained by men for their own benefit. But baby steps. Mainstream Tamil films tend to congregate at the rapey and misogynistic end of the spectrum so this is quite a departure and I’m grateful to the heavy duty star cast for getting this off the ground. Maybe that is the real feminist statement – Jyothika’s continuing film career that doesn’t require her to play Suriya’s mother!

Rani (Bhanupriya) is living a life of determined fortitude. Through the flashbacks we see Rani was the leader, always getting in trouble and loving it. Her husband (Nasser) and son Karthik (Pavel Naganeethan) see her as a fixture, nothing you need to consult or consider. When their ward is designated a ladies ward, Karthik’s political ambition is thwarted and his dad cautions him against letting his wife step out of the house to run for office. They put Rani up as their candidate as they are so confident she will never have an opinion of her own. It’s such a sad waste of Rani’s sharp mind and good heart. She blossoms on the trip away, but is resigned to going back to the status quo. But does she? There are signs that at least her kids learn to see Rani as a human being, and she does take the wheel again. Bhanupriya is elegant but also mischievous and I really wanted to see more of Rani’s story.

Subbu (Saranya) projects a polished and controlled exterior. Her life behind the veneer of her beauty channel set is far less appealing. Her husband drinks constantly, and sprawls around the house singing old love songs until he bursts into pathetic tears in a never ending cycle. While Subbu is immaculate, the house is verging on squalid and there is no sign of pride in her surroundings. Subbu eventually reveals the reason for her disillusionment and anger, and there is nothing that can really fix that. It’s just heartbreak after heartbreak as the women reveal the decisions made for them and how they live with the aftermath. One of the highlights is a sequence where all the ladies tell their story of first love, with the results ranging from tragic to wryly amusing. Saranya plays Subbu as outspoken but with an increasingly warm twinkle in her eye as she casts off the grinding routine. She and Bhanupriya dance and joke around, fire up at each other and then gang up on Urvashi.

Gomatha’s life is not explored as thoroughly as the others, and Urvashi doesn’t have the same complexity of material to work with. Goma was less well off than her friends and struggled to keep up appearances at college. She was more conservative but would follow Rani and Subbu into the fire. She loves her son who works overseas, and worries about her life after the wedding when Prabha will go to live with him. The rapport between Prabha and Goms seems a little forced initially as Urvashi overreacts constantly, but she eases off once the ensemble is in place.

The supporting cast is excellent but the roles are sketches with minimal detail or depth. The men are either jerks or SNAGs, nothing much in between. I was delighted to see Maddy as Suri, Prabha’s fiancé. I quite like slightly unkempt and stubbly Maddy and liked that Suri wasn’t a manscaped picture of perfection. He’s a nice bloke who appreciates Prabhavati, and that is perfect. Nasser, (who Goms describes as looking like an eagle with diarrhoea), and Pavel Naganeethan are very effective at being horrid, and Livingston as Subbu’s husband Mangalamurthy is the kind of man who is nice but such a deadweight that he has the same effect as a total bastard.

Bramma gets a bit bogged down in a sub plot, and doesn’t really carry all the good ideas through into action. But the film looks great, the acting is generally top notch, and it’s a rarity to see female friendships celebrated on screen.

See this to enjoy the presence and fine acting of some wonderful female actors, and for the emotional resonance of their friendship and shared memories.

Advertisements

Simhadri

A story told in two parts, Simhadri is uneven. The things I love, I love. And the things I don’t, I really don’t. Rajamouli is always worth watching however, and it is kind of fun to look back at his earlier efforts even when the execution is a little laboured. Tarak is likeable enough, although his acting has improved greatly since 2003.

Simhadri (Tarak) is an orphan living in the household of Ram Bhupal Varma (Nasser) and his wife (Sangeetha). Simhadri is intensely loyal and has anger management issues, and his violence in service of the family is seen as endearing and almost a joke. Anyway, as they keep saying, it’s OK to kill or be killed if it is for the good of people. Tarak and Nasser have some nice badinage and their relationship does seem rock solid and a reasonable motivation for much of what follows. Simhadri is irresistible to women, especially Kasthuri (Ankitha), the daughter of the house. But he spends a lot of time and money with childlike Indu (Bhumika Chawla), and that becomes an issue when Kasthuri finds out. Apparently Simhadri’s style of beating people is medically identifiable and frequently lethal…Or at least that is what a visiting doctor from Kerala says happens when Singamalai beats someone up. But is Singamalai the same person as Simhadri? Why do truckloads of people with many and varied motivations turn up looking for him? Is he leading a double life?

Tarak gets one of the best hero entrance scenes ever, and a quite impractical yet very impressive weapon of choice. The action scenes are crunching and generally humourless, with varying degrees of gore. And he really is delightful in the songs where he is the bumblebee of dance – it seems he shouldn’t be able to move like that but look at him go!

M.M Keeravani’s soundtrack has a dreary orphan song, some cheesy duets, and offers Tarak a range of opportunities to bust a move. It even includes that romantic Indian classic – Cotton Eye Joe!

But Simhadri has to participate in comedy disease shenanigans, and wear some very unpleasant headbands not suited to the hamster-cheeked gent. The obligatory scenes paying homage to the senior NTR are a little overdone, as well as suffering from early 2000s technical limitations. Seeing the younger actors try to leverage their family name while appeasing the inherited fan base and also create their own image is quite interesting to me.

The relationship between Simhadri and Indu is troubling given her childlike mentality. The portrayal is a little flirtatious or at least uses filmi romance visuals which is creepy. Even Simhadri’s family immediately assume she is a prostitute, despite her little girl braids and outfits. And I was appalled by her horrible neighbours. Orphanism isn’t contagious! But despite all this rich material, that renowned wet dishrag of an actress Bhumika uses at most two three facial expressions. The relationship between Simhadri and Kasturi is equally perplexing, although for different reasons. Apparently the way to spark romance is to either scare a man or be scared in front of him. So dropping an ant down your bra and all the following shrieking and jiggling makes perfect sense then. I was kind of glad Ankitha is terrible in this as it would have been sad seeing a good actress enduring the stupidity of the script.

Despite his dubious interpretation of the female psyche, Rajamouli did win a few “you go girl!” points for casting Ramya Krishnan as an item girl.

I found it highly amusing that the song is pretty much along the theme of “do you want fries with that”. But seriously, I am so impressed she has managed such a long and varied career and has made some super films along the way.

The support cast is rich with talent and recognisable faces. Nasser is all reasonable and understanding until someone disagrees with him, then it is “my way or the highway”. He is a great foil for Tarak. Mukesh Rishi is vile and compelling as Bhai Sahib, the big bad gangster. Rahul Dev is slimy Nair, who sparks about an hour of graphic violence including rape and torturing children. Sharat Saxena is the ultimate useless policeman who abdicates all responsibility to the vigilantism of Simhadri. Bhanu Chander has a small but pivotal role that relies on him never making a sensible decision. All of these actors are good, but all their characters need at least one tight slap or maybe a whack with the fancy significant weapon. You know I am close to despair when I can say truthfully that Brahmi and his character is one of the highlights. I also liked Rallapalli and Ragini as Indu’s carers, and Hema as the cheeky maid and confidante to Kasturi.

While the pace is a bit draggy, Rajamouli shines in the action sequences where he uses creative visuals to heighten the drama. Simhadri leaps over the threshold and is then seen landing on the road on a motorcycle. When Simhadri takes on Nair’s gang the fight is intercut with a religious festival, reinforcing that he is doing godly work and getting the adrenaline flowing. The final fight scene has Tarak moving at normal speed but the rowdies in slomo, which was an effective treatment compared with just speeding it all up.

There are some issues with the story, but this is not one to overthink the plot. I mean I can think of several other and better ways to solve the old “bomb in the suitcase” problem…but who wants the sensible masala version?

See this for all the mass tricks, a hero on his way to becoming a genuine star, and a director who backs himself to be playful with the big ticket elements. 3 ½ stars!

Simhadri-last word

Baahubali 2: The Conclusion

Baahubali-2-Poster

In the lead up to possibly the biggest Telugu film release this year, the question I wanted to know wasn’t so much, ‘why did Kattappa kill Baahubali?’, but rather, was Baahubali 2 going to be worth the wait? And the answer has to be a resounding yes! Rajamouli breathes new life into the traditional story of sibling rivalry and dynastic disputes, ensuring that The Conclusion is every bit as exciting as The Beginning. There is the same epic scale, fantastical scenery and gravity-defying action sequences plus plenty of Prabhas and Rana in fine flexing form. Best of all, this time round Anushka gets to prove that’s she’s just as much of a warrior as the guys and she completely kicks butt as the beautiful princess Devasena.

Rajamouli’s commitment to blood and gore starts right from the opening credits where a number of key events from the first film are loving re-created as CGI ceramic statues – including a torso and detached head with spiralling blood. You just know it’s going to be spectacular when even the opening credits have such exquisite attention to detail – and it just keeps on getting better.

Logically, the film begins where we ended last time, with Kattappa (Sathyaraj) relating the story of his father to Mahendra Baahubali (Prabhas). Straight away we’re swept back into the flashback and the conundrum of who will rule Mahishmati – Amarendra Baahubali (Prabhas) or Bhallala Deva (Rana Daggubati)? Although at the end of Part 1 Sivagami (Ramya Krishnan) declared that Amarendra would be King, Bhallala is still plotting and scheming along with his father Bijjaladeva (Nasser) ensuring that the path to the throne is likely to be littered with dead bodies. Once Amarendra leaves for a whistle-stop tour of the kingdom before his coronation, the way is clear for Bhallala to plan his brother’s downfall and even if the story is relatively predictable, it’s how we get to that final betrayal that really matters.

On his tour, Amarendra travels through the vassal kingdom of Kuntala where he meets Devasena for the first time and falls in love. The romance is beautifully developed, from the moment when Amarendra sees Devasena wielding a sword and is completely smitten, to a sequence where, in the middle of a battle, he teaches her how to fire multiple arrows at the same time. It all unfolds very naturally with little of the sexism of the previous film – this is a more equal partnership and both treat it as such right from the beginning. Anushka is completely mesmerising as Devasena and has as much arrogance and belief in her own self-worth as Sivagami, ensuring that the two have some powerful clashes that almost outdo the fights on the battlefield. Here is all the back story we wanted that explains how Devasena could survive for those 25 years chained in front of the palace with her all-consuming desire for revenge. My favourite part is Devasena’s reaction to Bhallala’s sleazy commander-in-chief when he harasses the women at a temple. She believes in swift and pertinent justice, which got a huge cheer from the cinema and totally won me over to her side for the rest of the film.

Ramya Krishnan is wonderfully regal as Sivagami, ruling in declarative sentences and still disinclined to believe that her son could possibly be evil. Rajamouli gives Sivagami the chance to show a little maternal guilt over her clear preference for her nephew over her own child, making her seem just a little more human. Later, she has doubts and struggles to reconcile her perception of Amarendra as the ‘perfect prince’ with his combative stance when he dares to question her decisions about Devasena. Some of her choices seemed a little unlikely when compared to the wily and competent ruler from Part 1, but factoring in her determination to uphold the law and the universal truth that a mother tends to believe her child, her decisions are within the realm of possibility at least.

Another big plus is CinemaChaat favourite Subbaraju as Kumara Varma, Devasena’s cousin. Although his character is initially played for laughs, there is a serious side too, as despite not being a fighter or showing any signs of a courageous heart, under Amarendra’s influence he finds the strength to fight back when necessary. In Rajamouli’s world, heroism is infectious and it’s not just the god-like heroes with super-human endurance who can make a difference, ordinary people can stand up and fight too. The theme continues when the film moves back to the present day, although not so well-defined, but it’s good to see a move away from a completely hero-centric storyline and more substantiative support characters.

I adore Prabhas and he is completely amazing in both roles here. As Amarendra he is fierce and combative, but also shows off his comedic skills along with a more romantic side to his character when he meets Devasena. The fight scenes are superb and I like that Amarendra has a handy, portable, travelling axe that is more effective than expected – it’s also a nice contrast to Bhallala Deva’s more ostentatious lawnmower of death and massive telescopic mace. Amarendra also shows commitment to science and engineering, taking the first steps to introduce Mahishmati to an industrial age with various contraptions he builds. Some of these are more practical than others, but obviously the skill is genetic since his son comes up with some similarly inventive ideas when faced with the challenge of attacking the city walls back in the present day. There is plenty of shirtless flexing too, although Prabhas mostly keeps his chest under wraps until later in the second half when he has to compete with Rana!

Of course, the strength of any hero is only as good as the villain he faces and Rana is excellent as the devious and amoral Bhallala. This time he is more obviously evil and deliberately choses the nastiest method he can to undermine Amarendra’s reputation with his mother. He’s also still a magnificent warrior, and the final battle scene with Mahendra in the present day is powerful and compelling as the two slug it out in front of the massive golden statue.

The final conclusion in the present day is fairly short and seems somewhat rushed with little dialogue or preparation before Baahubali heads off to tackle Bhallala. Disappointingly, Avanthika (Tamannaah) only has a very brief appearance during the final battle and no significant interaction with Baahubali at all. I like the symmetry between the start and the end of the film with Devasena’s fire-walk for justice, but I would have preferred a little less flashback and more of Baahubali’s reaction to his origins before the final battle. That battle is awesome, but also seems to finish rather abruptly, so I’m hoping (probably in vain) that we might perhaps get a Baahubali 3 that does delve into the relationships of the present day a little more.

I enjoyed M.M Keervani’s music, although I was too caught up in the visuals and catching the subtitles to really appreciate the full scope. However Hamsa Naava and Dandaalayyaa are both beautiful on the big screen and I loved the martial theme of Saahore Baahubali.

The visuals are stunning and although the CGI isn’t as slick as a HW production, it still looks amazing due to the sheer scale of the images. Although there may not be a waterfall this time, instead there is a beautiful palace in Kuntala, a stunning boat that turns into a flying swan surrounded by cloud horses and a totally epic coronation where a cast of thousands almost bring down the palace with their enthusiasm for Baahubali. The action too is on a grandiose scale. Aside from the titanic battles, Amarendra Baahubali surfs on the back of cows with flaming horns, rides on an elephant and fights almost without even looking at his opponents. It’s truly epic, particularly when combined  with the uplifting themes that justice will prevail and real courage comes from those who believe in truth. With amazing ability to draw you so completely into his world, Rajamouli delivers another enthralling story that needs to be seen on the big screen to fully appreciate his vision. Don’t miss it!

Temple says:

Well, now we know where all those engineering grads with filmi connections end up…They built the kingdom and weaponry of Baahubali 2!

The thing I have long admired about Rajamouli is that even when I know what is going to happen, he crafts the drama and visuals so beautifully that I still care enough to be on the edge of my seat. It was a big ask to follow up the cliffhanger of the first film and not lose the dramatic propulsion to the finale and largely, he nailed it. There are some draggy bits but they weren’t actually dull so I didn’t mind having a bit of leisure to admire the design and occasional flourishes of whimsy. Finally, a director who gets how and when to use a swan boat (even if it looks like a top heavy chicken), and what a fantasy sequence can look like when you don’t try and make it all from painted polystyrene! I do wish they’d done something about Nasser’s rubber chicken claw hand though.

Prabhas is a delight, giving his characters both gentle goodness and a steely core, with the bonus of excellent nonchalant posing. Rana makes Bhalla a despicable and venomous man, but not completely incomprehensible in his motivation. I liked their dynamic together, and they just go all in on the fight scenes. Anushka is one of my favourites and I was so excited to see her character given some depth and competency, as well as all the usual accoutrements of a kickarse heroine. I think Prabhas can evince chemistry with anything or anyone, but Anushka gave Devasena such a liveliness that their scenes crackled with life. I actually didn’t mind that Tamannaah only appeared to kill a few baddies at the end. Based on the first film, she just didn’t stand up to Anushka or Ramya Krishnan and Avantika wasn’t integral to this part of the epic. I was glad she reappeared as a warrior though, not simpering in a sari. Subbaraju did a bit of simpering and flouncing so I guess he made up for that, with his OTT posturing settling into a more genuine will to do the right thing. And what is not to admire about Ramya Krishnan, who has been a charismatic and slightly terrifying presence in films for so long. She is amazing and Sivagami is a great fit for her.

Despite all the Ye Olden trappings, this is a pure masala film. The classic themes of family, orphans, loss, justice being separate from law, duty, and insta-love are all there. Rajamouli knows these conventions and tropes and he is so deft at throwing them into new and glittering configurations. He coaxed some truly epic characterisations out of his modern day urban kid actors, and allowed some of the old hands to shine. Yes there is some dodgy CGI and yes some actors are less impressive than others but it just works. Trust me.

Don’t nit pick. See it on the biggest screen you can. Enjoy!