Si3 (Singam III)

singham-iii

Si3 is the third film in the Singam franchise from writer/director Hari and team, and it follows the same basic formula as the previous two films. That’s not necessarily a bad thing but the problem here is that Hari sticks rigidly to the format and includes far too much lacklustre comedy and insipid songs that do nothing but distract from the main plot. That is rather less than expected too, although there is plenty of fast-paced action and blistering fight scenes, the story is scantily developed while characters some and go without ever establishing any sense of who they are and what their relationship is to the story. Suriya also seems to be on overdrive – every dialogue is delivered in either a hoarse snarl or a loud shout and the character of Durai Singam even less plausible than usual, having moved on from portraying a one-man army to more elemental unstoppable force that slams villains into the ground so hard that they almost ricochet into orbit. It’s excessive and overdone but the fight scenes are still fun to watch – if only the rest of the movie had been anywhere near as entertaining.

As the film begins, Durai Singam is seconded to the CBI and sent to Vizag in Andhra Pradesh to investigate the murder of Police Commissioner Ramakrishna (Jayaprakash). The local police are surprisingly grateful to have Singam foisted onto them but the local villains, headed up by the enterprising M.S. Reddy (Sarath Saxena) are rather less thrilled by his arrival. Cue major fight at the train station that’s over almost before it begins as Singam throws his opponents through anything remotely breakable before leaving for Vizag police station. Vidhya (Shruti Haasan) spots Singam’s thug annihilation program at the station and instantly decides to follow and harass him by declaring her undying love at every opportunity. Vidhya’s attempts to entice Singam to reciprocate her love are mainly used as comedy, although there is nothing remotely funny about any of these scenes and Vidhya’s character is painfully immature and brattish. Vidhya is an investigative reporter and does have a minor part to play in the plot as well, but Shruti is completely wasted here in a role that requires her to do little more than pout at appropriate places and dance in a few oddly placed songs.

Although Singam is now married to Kavya (Anushka Shetty), he decides that for security reasons she shouldn’t accompany him to Andhra. However, Kavya decides to come along incognito using working for her father as an excuse, managing a few brief meetings with Singam and suffering through some appallingly bad wardrobe choices during an awkward song in the snow. Like the rest of Singam’s family back in TN, Anushka only appears as a means to link the previous movies to Si3 and otherwise her presence is completely superfluous to the plot.

Sarath Saxena is good as the don in charge of the criminal element in Vizag, but he doesn’t appear on-screen enough to develop much of a presence. He’s also not the main villain either, which is a shame since he would have been a much better choice than Thakur Anoop Singh. Singh’s Vittal is the son of the Central Home Minister but despite his parentage is an Australian citizen based in Sydney. His company is involved in the illegal dumping of Australian waste in India, with the Vizag part of the operation under the control of Reddy and his gang, which provides the connection back to the murder of the police commissioner. Sadly Vittal is an ineffectual villain who looks as if he has just stepped out of a shampoo commercial and spends most of his time pumping weights and channelling his inner Salman Khan. He is also horrifically violent to women, using this as a tactic to force other men to follow his commands. It seems oddly cowardly for a Tamil villain and I presume that Hari was ensuring that Singam’s opponent appeared as vile as possible, although I don’t think this was the best approach. Vittal is childish and indecisive and it’s hard to believe that he has built up a criminal empire given his whingeing and temper tantrums whenever things don’t go his way.

Without a strong villain, the story collapses into a series of frenetic fight scenes, punch dialogues from Singam and puerile comedy from Soori as police officer Veeram. There are some excellent actors in the support cast but they are given little to do and have very limited screen time. As in the previous Singam films, the focus is all on Suriya and the wafer-thin plot is purely an excuse to add in more fight scenes and shots of Suriya morphing into a lion or confidently striding around Vizag in his police uniform. Thankfully, Suriya is up to the challenge with his presence almost enough to hold the entire film together despite the hectic pace and general lack of a coherent storyline.

Harris Jayaraj provides the music but the songs are not memorable and the best, an item song featuring Neetu Chandra, is completely overpowered by the action taking place around the dancers. The rest are insipid love songs which are erratically pictured in various foreign locations, although I was happy to see Suriya in a Rishi Kapoor-style jumper at one point.

The best parts of the film are undoubtedly the fight scenes (despite the insane tossing around of villains like confetti), and Hari makes sure there are plenty including a variety of locations and items-to-be-smashed too. While Suriya is excellent as Durai Singam no-one else in the film has a chance to appear as anything other than as a bystander to events, although Krish does just manage to be noticed as Singam’s trusty assistant Sreenivas. Si3 suffers from the success of the previous Singam films as Hari has tried to make the third outing bigger, louder and even more action-packed but without a coherent plot, all the special effects, super-speed action and fight choreography aren’t enough to make a good film. Si3 is watchable, entertaining in parts and occasionally thrilling, but it could have been so much better.

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Godavari

Sekhar Kammula has become one of my favourite directors, always entertaining me with interesting observations and a satisfying story. In Godavari he deposits his characters and their relationship issues on a boat, adding a philosophical dog, a sideplot or two and some beautiful scenery to leaven the mix. I’m not totally convinced by all of the elements but I do really like this film.

This song sets up the main characters, and acts as the now familiar promotion clip for Andhra Pradesh.

Kamalinee Mukherjee is Seetha, a would-be fashion designer. She has nightmares about losing her independence and her close relationship with her parents after she marries. I liked Seetha’s spirit, and I really felt for her coming off a rejection from a groom her parents pressured her into accepting. That had to sting. Seetha is vain and bratty at times but she is funny, insecure and compassionate as well, and admits fault when she is wrong.

Sumanth is Sriram, an unassuming guy who wants to get into politics and make the world better. He reveals a manipulative side as he cons his way into appointments with party officials. Perhaps he is a precursor to Arjun Prasad from Leader? He isn’t as effective in his personal life however. Ram is inarticulate when he should speak up, and doesn’t really see things for how they are – he is lost in a vision of how it should be.

Raji (Neetu Chandra) is spoilt, silly, self centred and yet not totally unlikeable. Raji judges a relationship by the trappings of Valentines’ cards, fancy coffee shops and all the showy things, things that just never occur to Ram, and she uses this as an excuse to push him away. Her parents know Ram wants to marry her but refuse as his simply isn’t the best offer and they are quite honest with him about this. Perhaps they know their daughter better.

Ravi (Kamal Kamaraju) is a cashed up bully, making the most of his status in the IPS. He seems to have some notions of manners and decency underneath all the arrogance, but has done a marvellous job of burying his better side. I can’t say I liked him at all, but I did end up thinking he could be a good match for Raji if he got over himself a little.

All the characters are flawed, but not in a dramatically damaged way. They’re just a bunch of people who have good and bad points, and for the most part are quite unremarkable. I found them easy to relate to, even the unpleasant ones, as they were well rounded and I could imagine them having lives outside of the film setting.

The boat setting appealed to me for a number of reasons. Not only did it provide a great device for containing the characters and their interactions, it looked great. It had all sorts of strange little additions,extensions and even a tower of sorts. I thought it looked delightfully like something out of a Miyazaki film. Whoever did the set dressing did a fantastic job too. All the powers were invoked to keep the boat safe and sound.

The boat trip also allowed the supporting characters to have things to do other than hang around Ram and Seetha.There was a nice sense of energy as the ever reliable Tanikella Bharani (the captain) and others bustled around. I enjoyed their presence all the more as they contributed to the background life and colour of the film. Seetha’s parents and sister had their own stuff going on at home, and there was a real lived-in feel to their domestic scenes as well. The nominal villains Raji and Ravi had their own issues to deal with, and even in their smaller roles showed some growth.

It wouldn’t be a boat story without stowaways. Chinna is a poor kid who pursues a mystery man (OK, it was Ravi) who does him out of the balloons he sells.  Koti, a dog, decides for his own reasons to get out of town. When Koti sees Chinna pay his bribe, he has a flashback to Daana Veera Suura Karna and swears fealty to his new master. They team up and give us their points of view but also provide the catalyst for people to reveal their own character – are they charitable, curious, mean or oblivious to the boy and dog?

While I liked the idea of Koti and the voiceover (by Sekhar Kammula, and what a world weary creature with a 3am whiskey voice he sounded), I did not like the CGI dog. The real dog had ample charm and verve and I don’t see the animation was necessary. I kept hoping it wasn’t because the real dog became, er, unavailable after a boating mishap. For those of you who demand pirates, there was a fairly silly episode involving a fugitive and a night ambush but it only served to show that Ram is reliable and Ravi isn’t so I will move on.

There is no surprise in the romantic pairing of our waterborne humans as their journey to Bhadrachalam follows that of Ram and Sita. Our Ram and Seetha are attracted to each other but there are obstacles, both real and imagined. I really enjoyed their conversations and the way both Sumanth and Kamalini showed the growing intimacy and comfort they felt in each other’s company as well as the pressure of the potential relationship.

They did daft things, sure, but there was no sense of them being stupid or unpleasant people. Kammula uses a lot of voiceover monologues, and both actors did a good job of mirroring the inner voice with their expressions, ranging from funny to heartfelt. Sometimes I find a voiceover can leave me at a distance, but in this case it worked well enough and suited the introspective nature of the characters.

I don’t like the background score at all. It is too cheesy, and seemed to try too hard to be whimsical. But the actual songs are more attuned to the mood of the scenes, and subtitled, so I could at least appreciate a fraction of Veturi’s lyrics as well as K.M Radha Krishnan’s melodies and the beautiful scenery. There is little dancing in the film, and it wouldn’t have been appropriate to much of the story; but if I have a criticism of Sekhar Kammula it is his over use of the montage. Then I saw Sumanth dance and I thought well, yeah, montages have their place— but there has to be a limit.

The lyrics draw attention to the beauty of the river and the power of unseen forces in our lives. The river is a metaphor for the forces in life that nudge us hither and thither, and the power of chance meeting and parting. But this Ram and Seetha also show that you can fight the current when you want to and make your own way.

Finally, I give Godavari 3 and ½ stars. For those who think 3 and ½ is just plucked from the air , it goes like this – Points on for the convincing performances, points off for the animated animals, points back on for the real dog, more points on for a parrot asserting her independence, some points off for too many montages, and finally points on for the film being so pretty. Watch it for the beautiful balance of observational style with a fresh twist on the filmi clichés.

Heather says: I really like the way that instead of road movies, the Telugu film industry has river films which surely do a great job for the tourist industry. The river looks beautiful here and the Godavari boat is fantastic. I love the way it’s at least 3 boats joined together, one of which has fantastic wooden panels and just to add a little more space it’s also towing a raft behind. It looks like a great way to travel from Rajamunday to Bhadrachalam, although I suspect in reality it would be rather wet and cold. I do appreciate the way that in time-honoured fashion everyone jumped underneath big blue plastic tarpaulins when the rain started. I remember those well from travelling on the top of buses in India and Nepal!

The story of the romance between Ram and Seetha, both rejected by their prospective partners, is different enough from the usual to be interesting and I like the way that Ram had to deal with being in such close proximity to Raji and her fiancé Ravi for the duration of the boat trip. Kamalinee Mukherjee’s Seetha is beautiful and chirpy and I really liked her character from the beginning. Even her obsession with her beauty is funny rather than irritating and I feel that she stayed true to her independent nature throughout the story. Although Ram is initially a very pedestrian character with his idealistic ways and mooning over Raji, he becomes more likeable in his interactions with Seetha and the young balloon seller Chinna. Ram and Seetha’s gradual attraction as they argue is realistically handled and I think both Sumanth and Kamalinee Mukherjee are well cast in their roles here. The cook Pullamma is a great character and her indignation when she thinks Ram has given her brother money because he feels sorry for him is one of my favourite scenes. I like the way Sekhar Kammula’s points out that poor people have pride and dignity very well, particularly since there is so much emphasis in the story about altruistic behaviour being the ideal to aim for.

As well as another reason to dislike Ravi (and I’m not sure we needed quite so many), Chinna’s character adds some funny comedy. The CGI talking dog is strange and I agree with Temple that it wasn’t necessary. The talking dog idea was fine and the voice-overs were quite funny and used well but I think this could all have been done with the real dog,  rather than introducing the CGI. But it wasn’t too much of a distraction and the story of Chinna and Koti is well written into the main story.  The characters of Raji and Ravi are also more than just part of the backstory and I appreciate the way that all of the supporting cast are used to further develop the romance between Seetha and Ram, either by helping them or by adding more obstacles to their path.

There are a few things that confuse me. I’m not sure why the fortune-teller decides to jump into the river. I can’t work out if he’s just chasing his parrot or if his declaration to Rama is more significant. The fight scene also seems totally unnecessary and the whole storyline of Veeraiah didn’t add anything other than a chance for Ram to be a hero.

There is so much to enjoy in this film. the boat setting, the lead actors, the story and the support characters are all excellent. I love the songs as well, especially Tippalu Tappalu in the rain, and the shots of the river are beautiful. Godavari is a really entertaining film and I give it 4 stars.