Sahasam Swasaga Sagipo

sahasam-swasaga-sagipo

Gautham Menon’s latest released simultaneously in Tamil and Telugu, but I preferred this version, even though both are identical in terms of story and cast apart from the male lead. Naga Chaitanya is excellent in the lead role in this version, although Simbu is almost as good in the Tamil film, but the story seems to work better with the less physically imposing Chaitanya and the chemistry between him and female lead Manjima Mohan has significantly more sparkage too. Gautham Menon has stuck to his two favourite themes of action and romance but this time with a rather different approach to give a film with two distinct and very different halves. The first half is all about the romance with no indication about what lies ahead except for brief flashes during the opening credits that suggest there may be troubled times at some point, and a message that the film is inspired from a scene in the Godfather – not a film known as a touchy, feely love story! The second half explodes into violence and action just before the interval and the film quickly becomes a thriller with plenty of suspense and good action sequences. Overall the combination works well, although the action part of the film is somewhat let down by unlikely police corruption and a few too many co-incidences. Still, if you can just go with the flow and ignore the implausibility of parts of the plot then Sahasam Swasaga Sagipo is a good entertainer helped along by excellent performances and a better than average soundtrack.

Naga Chaitanya’s character doesn’t get a name until near the end of the film, and since it’s part of the plot I won’t reveal it here but will just refer to him as Chaitanya. At the start of the film we learn that the first love of his life is his Royal Enfield and that he plans to go on a road trip to Kanyakumari and watch the sun rise over the sea. Chaitanya has completed a degree in engineering and an MBA but now has to decide what he wants to do with the rest of his life. Around the same time his sister finishes her degree and starts an internship along with a friend, who also comes to stay with the family. As soon as Chaitanya sees Leela (Manjima Mohan) he falls in love with her, although he plays it cool and doesn’t immediately say anything. Instead he talks to his friends incessantly about Leela, spends more time at home so that he can see her and spends most evenings chatting to her after everyone else has gone to sleep. They develop a friendship and when Chaitanya finally leaves on his road trip Leela asks to come along too. Chaitanya happily drops his friend Mahesh (Sathish Krishnan) in favour of her company and without telling anyone the two set off on Chaitanya’s Royal Enfield for the South.

The romance is handled with a light touch as Chaitanya is determined to be ‘decent’ and Leela initially seems to think of him as just a friend. However, there are significant glances, chance looks and those late night conversations that slowly develop into significant chemistry between the couple when they head off on the road trip. A.R Rahman’s music provides emotional support to the romance and with that, and the wonderfully evocative sunrise it does seem inevitable that love will bloom before the couple return home. Chaitanya has improved significantly since his role in Ye Maaya Chesave and his performance here is excellent as a young man experiencing his first real love of the non-vehicular kind. He appears more mature and this gives him more plausibility when he talks about his feelings during the voiceover sections of the film. The scenes with his friends are also well written and include some comedy that helps keep the first half light. The combination of family life, friends and developing romance ensure Chaitanya is a likeable character with an easy-going personality and generally upbeat approach to life.

Manjima Mohan looks beautiful and does a good job with her character, successfully combining traditional (her father checking out the family before she starts her stay) with modern (her decision to go on a road trip with a guy she hardly knows) to give an overall picture of a confident young woman who has definite plans and the determination to follow through with them. I liked her in Oru Vadakkan Selfie and she is even better here, appearing very natural and coping well with a role that demands a range of emotions as events start to head out of control in the second half. She seems very natural and was just as good in the light romantic scenes as in the heavy emotional drama where she really got to pull out all the stops and give it her all. I loved her ability to still look amazing even with her make-up running down her face and as always I love it when a heroine contributes to her own rescue, even if she couldn’t quite manage it all by herself.

The action and violence of the second half comes as a real shock after the slow-building love story and everyday characterisations of the lead pair. Suddenly Chaitanya has to deal with situations that are far from his previous experience although as he frequently mentions in the voice-overs, he believes he has the confidence and capability to deal with whatever life throws at him. Luckily for both Chaitanya and Leela this does indeed seem to be the case. The action sequences are fast, frequently very violent and generally unexpected. Dan Macarthur’s camera work ensures these scenes seem full of energy and confusion, just as I’d expect in any real life fight. There is a blurriness and disorientation as the action unfolds which is in direct contrast to the periods of calm where events move slowly and there is a chance to breathe. The contrast is brilliantly done and makes the action sequences stand out even more as completely alien to Chaitanya’s experience and expectation.

Unfortunately, all of this technical excellence is let down by the screenplay which starts to become ever more fanciful, particularly with the inclusion of corrupt police officers led by Kamath (Baba Sehgal). The police appear to do whatever they want without any fear of being caught or held to account for their actions despite these occurring in full view of hospital staff, hotel patrons and numerous other witnesses. Baba Sehgal is ridiculously over the top, almost cartoonish in his portrayal, and this badly impacts the rest of the film, even when the story becomes more rational. The climax too is disappointing with the final events appearing rushed and too opportune and neatly packaged to be fully engaging.

Still, despite the issues with the second half, the film is still engaging. There is plenty of suspense and like everyone else in the cinema I was on the edge of my seat waiting to find out what was going to happen next. In particular, the picturisation of the song Vellipomake is unique and a great way to completely change the direction of the film while the rest of A.R. Rahman’s songs fit well into the screenplay and enhance the romance between the lead couple. Both Naga Chaitanya and Manjima Mohan are excellent, as too is Sathish Krishnan and the various actors who play members of Chaitanya’s family so that even though the story doesn’t always make sense, the actors draw you into their world regardless. Sahasam Swasaga Sagipo has its flaws but there is still much to enjoy despite the dodgy ending. Focus instead on the excellent performances from Naga Chaitanya and Manjima Mohan, enjoy the soundtrack and beautiful scenery, and suspend disbelief enough to appreciate the contrasts and suspense of the second half.

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Thanga Magan (2015)

Thanga magan

I was rather apprehensive about watching Velraj’s new film, given that VIP was such a huge hit, and follow-up films from new directors can be rather hit and miss. However with Dhanush on board again surely things couldn’t go too badly wrong? Well, no, at least not completely. Thankfully Velraj doesn’t simply try for a VIP 2, but instead starts with a rather different atmosphere and a more mature and responsible hero, although he does venture back into more familiar territory as the story reaches resolution. He’s also enlisted a generally excellent cast who keep the film entertaining even if the story does falter somewhat in the second half. Still, for a follow up film it’s not a bad attempt and Dhanush is as good as always ensuring Thanga Magan is worth a watch.

The opening scene is possibly one of the best in the film, and works well to raise questions and draw the audience into the story. As the rain pelts down, Thamizh (Dhanush) shepherds his pregnant wife Yamuna (Samantha) and his mother (Raadhika Sarathkumar) into a small and rather grimy house, ably assisted by his friend Kumaran (Sathish). By everyone’s depressed and miserable faces, it’s clear that something terrible has happened and that this is a major step downwards for the family, reinforced by Thamizh immediately setting out to look for a job.  That’s the cue for an extended flash back sequence that explains why Thamizh is unemployed and his family have had to relocate and downsize into such an undesirable location.

The flash back starts with a young Thamizh roaming around Chennai with his two friends Kumaran and Aravindh (Adith Arun). The three students spend all their time together until the day Thamizh sees a girl at the temple and instantly falls in love. Hema D’Souza (Amy Jackson) is an apparently intelligent, modern Tamil woman who has some very definite ideas about what she wants from life. She’s a student too, studying architecture, and isn’t afraid to berate Thamizh when she thinks he is following her. But after such a strong beginning, Hema becomes more of a caricature, drinking beer and allowing a mildly physical intimacy that ensures she isn’t going to be the one leaving with the guy – Hema is much too liberated to get a happy ending in a Tamil film!

Dhanush does his usual thing of managing to appear much younger than he really is, and as the relationship between Thamizh and Hema is fairly typical of young and infatuated lovers he doesn’t have to stretch for the role. In comparison Amy Jackson seems rather out of place and despite all the physical intimacy she has little chemistry with Dhanush leading to a relationship that never appears realistic on her side. Amy looks older than Dhanush too, which doesn’t help, but at least when they do finally split it’s reasonably plausible with his immaturity at odds with her ambition finally leading to the separation.

After the break-up Thamizh falls in line with his mothers’ wishes, getting a job working in the tax office with his father and agreeing to an arranged marriage with Yamuna. Yamuna is the ideal traditional wife; quiet, shy and happy staying at home all day to help her mother-in-law. She’s a complete contrast from Hema, but in her own way Yamuna is just as much of a caricature, following the description of classic filmi wife to the letter. Samantha is a much better actress than the character of Yamuna requires, but she still manages to shine despite her rather one-dimensional role. At least she has plenty of chemistry with Dhanush and even if the relationship is an old-fashioned and clichéd version of marriage they do seem to have a mutual respect and a partnership that was lacking between Thamizh and Hema.

The first half works well and Dhanush is on top form as dutiful son, young lover, then husband and father-to-be. He transitions from one to the other very naturally and it’s good to see him have a happier relationship with his family than he usually portrays in his films. Samantha is also excellent here and both K.S. Ravikumar and Raadhika Sarathkumar provide solid support as Thamizh’s parents. The love stories are both sweet in their different ways and there is some good and funny dialogue too which ensures that all the drama doesn’t get too overpowering.

The second half is where things start to go a bit pear-shaped when the story moves on to the problems with Thamizh’s father (K.S. Ravikumar) and his boss Prakash Kumar (Jayaprakash). There is a missing file, possibly some missing money and the flimsy storyline has very little substance but plenty of artifice. It’s a credit to the actors involved that the film still entertains even though large parts of the story don’t make much sense and there are too many large plot holes. The villain of the story is Aravindh who was neglected and left out of everything while Thamizh and Satish were off romancing Hema and her friend – apparently that’s enough of a reason to make you a total jerk and a criminal to boot.  However Aravindh is an ineffectual adversary and suffers from his absence in the first half of the film, leaving him without any real depth to his character. Adith does as well as he can with a very sketchy role, but it’s not enough to make Aravindh a plausible opponent. On a plus note though, Amy Jackson reappears and is much better in this part of the film, while Dhanush is excellent at depicting Thamizh’s growth as a dependable husband and supportive son as he investigates what really happened with his father. Even though the story needs a large suspension of disbelief, there is still some good dialogue and the relationship between Thamizh and Yamuna is well developed and beautifully pictured.

The main problem I have with Thanga Magan is the end. Unfortunately after spending two hours establishing Thamizh as a kind and thoughtful son and husband, the climax suddenly sees him turn into the swaggering, mass-dialogue spouting fighting machine last seen at the end of VIP. Perhaps Velraj couldn’t think of how else Thamizh could win the day, but the abrupt transition is at odds with the rest of the film and seems unnecessary. Thamizh could have achieved the same result without all the posturing and fighting, particularly since the fight scenes aren’t particularly well choreographed and the dialogue is clunky and more suited to a battlefield than a discussion in an office. Dhanush still manages to carry the mass-hero dialogue and posturing well of course, but the film deserves a more satisfying climax that meshes better with the rest of the film.

Although Thanga Magan doesn’t deliver as well as VIP, particularly in regards to the storyline in the second half, the performances are very watchable and Dhanush is simply excellent. He has the ability to show his character’s growth and maturation throughout the film, while still telling the story and ably supporting the rest of the cast. He always appears very natural, whether he’s playing a young student or a more matured married man, and never seems to be obviously ‘acting’. Sathish too does a good job, fitting the role of Thamizh’s ‘side-kick’ while he shares a natural rapport with Dhanush which ensures the comedy between the two works well. Samantha is the other standout performer and even if her role of a submissive wife is rather clichéd, she still plays it with grace and dignity and a good sense of humour. Anirudh supplies the music and it works well for the songs although none are as instantly catchy as I’ve come to expect from his previous soundtracks. I was also a little disappointed by the lack of dancing in the picturisations, as most of the songs are montages to show the two romances. They are all appealingly shot and look good, but I do miss watching Dhanush dance! Worth watching at least once for Dhanush, Samantha and Sathish and an amusing and entertaining first half.

 

Ethir Neechal (2013)

Ethir Neechal

Ethir Neechal is one of those films I’ve been meaning to watch for ages, mainly because I loved the soundtrack when it first came out, but also because I’d seen the video for Local Boys and thought it looked fantastic.  It also sounded unusual, with a story combining an attempt to run the Chennai marathon with a romance and some comedy, plus a reference to real-life track athlete Santhi Soundarajan added in to the mix.  Unfortunately though, despite a good beginning, the film loses its way in the second half where the light and breezy romance is suddenly pushed to one side by the trials and tribulations of a serious sports story and it never quite recovers.  Still, Siva Karthikeyan is a likeable hero and there is that excellent soundtrack which makes Ethir Neechal worth at least a one-time watch.

The film starts with the woes of a young man with an unfortunate name. Kunjithapatham (Siva Karthikeyan) has endured sniggers and laughter for years as the short form of his name is apparently a rude word in Tamil. His one childhood rebellion to try to change his name resulted in his mother falling ill, so he decides to put up with his name and just get on with life. He’s fairly successful too, but the combination of an insensitive boss and a romance that falls through when the girl hears his name means that finally Kunjithapatham decides to takes his friend Peter’s (Sathish) advice and change his name. Naturally this can’t be a simple decision and requires a visit to numerologist Gunasekara Raja (Manobala) to finally come up with the new name of Harish.

No sooner has he changed his name than good things start to happen for Harish. He meets up with teacher Geetha (Priya Anand) and falls in love straight away when she compliments him on his name. Harish also gets a new job and makes a clean break with his old name and old life. Everything seems to be going along fantastically well until Geetha finds out that he lied to her to hide his old name. She’s unimpressed and Harish resolves to achieve something that will allow him to make a name for himself and make Geetha proud of him.

Harish decides to run the Chennai marathon, and not just in an attempt to finish. Oh no – nothing that basic. Harish wants to win the race, despite only starting to train when he signs up a few months out from the event. This is where Valli (Nandita) enters the story as a trainer for Harish and the story suddenly turns serious.

After a run in with corrupt coach Raja Singh (Ravi Prakash), Valli was stripped of her medal at the Asian games when she failed a gender test. Harish learns of her story and this gives him another reason to win the marathon and beat Raja Singh’s current top runner. The problem is that there is an extended flashback showing Valli’s struggles as a young athlete and the issues she faced in trying to compete. While I appreciate R. S. Durai Senthilkumar’s attempt to raise awareness of the difficulties athletes in India face, Valli’s story acts as a road block and completely changes the mood of the film.

Valli is based on the athlete Santhi Soundarajan, whose real-life story is compelling enough to be a film in its own right rather than just as a brief add-on as seen here. It’s not just that Valli’s struggles don’t fit well with the rest of the film but her story doesn’t add anything to Harish’s attempts to be accepted – despite both characters having an ‘invisible handicap’ to overcome. Valli is also fairly unlikeable as portrayed here and with her prickly and antagonistic nature it’s difficult to warm to the character. Nandita seems dull and lifeless in the role, although she is better in the flashback in the scenes with her father (Sharath Lohitashwa), so I presume her grumpy attitude was due to the director. The happy romance of the earlier scenes is completely overshadowed by her serious and dour attitude, so it’s a relief when the film does move on to the actual race and the mental and physical struggle faced by Harish. Even though the film stays serious, Siva Karthikeyan is a personable hero and the marathon is well filmed with just enough tension in the race to keep it entertaining right to the end.

Siva Karthikeyan does a good job with his role and fits well into the boy-next-door type of romantic hero. He’s in his element in the comedy scenes and has a good partnership with Sathish as the two play off each other perfectly. There are some very good moments in the early scenes with Geetha too and Priya Anand is perfectly suited to her role as a primary school teacher. She has a wonderfully expressive face and makes a good partner for Siva Karthikeyan as the two slowly develop their relationship with a few misunderstandings along the way. They make a realistic couple and it would have been good to see more of their relationship and the effect of Harish’s new determination as he  started training rather than the shift in focus to a different story with Valli.

The best part of the film is undoubtedly the upbeat soundtrack from Anirudh, and thankfully the song picturisations are complementary to the music. In addition to producing the film and his guest appearance in the movie, Dhanush has collaborated in writing lyrics and by singing a few of the songs, while Anirudh also makes a brief appearance as a bar owner. Most of the early songs have a classic flash-mob feel as various apparently random members of the public join in, and the backing dancers range from obviously fit professionals to chubby lunghi-clad uncles in Local Boys.  Boomi Enna Suthudhe  has a particularly random and accident prone start that seems to perfectly fit Harish’s character.

R. S. Durai Senthilkumar seems unsure if he wants to make a romantic comedy or a serious sports film, and really should have picked one and stuck to it. The first half of the film works much better for me and I’d give it 4 stars, but the slow pace and sharp change in mood means that overall I give the film 3 stars. Worth a watch for Priya Anand, Siva Karthikeyan and for a chance to sing along to the songs!