Thaanaa Serndha Koottam

Thaanaa Serndha Koottam

I really enjoyed Suriya’s latest movie, although I haven’t seen the original Special 26, and wasn’t sure what to expect. What I got was a rollicking heist movie, with Suriya playing a kind of modern-day Robin Hood, albeit in 1987, as he and his merry gang thieves disguise themselves as CBI officers to rob various high-profile victims of their ill-gained wealth. With Suriya on top form, the support cast generally excellent and plenty of humour in the engaging screenplay, Thaanaa Serndha Koottam is well worth catching in the cinema if you can.

The film is a remake of Neeraj Pandey’s 2013 hit, Special 26, although director Vignesh Shivan has apparently given it a Tamil twist. Both films are based on a real-life robbery that took place in Bombay in 1987, and Thaanaa Serndha Koottam is set in the same timeframe, allowing for some period features such as the white ambassador cars that Iniyan and his gang use to pose as Government officials, and posters of old films displayed in the background. It also means we get such delights as the costumes and sets in this wonderfully OTT song from Anirudh Ravichandra:

The story goes like this. Suriya is Iniyan, an aspiring CBI officer who is rejected for his dream job mainly because corrupt officer Uthaman (Suresh Chandra Menon) holds a grudge against his father (Thambi Ramaiah). At the same time, many of Iniyan’s friends are struggling to find work due to corruption within the system and the high bribes needed to secure a position. Iniyan’s solution is to gather together a team of like-minded people who are willing to take part in his audacious scheme to rob the rich. And because the money they steal hasn’t been declared to the government, the victims are unwilling to report the crime, ensuring that Iniyan and his team escape scot-free every time.

Iniyan then gives all his ill-gotten loot away, ensuring that his character keeps an altruistic image despite his criminal activities. As the heat builds in Tamil Nadu, the gang move their operations to Hyderabad where they can’t speak the language. I could totally relate to their default use of words they had learnt from Telugu movies, although I’ve never found it to work quite so well for me, and the resultant confusion is perfectly developed into a very funny scene. Brahmi makes an understated appearance as a Telugu CBI officer while the Charminar is visible in almost every shot to make sure we know the action is now happening in Hyderabad!

There is a romance too as Iniyan falls for a girl who is drawn into his schemes. He doesn’t ever seem to find out her name, and I wasn’t clear on her connection to the original robbery, although to be honest I suspect there may not actually be one. Keerthy Suresh is fine as Iniyan’s love interest but really has little to do apart from appear in the songs and create the odd diversion in the storyline.

The rest of the gang get better characterisations and even some back story to flesh out their various personas. Ramya Krishnan in particular is fantastic here and makes a scarily believable CBI officer. As “Jhansi Rani’, she uses her piercingly chilling glare (perfected in Baahubali) to excellent effect as she storms into various establishments demanding they hand over their illegal savings. Then in a blink of an eye she becomes regular housewife Azhagu Meena, planning her eldest daughter’s wedding and dealing with her disabled husband. I love her in this role, and it’s fantastic to see her in such a strong and effective role that combines comedy and drama so well.

The others in the team, KP (Senthil), Ondi (Sivashankar) and Muthu (Sathyan) have smaller roles, but still add plenty of interest to the proceedings, and ensure that the team appears as a real gang rather than just an odd collection of people Iniyan has gathered together.

Against them are the real CBI officers and Kurunjivendhan (Karthik), an honest if somewhat overly enthusiastic police officer who helps Uthaman in his search. Nandha is also good in a small but important role as a rookie police officer who is conned by the gang while Yogi Babu, RJ Balaji and Anandaraj all have successful cameos.

Anirudh Ravichander just keeps producing the hits as he delivers yet another great soundtrack, managing to make the songs all sound as if they really do all come from the eighties. For the most part they’re well integrated into the film too with appropriate picturisation that suits the ambiance.

The only real miss in this film is the end, where the story switches gear and becomes a more typical Tamil herocentric finale with action, drama and a few too many pontificating speeches. It’s a disappointing end to an otherwise engaging film, but thankfully there are some last-minute shenanigans over the end credits to make the audience leave with a smile.

Overall this is a fun film and with such a great cast of characters and the always charismatic Suriya, Thaanaa Serndha Koottam turns out to be an enjoyable and overall very funny watch. Worth catching for Suriya, Ramya Krishnan and Anirudh’s soundtrack.

Advertisements

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.

24 (2016)

24 Poster.jpg

For a science fiction film about time travel there is something more than a little magical about 24. Vikram Kumar has come up with a compelling story and made a technically excellent film with a well-chosen cast who all perform beautifully. Suriya is outstanding, favourites Ajay and Saranya Ponvannan are impressive in rather more substantial roles than expected and the whole film is a wonderful masala mix of action, drama, romance, comedy and mystery. Definitely one to catch in the cinema to fully appreciate the VFX but also well worth watching for the expertly crafted story and first-rate cast.

24 combines many of the usual elements of a Tamil film, but although the ingredients may be commonplace the resulting story is refreshingly novel. First there is the rivalry between two brothers; Sethuraman and Athreya (both Suriya), one a brilliant but obsessed and oblivious scientist working on a device that will allow travel through time, and the other his jealous and coldly calculating elder brother who will stop at nothing to steal the device for himself. Moving 26 years into the present day, there is Sethuraman’s son Mani (also Suriya) who knows nothing of his past, his adopted mother Sathyabhama (Saranya Ponvannan) who has sacrificed everything to keep Mani safe and the evil Athreya still trying to track down the device to try to rewrite his own past. These are all familiar plot elements but here cleverly put together to ensure there are plenty of surprises throughout and just when it seems the next step in the journey is inevitable, Vikram Kumar twists the path and the story heads off in an unexpected direction.

The opening scenes are amazing and although supposedly set in 1990, the steam train, cars, motorbikes and fairy tale-like mansion give an older-world ambiance. This is helped by the lighting which is golden, warm and suggestive of candle-light especially when compared to scenes set in the present day that are lit more brightly with colder, bluer lighting. Sethuraman has converted his entire house into a gigantic laboratory to work on his invention, and in typical mad-scientist style he has secret rooms, hidden passage-ways and odd devices everywhere. Think Wallace (Wallace and Grommit) with a bigger budget. Thanks to the intervention of a CGI eagle, Sethuraman manages to create a watch that will allow time travel but before he can celebrate his success, his elder brother Athreya shows up to steal the invention. Suriya’s Sethuraman is a classic bespectacled and nerdy inventor, right down to his abstraction when his wife Priya (Nithya Menen) tries to get him to help with their young son Manikanden and various dangerous substances inappropriately placed for safety around the room. This of course allows for maximum damage when Athreya shows up but paint a picture of a ‘typical’ scientist which Vikram Kumar then turns on its head as Sethuraman turns out to be more practical than first impressions suggest. The opening scene sets the precedent for the rest of the film – there is a good amount of humour, plenty of action and drama with Suriya drawing all eyes and commanding centre stage throughout.

The film moves 26 years into the future where Mani is grown up and working as a watch mechanic with no knowledge of his past, or just what he has in an unbreakable box that he cannot open. Athreya is still around too, although after the events 26 years ago he is a crippled shadow of his former self getting around in a motorised wheelchair after waking up from a coma. Athreya is as malevolent as ever and with the help of his trusty sidekick Mithran (Ajay) goes about trying to turn back time 26 years to reverse his accident and regain the use of his legs. Again Suriya does a fantastic job with the character of Athreya – he’s confidently wicked in 1990 when he goes after his brother and his family, and wonderfully warped and bitter in 2016 as a twisted figure in a wheel-chair. Suriya brings the character to life and makes him so much more than a stock evil villain.

Mani is more the kind of character Suriya has played in recent films, but with a hint of mischievousness that differentiates Mani from the likes of Massu and Raju Bhai. There are some well scripted moments between Mani and his onscreen mother Sathyabhama which give Saranya Ponvannan more than the usual mother/son dialogues to get her teeth into. As always she’s the quintessential filmi ma, but here she gets to have a back story and separate personality aside from being a mother and she rises beautifully to the opportunity.

There is also a romance – of course – there has to be a romance! Mani falls for Sathya (Samantha) just as he discovers his father’s watch, and the romance is partly an excuse to showcase all the things the watch can do. The love story is the most conventional part of the film but Suriya and Samantha have good chemistry and Vikram Kumar adds in some light-hearted comedy to ensure the romance doesn’t overcome the action. Girish Karnad, Mohan V. Raman and Sudha as members of Sathya’s family add more background and all are good in their respective roles.

A.R. Rahman provides the music, but it’s around an hour in before the first dance number which is the appropriately electronic sounding Kaalam en Kadhali. I loved Suriya’s dancing in this – it was definitely worth the wait! The rest of the songs are more romantic and fit less well into the narrative, although I did appreciate the black and white co-coordinating costumes in Naan Un. The music itself is lovely, but the songs slow down the narrative and really don’t seem particularly necessary to move the story forward.

Although there is plenty of good comedy in 24, it’s kept light and even Sathyan, as Mani’s friend Saravanan, is more restrained than usual. It is still laugh-out-loud funny in parts though which provides a good contrast to the few more violent scenes, particularly one just before the interval which is shocking in its sudden brutality. However that is the exception and most of the fight scenes rely on intelligence rather than brute force.

24 has the look and feel of a Hollywood film without losing any of its Southern Indian roots. If this had been a Western film, no doubt 3 different actors would have been cast in the different roles of Mani, Sethuraman and Athreya, but in part the film works so well here because it is the same actor in all three roles. Watching Suriya play three very different characters is mesmerising all by itself while ensuring the familial relationship forms part of the story. Plus more Suriya is generally a good thing! The visual effects are slick, polished and look amazing, while the cinematography from S. Tirru is excellent, adding another layer to the story and ensuring a sophisticated look to the film.

Vikram Kumar impressed me in Manam with his ability to make a complex story flow easily and he does it again here. Yes, there are a few too many coincidences and no-one seems to worry about what will happen to the future when the past is altered, but these are small issues that don’t seem to matter when the rest of the film is so well done. 24 is an excellent piece of storytelling and the best big budget film of the year so far. Don’t miss it!