Maryan

Maryan

Finally! It has been a long time since 3, but the wait has been well worth it. Dhanush is back in Maryan, a movie that sets out to prove that true love really can conquer all even if you were a bit iffy about that true love at the start. This is the debut film for writer/ director Bharat Bala and while generally he does a great job, there are times when the screen play lags a little, and the focus on desert imagery resembles a National Geographic special. However, superb performances from all the cast and A. R. Rahman’s wonderful soundtrack combine to ensure that Maryan is a film to savour. Plus English subtitles – perfect!

The film starts with Maryan (Dhanush) working in the Sudan for an oil company, where his love for Panimalar (Parvathy), his fiancée waiting at home in India, is perfectly captured by a brief phone call. But it hasn’t always been that way, and the film switches into flashback to explain just who Maryan is and how he came to be working in Africa when he is so obviously yearning to be home.

Maryan Maryan

This first section works very well, where Panimalar is seen as a lovelorn girl, chasing Maryan endlessly despite his disdain and often brutal rejection. Maryan is a fisherman who hunts in the traditional way and has developed amazing lung capacity, allowing him to remain submerged for longer than the other fishermen. He calls himself the king of the sea and obviously has an intimate relationship with the ocean which is really the only thing he cares about. Dhanush effortlessly establishes his character as a brash, arrogant young man who has his faults but is generally likeable and can dance up a storm.

Maryan

Slowly Maryan comes to appreciate Panimalar’s charms helped along by the active encouragement of his best friend, Panimalar’s brother Sakkarai (Appukutty). Dhanush and Parvathy play their roles perfectly here and the romance is expertly developed with an eye to small town sensibilities. Parvathy has a better than usual role as a heroine and she makes the most of it, using her eyes and body language to express her feelings as she establishes Panimalar as a feisty girl determined to get her man, no matter what it takes. There are a few funny scenes between her and her future mother-in-law Seeli (Uma Riyaz Khan) which work very well, and both Parvathi and Appukutty are to be commended for the way they manage to establish their sibling relationship so well in a few brief scenes.

Maryan

Despite the excellent chemistry between Maryan and Panimalar, there are a few miscues and the amount of violence Panimalar experiences at the hands of her beloved appears quite unnecessary. The initial slap when Maryan is frustrated by Panimalar’s persistent attempts to declare her love is perhaps understandable, but later scenes including Maryan saying, “Who else will I hit if not you?” are sadly all too common in Tamil films. I understand that this does depict real life where domestic violence is an ever present problem but I wish directors would use the characters to show that it’s just not acceptable rather than brushing it off as an apparently appropriate way for a character to show their distress.

Maryan

Maryan is forced to work in Africa to pay off debts incurred by Panimalar’s father Thomayya (Salim Kumar) and prevent her forcible marriage to Theekkurissi (Vinayakan). However just as Maryan is on the way to the airport to come home, he is kidnapped by Sudanese militants who hold him, his friend Sami (Jagan) and a fellow co-worker for ransom. While the African militants are poorly drawn, being caricaturised and frequently over the top, Dhanush and Jagan are both brilliant as they show their gradual mental and physical deterioration at the hands of their captors. There are some scenes here that are frankly uncomfortable to watch due to the sheer honesty of Dhanush’s performance and although this type of mental anguish is a role he has portrayed before he takes it to an entirely new level here. Jagan also seems perfectly cast as Sami, and his change from happy-go-lucky guy to terrorised victim is well portrayed.

Maryan Maryan

Despite all the drama, the film does drag a little in the second half. After all there are only so many times you can show someone running up a sand dune before it gets a little repetitive, but the hallucinations (yay – cheetahs!) and Maryan’s determination to make it home to Panimalar help keep things moving long. There is also a lack of hair continuity for Dhanush which is irritating considering the care which has obviously gone into the rest of the film. One good point is that Panimalar doesn’t do a disappearing act in the second half and the film does cut back frequently to show her initial despair and then fervent belief that Maryan is coming back to her. Parvathy is impressive in these scenes and her performance really is on a par with that of Dhanush.

Cheetah!Maryan

Technically the film looks and sounds beautiful. I’ve been enjoying A.R. Rahman’s soundtrack since it was released and the songs are even better on screen. The only one that doesn’t work so well is ‘I Love My Africa’ which has poor justification and picturisation but on the whole the songs are well placed in the narrative. I often don’t notice the background score on the first watch of a film, but here it is sweetly evocative and the natural music of the ocean and the desert are added in for haunting effect, adding to the magic of the images. The excellent cinematography by Marc Koninckx perfectly captures coastal Tamil Nadu and the deserts of Africa, highlighting the contrasting light of the two locations and make the landscape just as much a feature of the film as the actors themselves.

Maryan

Maryan is a film to watch for yet another amazing performance from Dhanush and equally impressive acting from Parvathy, while beautiful imagery and evocative music add to the overall effect. Even if the action part of the film doesn’t work quite so well, the love story is charming and inspiring. Watching Maryan you have to believe that true love really can conquer all and that’s a very heart-warming message to take home on a cold Melbourne winter night!

Singham II (2013)

Singham IIDespite the promise of subtitles, Singham II turned out to be another ‘adventure without subtitles’ in Melbourne.  Possibly not such a bad thing as there was so much happening on-screen, I’m not sure that I would have had time to read them anyway.  However, director Hari keeps the basic plot the same with a dedicated cop determined to clean up Tamil Nadu and a number of characters from the original Singham reprise their roles.  The addition of Santhanam, Hansika and Mukesh Rishi among many others to the cast mainly adds more mayhem into an already packed storyline but although there is an apparently limitless cast of characters, it’s still Suriya’s movie all the way.  Singham II is relentless, overlong and frequently over dramatic but there are some excellent fight scenes and Durai Singham’s determination and energy help keep the film from dragging.

Singham IISingham II

 

 

 

 

 

There is a quick run through the significant moments of the first film, reminding us that Durai Singham (Suriya) had resigned his position and under the aegis of the Home Minister (Vijayakumar) was heading off undercover to Tutricorn charged with investigating arms smugglers in the area.  So after a run-of-the-mill item song with Anjali, the film starts with Durai Singham working as some sort of an instructor in a local school.  I’m not exactly sure what his role was but it seemed to involve students and a lot of marching but not much else, which at least gives Singham time to pursue his undercover mission.  He also indulges in a little investigation when one of the students breaks in to look at exam papers early.  It’s the first time I’ve ever seen a contact lens used as forensic evidence in a film and I really hope I see it again as I never realised you could learn so much from a discarded lens!

Meanwhile at night, Singham is scouring the shore looking for smugglers.  But since the local police seem to be in cahoots with the gangs he doesn’t have much success.  I was happy to see one of my favourite bad guys Rajendran pop up, especially since he spends most of his time manically unloading illegal goods from a ship and then hurriedly reloading it all again when he’s tipped off about the possible police presence.  He’s funny and yet still menacing, and employs a fighting style which seems to be all elbows and knees but is still surprisingly effective.

Singham IISingham IISingham II

 

 

 

 

 

 

 

Kavya (Anushka) is still chasing after Singham and trying to organise their wedding which seems to have stalled since he gave up his role as a police officer.  However apart from appearing in the songs she doesn’t have much to do and trying to fit her into the storyline makes the film even longer.  Another unnecessary addition is Hansika as Sathya, a school student who is in love with Duria Singham.  Sathya stalks Singham, which could have been an interesting role reversal, but there never seems to be any point to her unrequited love.  Even her connection with one of the villains of the story isn’t played on to any great extent until near the end, although that could just be because I didn’t understand the dialogue.  Although Hansika looks much too old to be a school student, she is much better than usual and plays her role with restraint, but her character just doesn’t add anything to the story.

As if two romances and all the action wasn’t enough, Hari also adds in a number of comedy tracks featuring Santhanam and Vivek.  I found Vivek annoying in the first Singham, but he is more restrained here and doesn’t have as much screen time which makes him slightly more bearable. He’s also more of a genuine character with most of the one-liners seemingly given over to Santhanam who at least is very funny (even without understanding the dialogue) as the school caretaker Sussa.

Singham II

One of the main problems with Singham II is the sheer number of villains that Hari throws at his hero.  Bhai (Mukesh Rishi) is a smuggler and drug dealer who has a gang of accomplices that Singham has to wade his way through before he can get to the top man.  Similarly Thangaraj (Rahman) is a more sophisticated smuggler who uses his shipping company as a front but also has his own gang of thugs who need to be dealt with.   And finally there is their supplier Danny (Danny Sapani), an international drug dealer who spends most of his time sailing around the Indian Ocean indulging in various forms of vice.  This included killing a police man who was supposedly Australian but the dubbed accent was so bad that I didn’t even realise the actor was supposed to be speaking English!

Singham IISingham II

 

 

 

 

 

The inclusion of so many antagonists means that there are seemingly endless fights against different groups of thugs and never-ending schemes and counter schemes to deal with the gang leaders.  While Bhia, Thangaraj or Danny by themselves would have been effective enough, with all three the threads become entangled and the plot starts to get both confusing and repetitive. The comedy and romance even comes as a bit of relief from all the action!  The fight scenes though are well choreographed by Anal Arasu, with the best being also the most nonsensical when Singham throws away his gun in order to fight unarmed in the rain outside his parents’ house. It’s pretty stupid, but great fun!

Singham II

There isn’t too much ‘angry Singham’ in the first half, but after he puts his uniform back on, Singham gets progressively more and more enraged as he systematically sets up and destroys each of the gang leaders and their various minions.  It’s not as effective as in the first film because there isn’t the mutually antagonistic relationship between Singham and Prakash Raj’s Mayil Vaaganam which made their vitriolic exchanges so fiery.  However Suriya is still convincing and carries the film despite the long and overburdened storyline.  He does have good chemistry with Anushka and both look great together in the songs.  Although the music (Devi Sri Prasad) isn’t memorable, the choreography seems better than in the last few Suriya films and his dancing is excellent.

'Angry Singham'

There is just so much of everything in this movie and it does get rather wearing   Fewer villains and a harsher hand with the editing would make it much better but it’s still worth watching for Suriya, better than usual choreography and plenty of excellent fight scenes.

Theeya Velai Seiyyanum Kumaru

Theeya Velai Seiyyanum Kumaru

I’m really not a Hansika fan and tend to avoid her in movies as much as possible, but with nothing else releasing here this weekend I decided to risk it and headed out to watch the latest Sundar C. romantic comedy Theeya Velai Seiyyanum Kumaru.  Rather surprisingly I enjoyed it! Haniska wasn’t too annoying mainly due to limited time onscreen, the film made me laugh even without subtitles and judging by the audience reaction it was even funnier if you did understand the dialogue.  Siddharth and Santhanam make a good comedy team and with the help of a good support cast, the film turned out to be well worth the drive out to the bijou cinema at Monash.

Theeya Velai Seiyyanum Kumaru

The story is fairly straight-forward, easy to follow and doesn’t break any new ground.  Siddharth is Kumar, a bit of a nerd who works in an IT company where he’s essentially just another anonymous worker. At home he has a loving family who have a history of romantic marriages and seem to care for Kumar despite his generally apathetic attitude towards life. Although he works in an office full of women, Kumar doesn’t seem to have much interest in romance, but then the beautiful Sanjana (Hansika Motwani) starts working at the same company and suddenly Kumar falls in love.  Sanjana has to put up with the masses of frustrated IT workers falling at her feet, but seems to show a preference for office hero and all-round overachiever George (Ganesh Venkatraman). This could be the influence of a string ensemble and massive bouquet of flowers, but to be fair with his looks, success at work and dedication to romance, George really has a lot going for him.

Theeya Velai Seiyyanum KumaruTheeya Velai Seiyyanum Kumaru

Seeing that his affair is destined to fail unless he takes some kind of action, Kumar consults love guru Mokia (Santhanam) to try and help him win the girl of his dreams.  With Mokia’s help, Kumar learns how to ditch the glasses and nerdy attitude but also discovers that devious deception is the way to win a girl’s heart.  Having used Mokia’s often dodgy advice, Kumar gets the girl but discovers that using unscrupulous means doesn’t mean that he will be able to keep the girl, especially when Mokia discovers exactly who it is that Kumar has been chasing.

Santhanam and Siddharth

The real star of the film is Santhanam who keeps the laughs coming and makes an effective partnership with Siddharth.  This is a role that Siddharth has played before but he is less hyperactive than usual and his geeky Kumar is just realistic enough to garner some sympathy for his ineptness. Santhanam suits this type of comedy where his character doesn’t just rely on one-liners but rather uses some physical comedy and his facial expressions to good effect.  Although his love guru is strictly in it for the money he does still manage to make Kumar more presentable and increases his confidence levels despite his rather dubious methodology.  Quite an impressive effort given what he had to work with and his own style choices.

Theeya Velai Seiyyanum Kumaru

The support cast also add to the comedy and include a number of faces from TV including RJ Balaji and Bosskey who are both effective in their roles.  I don’t know the names of the actresses who played Sanjana’s friends at her lodgings, but they are good value and make the scenes with Hansika less excruciating to watch as well as having some genuinely funny moments of their own.  Manobala pops up as a brothel owner rather appropriately attired in red silk while Samantha and Vishal Krishna also make brief guest appearances.

Hansika doesn’t have a lot to do except look pretty and she actually does look much better than her last few films.  I’m not sure if she dubbed for herself in this film but her voice is rather screechy and irritating, although at least she doesn’t get a lot of dialogue.  Sundar C. has kept her role to a minimum and she is fine as the love interest, although there is minimal chemistry between her and Siddharth.

What doesn’t work so well though are the songs – the one above is probably the best of the bunch. All are pictured on Siddharth and Hansika and between Siddarth’s dreadful clothes and Hansika’s woeful dancing they really drag despite some pleasant locations. Hansika really can’t dance and to make her try to move in high heeled shoes and boots is just cruel, but somehow also quite amusing. In the pictures below you can see the high heels that she tries to dance in which perhaps goes some way to explain why she looks so stiff and inhibited.  There are times where it’s obvious she’s concentrating really hard on the steps, but that doesn’t seem to help and she looks very restrained compared to Siddharth.  Overall the choreography isn’t impressive and the backing dancers in Japan are particularly odd which adds to the overall disappointment.

Theeya Velai Seiyyanum KumaruTheeya Velai Seiyyanum KumaruTheeya Velai Seiyyanum Kumaru

If the songs are disappointing, at least the comedy is of a much higher quality and the cast do an excellent job of keeping the film from dragging.  Of course I noticed that Siddharth gets to wear some trendy glasses (as do quite a few of the cast) and there is a brief contact lens interlude which I appreciated. The humour is genuinely funny throughout and both Santhanam and Siddharth are engaging and work well to compliment each other.  Although the rest of the cast add to the comedy it’s all reasonably subtle (for Tamil comedy!) and best of all there are no terrible comedy uncles.   Overall Theeya Velai Seiyyanum Kumaru is a non-taxing and amusing watch which may not tread any new ground but does manage to entertain successfully.  And after all, that’s a lot more than I was expecting.