Ennum Eppozhum (2015)


Mohanlal and Manju Warrier together sounds too good to miss but despite the casting and potentially interesting storyline, Sathyan Anthikad’s Ennum Eppozhum doesn’t quite meet up to expectations. The film tells the story of an erratic, middle-aged journalist and his attempts to interview a crusading local advocate but although the central storyline works well, diversions off the main path are rather less successful. However Mohanlal and Manju are excellent, the supporting cast is equally good and the down-to-earth ordinariness of the characters does work in the films favour.

Mohanlal is Vineeth N. Pillai, a lazy middle-aged bachelor who is notable more for his lack of hygiene and questionable work ethic than his skill with journalistic interviews. His lack of energy is noted by Vanitharatnam magazine’s new editor in chief, Kalyani (Reenu Mathews) which doesn’t bode well for Vineeth’s continued employment. Kalyani is just returned from London with plenty of new ideas and has no time for a slob of a journalist who doesn’t pull his weight. Luckily for Vineeth, the former chief editor still has a fond spot for him as the son of her dear friend and ensures that he gets a second chance to prove his skills.

Vineeth is sent to interview Deepa (Manju Warrier), an advocate who has been in the news for successfully campaigning to have potholes in the road fixed.

Deepa is the antithesis of Vineeth. She is a single mother and not only manages to raise her daughter, work as a successful advocate and campaign for better roads, but she also teaches dance and performs too, as seen in this beautiful piece from the film.

For more information on the dance style and more of Manju’s beautiful dancing check out the excellent post by Cinema Nritya here

In his attempts to speak to Deepa, Vineeth is accompanied by bumbling photographer Maathan (Jacob Gregory). Maathan also lives with Vineeth and the interactions between the two form one half of the comedy track to the film. The other half is supplied by a shady developer (Renji Panicker) and his inept security guard, but this is one of those diversions that doesn’t add anything to the storyline while the comedy is slapstick and not particularly funny. The comedy with Jacob Gregory also fails to raise much of a laugh but there are a few moments that warrant his inclusion. Vineeth is further hampered by his car that continually runs out of petrol, some dodgy advice from a young employee and his own inertia regarding the assignment. However as he watches Deepa, her busy life starts to make an impression and Vineeth is drawn into assisting when Deepa and her daughter are involved in an accident.

Deepa has her own problems to deal with, including her over-protective neighbour Kariachan (Innocent) and his wife Rosy (Usha S Karunagapally). They hover attentively around Deepa and her daughter Miya (Baby Adhvaitha) but seem to be more of a hindrance than a help. Deepa is also visited by a friend Farah (Lena Abhilash) who is another character who seems to run out of steam just when her story starts to get interesting. Farah talks about her marital problems which could potentially have been a major plot point, given that Deepa is also divorced from a rather obnoxious-sounding character. Instead the story goes nowhere and Farah’s inclusion seems fairly pointless except as a glimpse of ordinary middle class life in the suburbs.

There are more odd and pointless diversions that peter out just when they start to get interesting. Deepa has dealings with a gangster who seems to help her when she wants to keep some cases out of the court system. This had potential since Vineeth spots Deepa paying money to some shady looking characters, but instead the story fades away without reaching any resolution. Vineeth also seems to be on the cusp of developing a romance with Kalyani, who in turn has an amazing about-face when it comes to Vineeth and his work. For no apparent reason, other than perhaps a shared like of Rod Stewart songs, Kalyani decides that Vineeth can take as long as he likes to finish the interview, and even doesn’t seem to mind when he admits he may not be able to interview Deepa at all! The romance which almost starts in one scene then vanishes completely without Vineeth even appearing to notice.

The slow pace of the film suits the scenes of day-to-day living that form most of the story but it does mean that it takes a long time for Vineeth to approach Deepa. It takes even longer for the two to actually start speaking to each other, but when they do, they have a lovely and easy chemistry together. There is no real romance in the story, although the possibility is hinted at towards the end, but instead it is the characters and the details of their lives that are the focus of the story.

Ennum Eppozhum is at its best when showcasing the lives of the two main characters, their strengths and weakness and their interactions with the world around them. Without all the added threads that go nowhere this could have been an interesting picture of two very different personalities, but the noise created by the sub-stories dilutes the effect. However, it’s always good to have a strong female lead character and Manju Warrier is adept at portraying such roles. Mohanlal does an excellent job with his rather unpleasant reporter and yet still makes appealing enough that we want him to succeed and keep his job. Not a great film, but one still worth watching for excellent performances from all the cast and the pleasure of watching Manju Warrier dancing. It just could have been so much more. 3 stars.



Veta (1986)


Veta DVD

Let me summarise the plot. It’s The Chiru of Monte Cristo.

A Kodandarami Reddy and the Paruchuri brothers transpose the Dumas classic to a pre-Independence India that still seems somewhat out of time. Maybe it’s all the ruffled shirts. Or lack of credible historical detail.

Pratap (Chiranjeevi) is an honest merchant seaman/maître d’, framed and sent to jail merely to protect the self-interest of others. His pre-incarceration outfits tend towards the Purple Rain era Prince influenced. Purple, ruffles, fancy boots, metallic mesh puffy sleeves. OK maybe that last one was purely the wardrobe team.

Saroja (Jayaprada) is related to, but not interested in relations with, Jairam (Mohan Sharma) an officer of the British Government. She loves Pratap and they do a lot of frolicking on the beach. Jairam leans on Bannerjee (Ranganath) to send Pratap to jail for the term of his natural life. Pratap tries to escape but is hunted down like a blindingly white trousered prancing thing. They truss him on the truck like a hood ornament or hunting trophy, and off he goes. Eventually Pratap hears sounds from the next cell. My note here reads “OMG he uses a broken cup to cut through solid rock. Of course.”

Mahendra Bhoopati (Kongara Jaggaiah) is the king next door, also in jail thanks to sleazy Jairam. He explains to still innocent Pratap who all had conspired to get him locked up. That lights a fire under Pratap and he vows revenge. He also promises to seek out the king’s daughter Jyotirmayi and restore her fortune and title. The map to the treasure is written in blood. Of course.

Pratap escapes and is rescued by quasi pirates who take him to the secret island location to find the treasure. There are so many plastic skulls…One pirate is eaten by cannibal tribesmen. But they bite off more than they can chew when they attack Pratap. Yes, I went there! Do note that if you are attacked by cannibals, it pays to have a cobra handy.

Many questions occurred to me throughout this episode, and I do not recall the same level of WTFery in the original text. How the hell did Mahendra Bhoopati get that huge trunk into this cave surrounded by all those perils? Did he have the cannibals installed later? How do Pratap’s clothes stay so white?

Pratap returns to civilisation as the mysterious Rana Pratap Kumar Varma. In a vague nod to realism, people do seem to recognise his face even if they talk themselves out of it. Saroja knows exactly who he is, even without the Significant Ring, but doesn’t tell her husband, the unlovely Jairam. Pratap is enraged at her faithlessness despite knowing she thought he was dead, and his anger makes him really bad at maths. Saroja has a young son and Pratap doesn’t even consider the kid could be his. Saroja tells him but he is too far into his rage to believe her. Jyotirmayi (Sumalatha) has feelings for Pratap but she can see he is not emotionally available. That doesn’t stop her from imagining him shaking his moneymaker in a tribal extravaganza.

My note here reads “OMG Pratap stabs Banerjee with his BARE HAND. His Red Right Hand!”

Veta-Pratap and Jyotirmayi

Eventually Pratap goes Rambo and takes his revenge. He is ably supported by the knife throwing Jyotirmayi and hampered by the clueless and obedient Saroja. The guns look super fake, Pratap survives being trampled by horses, it is all insane and exactly as expected. Even Jayaprada’s saree seems to have super protective properties as she did survive a rocket launcher attack unscathed. Once.

Chiranjeevi is more than up to the requirements of wearing outrageous outfits, chasing horses, prancing mightily, and emoting fiercely. He sounds so sincere in every big speech, and despite the silly trappings he does portray the darker side of Pratap’s character once he is set on revenge.

Jayaprada makes a stronger impression in the latter part of the film, when Pratap returns from the dead. She is no longer the demure young girl with horrible fashion sense. She has lived through loss and she knows what her priorities are. Her scenes with Chiranjeevi crackle with emotion and pain. I am often impressed by how good the good bits of a potboiler can be.

Sumalatha is world weary and a bit over it all as Jyotirmayi, and despite minimal dialogue and screen time she makes something of her character. And Jyotirmayi had excellent song costume imagination.

The song picturisations range from the usual cavorting on hillsides to more epic fantasies. Often the song picturisations are a heroine’s fantasy but in Veta Chiru dresses himself in his songs and his happy memories seem to consist of flinging himself around in ruffled shirts or the mindboggling Fauxgyptian oasis. In the Oh Rani song Jayaprada has to frolic in a wet white saree so Chiru frolics in snug white pants. Equality in action.

I really didn’t know what to expect from this film other than I’d watch it because of Chiranjeevi. It’s not exactly good but it is highly enjoyable and visually pleasing. I like both Jayaprada and Sumalatha and their characters do more than just wait and simper, and the Megastar is suitably over the top heroic. I was sitting there thinking to myself that the stunts were unusually human centric with nary an injured horse in sight and then in the last 7 minutes or so the horses started toppling. It’s just so wrenching to watch.

See this to round out your education in film adaptations of classic literature, to see a robust sample of ruffled shirts to inform your wardrobe choices, or just because you aren’t sure if I am exaggerating the WTFery or being unusually understated. 3 stars!

P.S The film is on Youtube with subtitles.

Janatha Garage

I want to grab Koratala Siva and shake him till his teeth rattle, then kick him into the middle of next week. He has managed to get a top notch cast and the beginning of a good idea and turn it into something far less than the sum of its parts.

Sathyam (The Complete Actor Mohanlal) is the head of Janatha Garage, a leader, and is genuine in his desire to give the little people a fair go. Mohanlal has great conviction and gravitas when he speaks of what is right and fair, and he gives the impression of a man who seeks to take a balanced view but who will never take the easy way out. He gathers a small crew of like-minded men who also represent in shorthand the diversity of Hyderabad. Janatha Garage repairs engines and problems.

Anand (Young Tiger NTR) has an unusual hero entrance where he arrives to … plant a tree. Or actually, tell someone he’s busy and so can they please plant the tree. Anand’s environmentalism is very simple. Trees good, humans bad. He doesn’t seem to have a problem with wanton destruction as long as it is him dishing out the destruction. He is given an overblown fight intro where he beats some thugs up while claiming to be giving them a taste of Mother Nature’s temper. He tells people what to do and believes they will do it because he has told them so. Sathyam sees him as a good fit for Janatha Garage, and welcomes him into the fold.

Some of the movie’s highlights are the scenes between NTR Jr and Mohanlal. Their characters have a connection that is unknown to either of them for quite some time, so that added a bit of interest for the audience. They both bring more to the table than that flimsy screenplay required. The actors portray a nice dynamic – warm, mutual respect, and a recognition of the gradual changing of the guard and what that means. But there are too many gaps and things that Anand in particular just accepts too easily. This is not a lack in Tarak’s acting – I felt he added as much complexity as he could. Both Anand and Sathyam are so sure they are right, and that their right is more right than anyone else’s idea of right. Anand in particular brooks no discussion and has no compassion for anyone who opposes him. It robs his character of any inner life, and makes them both rather joyless.

And that lack of heart is the real problem with this film. For a story that should be so intimately tied to people and their daily struggles, once the story moves to Hyderabad Janatha Garage seems to take place in a lifeless bubble. The sound design makes it seem like they are on a stage with echoing dubbing and swelling string music every time Janatha Garage is invoked. In contrast, an early scene of Anand running through a slum area in Mumbai had a real sense of place and the vibrant, persistent signs of life in high density cities. Even in the impressively choreographed action scenes, Anand takes on all comers alone. He finally allows the other Garage guys in on the final fight but they are barely on camera. And he never even gets a mark on his linen shirts, let alone get his hair messed up. I wonder if his construction strength hair product was environmentally friendly? His apparent invulnerability also saps the drama of tension because you know how every fight will end before it starts.

The support cast are pushed so far into the periphery that I was actually a bit sad to recognise so many capable actors. The Janatha Garage family includes Rahman as Sathyam’s murdered brother, Sithara as Anand’s aunty, Suresh as his uncle, and Devayani as Sathyam’s wife. Perennial favourite Ajay is likeable and sympathetic, Brahmaji doesn’t look angry for maybe 40 seconds of his total screentime, Saikumar is suave as police chief Chandrasekhar, and I liked Vennela Kishore’s fleeting appearance as an inappropriate office manager flirting with Samantha. I have just spent as much time on developing their characters as Koratala Siva did.

The baddies were played by Sachin Khedekar and Ashish Vidyarthi who both exuded an urbane egotism in their pursuit of wealth. They both want to keep a distance from what is being done, but have no illusions about the outcome. Unni Mukundan plays Sathyam’s son Raghava who goes over to the dark side. Raghava is slimy and bit of a sook and I cared not one jot for his well-being. But I did wonder just how he turned out that way when everyone else even tenuously associated with Janatha Garage was lining up for sainthood.

Samantha and Nithya Menon are capable, and both project warmth and liveliness which was sorely lacking in the rest of the film. But their relationships with each other and with Anand were never developed, and their storylines just fizzled out. Even Anand, apart from one tearful scene, seemed largely to forget that he had a girlfriend and a spare.

Luckily there are beautiful visuals from cinematographer S. Thirunavukkarasu, especially when the story heads out of town and Anand gets his groove on while frolicking in the mountains. Tarak can express such joy when he dances and it was a relief to see Anand lighten up. Rock On Bro is exactly what you’d expect if you briefed a 70s metal cover band to write a theme for a tourism ad with a hippy vibe. Having said that, the Apple Beauty song has possibly the worst lyrics I’ve heard since Eurovision. I pitied the subtitle team for having to work with such gems as “when you devour me I am like the Apple logo on an iPhone”. But don’t take my word for it. Here is a sample:

And who on earth thought Kajal could deliver a skanky item? She’s very attractive, she gives it her all, but she has none of the sensuality or basic coordination required to dance her way in and out of trouble. And casting a Mumbai girl to perform a Telugu item called Pakka Local…Luckily Tarak decides he can’t see the excellent sets go to waste so he jumps in.

I’m putting the flaws in Janatha Garage firmly on Koratala Siva’s account. He had a super cast, a decent budget, and a good idea and he threw most of it away with shoddy writing and empty clichés. One for the Tarak or Mohanlal fans who will enjoy the star performances.