Karuppan (2017)

Karuppan

After recently watching Rekka, Karuppan feels rather familiar with another foray into ‘mass’ territory for Vijay Sethupathi. R. Panneerselvam’s film is a standard plod through family relationships in a village near Madurai that fails to bring anything new into the genre, despite a few good ideas that unfortunately fizzle out midway through. Vijay Sethupathi, Tanya and Bobby Simha all do justice to their roles, but unfortunately the film lacks the fire it needed to make this a more compelling watch.

The story is set around the time of Jalikkattu and features a number of scenes involving bull wrestling. I really hope that the opening credits had the usual advice that ‘no animals were harmed during the making of this film’ but since everything was in Tamil with no translation I really couldn’t be sure (although these scenes did mainly seem to be CGI). I’m aware that Jalikkattu is a big thing in Tamil Nadu, but from the footage shown here the whole thing seems rather pointless to me and wasn’t at all enjoyable to watch. The reason for including Jalikkattu is that Maayi (Pasupathy) has a bull in the competition and decides that it would be a good idea to wager his sister’s hand in marriage to the man who manages to win the contest. Naturally the hero of the hour is Karuppan (Vijay Sethupathi) who wins the wrestling medal and the hand of Anbuselvi (Tanya) when he manages to make Maayi’s bull fall over.

Needless to say Anbu is not happy about her prospective groom and the method her brother has used to decide on the match, but like any good Tamil girl she threatens to kill herself if Maayi forces her into marriage. By this point I was ready to walk out – surely not even Vijay Sethupathi was going to be able to salvage this one, but then there was a twist to the story and it started to get more interesting. (Mild spoilers ahead)

Maayi had previously matched Anbu and Karuppan’s horoscopes and had already decided that he would be the perfect husband for Anbu, while Anbu had seen Karuppan take a stand against a seller of blue films and liked him for his values. And possibly also for his rather impressive moustache – sadly no subtitles for the songs means I may have made that part up, but it seems just as plausible (it is a magnificent moustache)! So, after a brief song and dance to introduce the prospective bride and groom, Anbu declares that she is ready to marry Karuppan just as soon as he can be convinced that the wedding is not solely due to his winning of a wager. Karuppan has the previously mentioned values you see and doesn’t take the wager seriously.

Unfortunately for the future happiness of the couple, there is a potential cloud on the horizon. Kathir (Bobby Simha), Maayi’s brother-in-law, had his heart set on marrying Anbu and when he can’t persuade Maayi that the whole wager idea is wrong, he decides to break the couple up by any means he can. Kathir is a sneaky villain and rather than gathering a gang of men to beat Karuppan into submission straight away, he goes for subtle and insidious goading of Maayi and the other villagers. This is done well with the odd piece of gossip dropped into the conversation, a nudge on one of the villager’s shoulders during a town meeting to get him to say his (obviously pre-prepared) piece and plenty of slanderous hints dropped around the village. Kathir is sweetly two-faced too, supporting Karuppan and speaking well of him to his face, but back-stabbing him as much as possible behind the scenes, and Bobby Simha does an excellent job of making this all seem very plausible.

Karuppan doesn’t help the situation by falling into Kathir’s traps which include getting outrageously drunk and insulting his in-laws at a temple function for his marriage. Kathir ensures that one of the people insulted by Karuppan is local gangster Varusanadu Sadha (Sharath Lohitashwa), setting Karuppan up to be dealt with by the gang if Kathir’s other plans fail to break up the marriage. Bobby Simha is very good here and he ensures his character has no redeeming characteristics. He keeps the characterisation low-key but effective to deliver a rather less physical but no less nasty villain.

Anbu is frustrated by her new husband’s failure to keep on the straight and narrow and when an estrangement occurs between her brother and her husband, she’s back to trying to kill herself without making any attempt at reconciliation. Sigh. Thankfully, apart from her suicide attempts, Anbu is a sensible and down to earth character, so there is hope that the whole situation can be resolved – after a major fight scene of course.

What works well here is the relationship between Karuppan and Anbu which quickly develops despite the unconventional betrothal. Vijay and Tanya have good chemistry together, while the mix of love scenes and quarrelling is typical of any couple trying to make a life together. One of the standout scenes is when Karuppan learns that Anbu is pregnant and his joy and happiness are perfectly portrayed. Vijay Sethupathi fits well into the role of a blustering but good-hearted farmer who adores his mother and his new wife, and he ensures the emotional scenes are effective without being too over the top.

Also good are the interactions between Karuppan and his uncle (Singampuli), particularly as they indulge in old Tamil film song karaoke together when drunk. They enact the different male and female roles, mouth the words and generally amuse the crowd with their antics in a couple of sequences that are very well put together.

Anbu is an interesting and generally strong character, although I couldn’t understand why her first impulse was to kill herself every time she ran into a bit of bother. Unlike most film heroines, Anbu isn’t afraid to let her husband know that she finds him attractive and she has enough confidence in their relationship to handle the ups and downs of Karuppan’s drinking. She’s a strong character who doesn’t shy away from difficult conversations in their relationship and in effect is a much better ‘bull-tamer’ than Karuppan could ever be, particularly since the bull she is taming is Karuppan himself. So, it doesn’t make sense that she isn’t able to deal with the issues between Karuppan and Maayi and effectively discourages the two from talking to each other. Or that she doesn’t confront Karuppan more directly in the second half of the film and slap some sense into him, as she does in the first half.

The film starts badly, gets steadily better throughout the first half, but loses its way in the second before an unexciting and overly contrived finale. The songs from D. Imman are good and mainly well placed, although the lack of subtitles made them less effective for me given that at least two were used to move the narrative forwards. The best are pictured on Vijay Sethupathi and Tanya, although Vijay does some inspired uncle dancing which is definitely a highlight!

Karuppan has an interesting heroine, a more complicated than usual villain and a charming hero, so it should work better than it does. Despite the good characterisations, the story itself is pedestrian with everyone tending to behave quite traditionally despite the set-up suggesting more unconventional approaches. Worth watching for the chemistry between Vijay and Tanya, an excellent take on a sneaky villain and those uncle dances.

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Rekka (2016)

Rathina Shiva’s 2016 film is a by-the-numbers mass action film that relies heavily on Vijay Sethupathi’s charm and ability to fully inhabit a character, but still fails to deliver a completely engaging story. Rekka mixes the usual masala ingredients with a plot about a crusading lawyer on a mission to unite couples in love, but there is nothing here that hasn’t been done many times before. What does make the film worth a look is the spectacle of Vijay Sethupathi acting his way through a typical hero role complete with dramatic walking, slow-mo fight scenes and big song and dance numbers. Simply – Rekka is Vijay does mass!

The story follows Shiva (Vijay Sethupathi) as he kidnaps reluctant brides on their wedding day and reunites them with their one true love. Surprisingly he seems to find a large number of separated lovers in Kumbakonam and everyone seems to think that Vijay is performing a fine civic service with his matrimonial kidnapping business. However, he seems to have made a mistake when he kidnaps the wife-to-be of local gangster David (Harish Uthaman) who turns up at Shiva’s family home to discover exactly who has run off with his fiancée. David has more reasons to make him unhappy as his rival Cheliyan (Kabir Duhan Singh) has killed David’s younger brother, apparently as a way to up the feud between them. It seems an odd reason to take a life, but that’s not the most irrational plot point by a long way.

Shiva and his father Ratnam (K.S. Ravikumar) have seen David slaughter someone in cold blood in downtown Kumbakonam, so they know exactly what kind of person they are dealing with. With Shiva’s sister Kavitha getting married, David has the perfect opportunity for revenge with the result that Shiva agrees to kidnap a girl from Madurai and bring her to David as his new wife. What Shiva doesn’t know is that the girl, Bharathi (Lakshmi Menon) is engaged to Cheliyan and her father Manivasagam is a corrupt politician with an army of thugs of his own. Added in to all of this are the mysteries of Mala (Sija Rose), who appears to Shiva as a hallucination, and Selvam (Kishore), a down and out doctor that Shiva tries to help.

So far the story isn’t too bad. Standard masala fare but the fight scenes are fun with plenty of gravity defying, 4WD smashing antics and although Vijay Sethupathi looks awkward and uncomfortable in the big dance numbers, he looks much more at ease in the action sequences. However, things go downhill fast when he travels to Madurai and finds the girl he has to kidnap. Lakshmi Menon’s Bharathi is a few shillings short of a pound and literally just sets eyes on Shiva for a few seconds before deciding that he is the love of her life. Well, okay, I get that it’s Vijay and he is pretty cool, but Bharathi just looks and leaps into elopement without any more thought than a lemming when faced with a cliff.

A few seconds later and we see where Bharathi gets her craziness from, as her mother’s reaction to her proposed elopement is a directive to make sure she says goodbye to her grandmother. No, just no – anyone that ditsy would want the full-blown wedding experience even if she was the daughter of some bigwig in Madurai and already engaged to a ruthless gangster. Especially if she was the daughter of some bigwig in Madurai! Nothing about the whole elopement seems right and the developing love story between Bharathi and Shiva is hindered by the lack of chemistry between the two actors. Shiva just wants to get back his sister’s wedding and be done with the crazy lady, while Bharathi seems too mentally unhinged to know what she actually wants. None of it makes any sense, but then that is the beauty of mass masala – it doesn’t need to make sense!

There’s still the mystery of Mala, and the second half has a flashback sequence to explain why Shiva goes around stealing brides and why he feels so guilty about Selvam. It’s rather long winded and since Mala and Selvam are more peripheral characters, Rathina Shiva spends more time than seems necessary on this part of the story. The flashback does tie up a few loose ends but since it really doesn’t matter why Shiva kidnaps reluctant brides, it seems to be a needless diversion from the main story.

Lakshmi Menon’s Bharathi is disturbingly manic and makes some bad choices that further reduce the characters credibility. No-one could ever really be that dim as to run away with someone they had just met unless they were really in desperate circumstances, and Bharathi doesn’t appear to be distressed by her upcoming engagement at all. There is a vague explanation later, but it’s not particularly persuasive so for the most part I kept thinking Shiva needed to cut his losses and run far, far away.

Vijay Sethupathi really is the saving grace of the film and his presence makes up for a lot of the inadequacies of the script and screenplay. Somehow, even though he’s playing a mass hero, Vijay still finds moments where he is an ‘actor’ rather than a hero, with the result that Shiva is a more appealing character than expected. His introduction scene has him playing chess, not the usual activity of choice for most action heroes, and he has some good emotional bonding moments with his father. This is his film all the way, and he makes his character work, no matter how ludicrous the situation. He’s better than expected in the slo-mo walking scenes and absolutely fabulous in the fight sequences where he twirls villains around his head like batons and systematically smashes them into SUV’s, street stalls piles of boxes and any other staple mass prop that happens to be around.

The rest of the cast has less to do, but Harish Uthaman is fine as a generic snarling bad guy, although even though he has less screen time, Kabir Duhan Singh does appear more frightening and genuinely nasty in his role as Cheliyan. Sathish pops up as Shiva’s friend Keerai and is good in a role that requires him to tone down the comedy. D. Imman’s music is OK, but doesn’t make me want to re-listen to the soundtrack, while everything else about the film is pretty much as standard for a mass movie.

This isn’t a Vikram Vedha or even a Sethupathi, but it is a Vijay Sethupathi film and that makes it a touch above standard mass fare. A less demented heroine would have helped immensely but the standard story of good guy vs bad guy still works despite the distractions Rathina Shiva throws in the way. Not Vijay’s best film in 2016, but still worth a watch to see him in full-on mass hero persona wiping the floor with assorted bad guys and gangsters, while still keeping his trademark sweet smile. 3 stars.

Puriyaatha Puthir (2017)

Puriyaatha Puthir

Ranjit Jeyakodi tries to sell an important message in Puriyaatha Puthir, but despite a decent performance from Vijay Sethupathi and good camerawork from Dinesh Krishnan, he doesn’t quite pull it off. There are some creepy moments in this thriller, but they don’t compensate for the abundance of plot holes and the slow start that drains much of the excitement well before the interval. This one falls into the ‘could have been better’ box for me, mainly due to the unevenness of the screenplay and unrealistic reactions from the lead characters as the drama unfolds.

Kathir (Vijay Sethupathi) is a musician who also runs a musical shop. He first notices Meera (Gayathrie) on a bus and becomes interested when she turns up in his music store as a customer. Meera is also a musician who works as a violin teacher in a local school, and she has a surprisingly large number of students in her classes. Who knew playing the violin was so popular! The best thing about Meera’s character is that she does actually know how to hold and play a violin, and that is a significant improvement over most actors who seem fairly clueless when handed a musical instrument to play. Although to be fair, Vijay Sethupathi also knows his way around a guitar when he gets to show off his skills later in the film. However, otherwise Gayathrie makes hard work of Meera’s character and generally appears stiff and awkward with little chemistry with her co-star during their romantic interludes.

This may be partly because the romance develops very slowly despite Meera initially asking Kathir to deliver her new violin directly to her apartment and seemingly making the first moves. When they go out together she seems skittish and shy, and doesn’t want to invite him up to her apartment at the end of the night. This leaves her alone at the entrance to her block of flats and cinematographer Dinesh Krishnan makes the most of the shadows and empty spaces to build tension and a feeling of suspense as Meera makes her way up to her apartment.  There is a good sense of menace in these scenes and Meera’s sense of panic feels very real as she suspects someone is following her home.

Although it’s Meera who appears to have a stalker, it’s Kathir who starts to get videos of Meera taken without her knowledge or consent. He’s enraged by shots of her changing in a store changing room, and bursts in to the store like a bull in a china shop, throws around wild accusations and never actually seems to explain to the shop assistants exactly why he is so distraught. I don’t think it was a subtitle issue either, as nothing Kathir said seemed to be any sort of explanation for his wild behaviour, but it’s no wonder that he doesn’t get very far in finding out the source of the videos.

At the same time, Kathir’s friends start to have problems too. An early scene shows Vinod and DJ (Arjunan) explaining to Kathir that nothing is really a crime unless you get caught! Unfortunately for both, that’s exactly what happens. Vinod works for a music TV station, but is a serial womaniser and is having an affair with his boss’s wife. He gets caught on video and ends up losing his job as a result. VJ also is exposed as a drug user on video and is subsequently arrested by the police. Whoever the stalker is, they are well-informed and always manage to be in the right place at the right time. It’s no surprise that Kathir starts to feel that he is under siege.

Although the film as a whole doesn’t quite hit the mark, there are some excellent ideas adrift in the choppy waters of the story. At one point Kathir does the sensible thing and goes to report Meera’s video stalker to the police. However, once there he realises that the police aren’t interested in discovering who is behind the videos at all – they just want to see the images of Kathir’s girlfriend in various states of undress. They appear to be no different from the stalker, in fact seem much worse given that they should be investigating the crime, and Kathir realises he can’t get any help from official sources. Who do you turn to when the people supposed to deal with crime are more interested in perpetuating the assault themselves? A scene where Kathir ends up standing exposed in the rain is also well staged as is the creepy discovery that the messages are coming from the phone of a girl who suicided a few years previously, but unfortunately in between there are too many plot holes that weaken the tension.

Ramesh Thilak appears in a rather bizarre role that doesn’t make any sense. I think he was supposed to be a significant red herring, but instead just seems out-of-place and an unfortunate add-on to the plot. The video’s too become less feasible, while Meera seems either too unconcerned and overly compliant with Kathir’s demands, or bizarrely happy to head back to her apartment alone at night. It takes Kathir finding a diary (sigh) to finally work out what is going, and by that stage I’d really lost interest in the proceedings.

Puriyaatha Puthir was filmed in 2013/2014, back when Vijay had just completed such diverse films as Soodhu Kavvum and Pannaiyarum Padminiyum, and was starting to make a name for himself. Here he carries the film on his shoulders, and it’s only though his intense belief in the story that a number of unlikely scenarios and appear even vaguely plausible. Part of the problem may be that when this film was written there was less media attention and community awareness about the topic of cyber-harassment. Making Kathir appear angry and his reactions so intense probably made sense to get the outrage and sense of violation from the videos across to the audience. Nowadays we are all more familiar with the crime and here Kathir’s confusion and anger seem to be initially misdirected, although blaming the victim for the crime is sadly still something that occurs even now. Vijay Sethupathi is definitely watchable and his anger and despair are well expressed, along with his frustration, but it’s not enough to keep the tension and suspense the film needs to be effective.

The issue of cyber-crime has been addressed in a few films recently, and as a crime with serious consequences it’s a worthwhile topic too, but the treatment needs to be much tighter than Ranjit Jeyakodi achieves here. There are some good moments but the slow romance, flashback sequence and character reactions are at odds with developing suspense. Worth watching for Vijay Sethupathi and some good tunes from Sam C.S, but that’s about it.