Bairavaa (2017)

bairavaa

Step into the cinema at any point during Bairavaa and you could be forgiven for mistaking it for almost any of Vijay’s previous films. The only thing that seems to vary in these masala outings is his attire, while everything else (love interest, villain, ‘comedy’ friend, evil henchmen etc) is identical. In his latest mass film Bairavaa, even the trusty masala formula fails to deliver as expected mainly due to poorly realised villains and dull, repetitive fight scenes. Not even the songs are inspiring and it’s only Vijay’s presence and on-screen charisma that makes it possible to sit through the full 169 minute run-time. There are some laughs, one or two fight scenes that work a little better than the rest and a couple of good songs but overall Bharathan’s latest release fails to impress.

Bairavaa (Vijay) is a recovery agent for a bank who don’t seem to mind that he uses rather direct methods to reclaim outstanding funds. This leads inevitably to the first fight scene as the bank manager sends Bairavaa out to collect money from a thug who likes to play cricket. The fight itself is quite cleverly choreographed with Vijay imitating cricket stars and using a cricket ball instead of his fists to flatten thugs, but despite the novelty it isn’t particularly exciting and there is absolutely no sense of suspense. It’s a given from the start that Bairavaa will be walking out of there with the money and that all of the rowdies will be writhing around on the floor. And that’s the problem with almost every other fight scene in the movie too. Even when the numbers of rent-a-thugs get upped and then upped again, there is no stopping the one-man army that is Bairavaa. The fights become an unending parade of rowdies being thrown up, down and around in slow-mo while Bairavaa barely breaks into a sweat. The exceptions mainly come in the second half when there is a little more at stake, but overall, even with a few stylish moves thrown in here and there, the fights are mostly monotonously predictable and uninspiring.

After meeting Malarvizhi (Keerthy Suresh) at a wedding and falling instantly in love, Bairavaa discovers she has a problem back home in Tirunelveli after she is attacked by a gang of thugs at Koyambedu bus station. This leads to a flashback that explains her predicament and why she is being targeted by businessman and self-styled champion of education PK (Jagapati Babu). PK is aided in his various criminal activities by Kottai Veeran (Daniel Balaji) and his merry gang of rowdies, while Malarvizhi is supported by her sister (Sija Rose), grandfather (Vittal Rao) and Uncle Narayanan (Thambi Ramaiah). Malarvizhi has taken PK to court to prove that he was responsible for the death of her friend Vaishali (Aparna Vinod) in his substandard medical college and that the college’s explanation for her death is completely untrue. PK has been warned by the judge that the upcoming final hearing should not interrupt Malarvizhi’s studies or endanger her health with the result that instead of killing Malarvizhi, PK tries every possible method of intimidation to make her break down and give up her fight. Naturally Bairavaa takes up Malarvizhi’s cause and immediately starts to oppose PK and his allies.

Sadly PK is a one-dimensional villain who does little other than sneer at the camera and order his seemingly self-replicating gangs of thugs to put an end to Bairavaa. His henchman Kottai Veeran has a little more to work with, but both men are purely obstacles to be overcome in Bairavaa’s pursuit of the girl. There is presumably some sort of message in the revelation that some private colleges are purely money making exercises and Malarvizhi does her best to promote the cause of independent women everywhere, but at the end of the day she is reliant on Bairavaa to defeat the thigs. Her methods of contacting solicitors, providing evidence and the like are casually destroyed by PK and Kottai Verran using methods that seem unlikely to work in real life. Malarvizhi is a fairly typical Tamil heroine in that she has some backbone and a promising career but still falls for the hero in less time that it takes her to find the bus home to Tirunelveli. I’ve yet to see Keerthy Suresh in a role that I think she can do justice too, and this doesn’t seem close. She looks uncomfortable in the songs and while there is some reasonable chemistry between her and Vijay it’s much like the rest of the film – pedestrian and predictable.

There are a number of other threads that seem to have been added to and appeal more to the modern market. Harish Uthaman appears as Malarvizhi’s abusive brother-in-law Prabha who has the world’s fastest rehabilitation after he gets beaten up by Bairavaa. Generally the police and judicial system are honest and the comedy is kept to a minimum with Bairavaa’s friend Shanmugam (Sathish) having only limited time onscreen. Thambi Ramaiah as Malarvizhi’s uncle Narayanan has even less time on screen, which in this instance is definitely for the best.

The songs too are disappointing and often oddly placed although Vijay’s dancing is still the highlight, but even here the energy seems subdued. At least until Papa Papa which is definitely the pick of the bunch. I can usually find something to enjoy in a Vijay film, despite the often wafer-thin plots, but I was hard pressed to find much in Bairavaa. It’s a strictly by the numbers mass film with little animation and even less ingenuity. At 169 minutes Bairavaa does feel like an endurance test and much could have been shortened (all those slow-mo fight moves and echoing repeats!) to improve the film flow. One strictly for the fans, and even then be prepared for a less than thrilling experience.

Theri (2016)

 

Theri Poster

After taking on the plight of farmers in Kaththi, Vijay tackles the topical issues of rape and violence against women in Atlee’s latest film Theri. The dash of social awareness is added in to a familiar story where a once tough and capable man is forced to live a quiet and peaceful existence after suffering a great loss, before being forced to take up the reins of his old life again. Sure, it’s predictable, but Atlee breathes a modicum of life into the well worn storyline and adds enough seasoning to ensure Theri is an engaging and entertaining enough watch.

The film opens with a nerdy Joseph Kuruvilla (Vijay) running a bakery in Kerala while looking after his young daughter Nivi (Baby Nainika). Rather incongruously he’s helped in his endeavours by Rajendran (Rajendran) who looks nothing at all like a baker, while Joseph’s unassuming persona seems very un-Vijay-like. However all is soon explained when the film moves into flashback mode to detail Joseph’s previous life as ruthless and efficient cop DCP Vijay Kumar and Rajendran as his driver.

Some years previously Vijay Kumar investigated the case of a gang-rape victim and took the law into his own hands when he found the culprit – the son of minister Vanamaamalai (J. Mahendran). In revenge, Vanamaamalai kills Vijay’s wife Mithra (Samantha) and his mother (Raadhika Sarathkumar), and believes he has killed Vijay and his daughter as well. However Vanamaamalai doesn’t follow the maxim that if you want something done properly you should do it yourself and Vijay escapes with his daughter to a life of anonymity in Kerala. Living as meek and mild-mannered Joseph Kuruvilla though doesn’t come naturally, so it’s no surprise that Vijay’s cover is blown and Vanamaamalai discovers the truth, leading to the inevitable final showdown between the two.

There is a lot that works well in Theri, but there are also a few aspects that don’t. Atlee has done a good job of revitalising the story, but there are few surprises and each step along the way is almost exactly as expected. However, there is a sweet romance between Vijay and Mithra which is well developed and doesn’t quite follow the usual conventions. Samantha too has a better role than most Tamil heroines, Mithra is more than just a decorative love interest and has an important part to play in the story. She has strong opinions of her own, and also commands her husband’s respect since it’s at her request that Vijay buries his desire for revenge and concentrates on ensuring his daughter’s well-being. One of my favourite scenes in the film is when Mithra has a conversation with Vijay’s mother which doesn’t involve the hero, or her wish to be a good wife/mother/daughter-in-law.  Although the content is overly emotional and it’s a very filmi moment, I like the way this scene makes Mithra her own person and not simply an extension of the hero. Samantha is excellent in her role, convincing even when she practically comes back from the dead to make her final plea to Vijay and as always she looks gorgeous throughout.

My biggest problem with the flashback sequence, and in fact the film in general, is the songs. They are particularly frustrating in the first half when they suddenly appear from nowhere and add no real value to the storyline. Not that the songs always have to move the story forward to be worthwhile, but here they have little impact other than to pause the action and don’t even have the benefit of a catchy tune or outstanding choreography to make their inclusion palatable. About the best thing I can say is that they are very colourful – very, very colourful in some cases, and Vijay is competent even if he doesn’t get the chance to bust out too many impressive moves. Eena Meena Teeka is a little better as Baby Nainika is very cute and along with Vijay she hams it up for the camera nicely, but I expect better from a Vijay film!

I have long suspected that Vijay has access to a time machine since as he is as young-looking as ever, even when gleefully bashing goons heads into various parts of a building, and impressively athletic in the action scenes. As Vijay Kumar he appears strong, confident and powerful, but allows a softer side to show during the romance scenes. However, he’s a little less successful as Joseph Kuruvilla, perhaps because docile Vijay seem to be against the natural order of things. He is good in the scenes with Baby Nainika and plays the part of a devoted father well, but very awkward with Amy Jackson in her role as Nivi’s school teacher. That may be because Amy herself looks incredibly ill at ease in a dreadful wig, while her character is so under-developed it takes some time to realise that there is actually a romance developing between the two! I can’t decide if Amy Jackson is just incredibly wooden here, or if her terrible portrayal is due to inadequate writing of her character, but whatever the reason this is the worst performance I’ve seen from her so far.

The support cast are all good. Baby Nainika is cute and appealing, without being too bratty when she demonstrates that she has a tough side too. Mahendran is great on the other side of the camera and is a credible adversary for Vijay, mainly because he is so very normal in every aspect. Like many rich men in politics, he has a sense of privilege and a belief that his wealth gives him a right to power and to do whatever he wants. He has no affectations or megalomaniacal schemes which makes him all the more chilling and a very plausible villain. I always feel a film is improved with the addition of some Rajendran and along with Vijay he provides most of the comedy in the film.

Although the story of Theri isn’t particularly original and Vijay as a cop is also nothing that hasn’t been seen many times before, there is enough action and drama to make the film an entertaining watch. The addition of a stronger female role in Mithra is a bonus and Atlee deserves praise for adding in a child actor without making her cloyingly sweet and too good to be true. The action scenes are all well shot and choreographed, and the film comes together well with a satisfying conclusion and well executed revenge. I would have preferred better songs and no romance with Nivi’s teacher but otherwise I enjoyed Theri and recommend watching for Vijay, Samantha and Mahendran.

Puli (2015)

Puli

Chimbu Deven’s latest film may be set in a fantasy world of strange creatures and magical beings, but the story itself is mundane without any of the epic sweep required for such a tale. It’s also slow going, with most of the first half a dreary romance between Marudheeran (Vijay) and Pavazhamani (Shruti Haasan), although it does improve post interval once Sridevi and Sudeep appear onscreen. Despite the numerous fight scenes and explicit violence, the simplistic plot seems to be aimed more at children, with every obstacle easily overcome and the obvious outcome never in any doubt. That may also explain the relatively bloodless scenes of dismemberment and general carnage that would more usually be awash with gallons of fake blood, but instead the fight scenes here are frequently lacklustre, dull and repetitive. However there are a few reasons to watch, mainly down to Sridevi in her extravagantly evil queen avatar, good special effects and the always reliable Sudeep and Vijay.

Puli tells the story of a land which has been invaded and settled by a race of demons, who have enslaved the native humans. These Vedalam are easily recognisable by their blue eyes, tendency to sprout fangs when annoyed and ability to fly though the air, although their spiky armour and general arrogant grumpiness are a more distant and therefore safer method of identification. The young Marudheeran arrives in one of the subjugated villages as a baby, floating in a basket on the river, along with a mysterious egg that hatches into a talking bird. The talking bird is pretty well done as far as special effects go, and I was expecting it to be important to the plot in some way, but it really isn’t. Even though there is a sort of reason for the bird’s inclusion at the end, basically it’s a very under-utilized special effect that didn’t need to be able to talk and doesn’t get much chance to do so anyway. Overall this illustrates the problem with most of the special effects in the film. Although they are well done, the effects dazzle for a moment but are then relegated to background noise and ultimately have little to add to the plot. It’s a shame as the film looks fantastical but the uninspired story keeps it earthbound.

Marudheeran is adopted by one of the villagers and is trained by his stepfather in fighting and disguise as part of a general communal wish to overthrow the demons. However once Pavalamalli (Shruti Haasan) returns to the village, Marudheeran spends his time chasing after his childhood friend, much to the displeasure of her parents. Just as Marudheeran and Pavalamalli get married in secret, she is stolen by the demons and Marudheeran sets out with his trusty friends Thambi Ramaiah and Sathyan to rescue her from the impregnable city of Vedalakottai. They plan to disguise themselves as demons to get into the city and then hope they can find Pavalamalli and get out again, but that’s it in terms of preparation. There is no attempt to deal with the epic scale of such an endeavour and make the journey and planning part of the adventure. This means there isn’t any sense of danger or excitement, just a pedestrian slog to find the city and rescue the girl. Nothing new, and could just as easily have been set in the present time anywhere in India with much the same plot and ending.

Still, there are plenty of good ideas in Puli, it’s just that they get such short shrift and don’t have as much impact as they should. For example, Marudheeran and colleagues meet a race of miniature people where there is a brief ‘we can show you the way’ moment and then the little people are used mainly for comedy. However the effects and the cinematography are once again very good, with clever use of seeds and leaves as clothing, and wonderful peanut shell blouses that are simply inspired!

Unusually, Vijay doesn’t fit as the hero of the film as well as he should, at least initially. His introduction and the subsequent fight scenes establish his character as more of a trickster and comedian while his pursuit of Pavalamalli is pedestrian and lacking animation. It’s not until the second half of the film where he comes up against his nemesis General Jalatharangam (Sudeep) that Marudheeran starts to properly fill the role of the warrior hero and Vijay gets a chance to throw his energy fully into the part. Just about at this time though there is a flashback sequence where Vijay plays his father – a man born to be in a shampoo commercial and doomed by his reliance on slow-mo fighting and accompanying wind-machine. I did appreciate Vijay’s mastery of the hair toss though and once he gets into full warrior mode, there is no stopping him.

Sudeep is good in a role that lets him convey volumes with just a look and a sneer, although he really needed more time onscreen being evil to make his character thoroughly despicable. Jalatharangam is a fairly standard villain but Sudeep imbues him with an arrogant coldness that works well and there’s just enough sliminess added for good measure. Sridevi too makes the most of her role as an evil queen and shows what a fantastic actor she is even with her limited time onscreen. She totally owns each scene when she appears and her sweeping presence lifts the energy of the film. She has the best costumes and stunning make-up but these go almost unnoticed beside her commanding presence and expressive eyes. And she plays a harp – perfect! I hope this, and her recent appearance in English Vinglish mean that we will get to see more Sridevi films in the future – she is the best thing about Puli for sure.

Hansika Motwani plays Queen Yamanadevi’s daughter and at least Chimbu Deven doesn’t make the mistake of trying to get her to actually dance in any of her songs. Hansika looks good and has an amazing peacock outfit at the end but doesn’t do much else of note in the film, although she does manage better chemistry in a few brief moments with Vijay than Shruti does in an entire romantic song. Overall Devi Sri Prasad’s songs are fairly uninspiring and the choreography rather repetitive, but Vijay is energetic and the backing dancers are enthusiastic in a range of diverse costumes.

Except for Sridevi, Puli mostly disappoints with a weak story and fairly nondescript songs. Sudeep and Vijay are fine but both characters need better definition and depth rather than simply relying on the ability and star power of the actors. Both do what they can, but the film could have been so much better with just a little more complexity. Good cinematography from Natarajan Subramaniam and great visual effects make Puli worth watching on the big screen but probably only for fans. Otherwise probably best to wait for the DVD where the fast forward button will make Puli a more enjoyable watch.