Sarkar (2018)

Sarkar

2018 seems to be the year for political movies, particularly those where the hero is an outsider deciding to run for office. After NOTA and Bharat Ane Nenu, this time it’s Sundar Ramasamy (Vijay) a self-styled ‘corporate criminal’ who decides to take on the corrupt Chief Minister during elections in Tamil Nadu. A.R. Murugadoss has added in some real-life scenarios which help add interest to a plot that otherwise features little more than a routine ‘Vijay saves the world’ storyline. After his recent films supporting education for women and rights for farmers, Sarkar seems to be Vijay’s most overt statement so far that he is considering a career in politics, although I do hope that if he ever does follow through, he has a better campaign manager than Sundar does here.

I’m not sure that being a ‘corporate criminal’, ‘monster’ or ‘the Genghis Khan of the corporate world’ are particularly desirable qualities for the CEO of a company in the USA, but that is how Sundar is described by both his rivals and his colleagues. Sundar himself seems to be more of a wealthy playboy as he runs around Las Vegas with an entourage of women and bodyguards before hopping onto a private jet back to India. Apparently we are to believe that Sundar makes this trip solely to cast a vote in the upcoming elections, which seems fairly extreme and makes him more of an environmental terrorist rather than corporate criminal. However, various CEO’s and company directors are able to breathe a sigh of relief that Sundar isn’t planning a takeover of their company, but is simply a strong believer in exercising his democratic right. Instead, after finding out that someone has already cast his vote due to the corrupt practices of the incumbent political party, Sundar turns his adversarial sights to CM Masilamani (Pala. Karuppiah) and his side-kick Malarvannan (Radha Ravi) aka Rendu.

Vijay is always excellent in these sorts of roles where he has to mix stirring speeches with action and a stern but righteous expression. He still looks incredibly young, but this time sports a salt and pepper beard, which does give him some maturity and suits the more serious situations. However, for the most part his character’s actions are not believable and many of the political issues are dealt with too simplistically to be completely engaging. Still, Vijay has plenty of charisma and is able to carry the film easily.

Sundar gives up his day job to run for office, which doesn’t ring true despite his spirited speech to an antagonist crowd about his lowly origins as a fisherman’s son. However the speech itself is excellent with a well thrown tomato is used as a metaphor for greed and the plight of humble workers. Later, Sundar uses his missed vote as a way to educate everyone about regulation 49-P and to convince his audience that every single vote is important. These are some of the best parts of the film, where Sundar motivates the masses and exposes the corruption at every level of government. When Vijay is in full speechifying mode he is very impressive but when it comes back to individual dialogue the unlikeliness of some scenarios does reduce their impact.

Both Pala. Karuppiah and Radha Ravi excel at traditional-minded, self-serving and corrupt politicians, but their conventional behaviour means that most of the confrontations between Sundar, Masilamani and Rendu follow an entirely predictable path.  As their power, prestige and ability to make millions in easy money is threatened, Rendu employs the police and multitudes of disposable minions to remove Sundar from the public eye. He never considers that every action will be recorded by the common man on his/her mobile phone, and that the media is on hand too to record every shady deal, even going as far as to walk out of a TV interview when Sundar arrives. However, Sundar’s response is also classic underdog reaction and despite all the wonderful slow-motion fight scenes and rousing rhetoric, for the most part Sundar is just as predictable as the politicians he opposes.

Perhaps to counteract this old-school predictability, Murugadoss adds another villain in the form of Komalavalli (Varalaxmi Sarathkumar), Masilamani’s daughter. This could have worked well, except for Varalaxmi’s stilted dialogue and odd expression, as if there is continually a bad smell right under her nose. I can’t understand how such a usually expressive actor is so lifeless here, but then little about her character makes sense. She tells her father not to worry, that while Sundar may be a corporate criminal she has been a criminal since birth, but there is no explanation of why. Why is Komalavalli the brains behind her father’s political career?  Why then was she in Canada instead of Tamil Nadu when the elections were being held? So many questions and absolutely no answers. Instead Komalavalli is a one-dimensional character whose sole reason to exist seems to be to cause general misery wherever she goes. While at least her presence does give Sundar an opponent with the smarts to fight back, she’s too little too late and just too shallow to be a completely worthy adversary.

Even worse though is the inclusion of Keerthy Suresh as Sundar’s love interest, Nila. Nila is Sundar’s sister-in-law, although the marriage between Nila’s sister and Sundar’s brother has broken down. Sundar and Nila restart a relationship seems to be more friendship rather than anything else apart from one dream sequence song. For most of the time Nila follows Sundar around, stands in the background, and then follows him around some more. This type of political film doesn’t need a romance, certainly not a nothing of a romance that doesn’t even deserve the word, and there really seems to be little point in including Nila or her jealous reaction when Sundar dances with someone else.

Sarkar isn’t a bad film, it’s just a surprisingly ordinary offering from a film-maker who normally delivers a more exciting and well-polished story. Vijay is excellent and the film technically looks great with well choreographed fight sequences and good use of crowd scenes. A shout-out to for the generally very good subtitles, although none of the writing (including a very long piece of text at the start of the film) was subbed. Still, good to see other groups using the same style as Rekhs and adding English idiom rather than direct and nonsensical translations. The other departments are all fine too. A.R. Rahman’s music doesn’t particularly stand out apart from Oru Viral Puratchi, but it is well placed in the film and works as a rousing to action song while the others generally blend into the screenplay without disrupting the action.

The support cast, including Yogi Babu and a large number of students, voters and election officials are all very good and the parts of the story that deal with the mobilisation and politicalisation of the ‘common man’ are well handled. It’s really the predictability of the film that brings it back to earth and the knowledge that whatever happens, Sundar will best his political foes. His path to power seems to happen very easy, and very quickly here – there are massive poll swings from 5% to 80% literally in the course of one day, and a voting result that can be swayed in just a few hours. If only it were that simple! Overall, Sarkar is a watchable and reasonably entertaining film that works fine as a political stepping stone for Vijay but just could have been that little bit better. Worth watching for Vijay, Radha Ravi and the idea of what could happen when ‘ common people’ take action!

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Junga (2018)

Junga

A Vijay Sethupathi film never fails to be entertaining even when, as in this case, the story fails to impress. Gokul’s latest is a comedy that alternates between some hilarious, laugh-out-loud moments and scenes that fall conspicuously flat, mainly due to the ridiculous plot. When the comedy is good, it’s very good, but when it’s bad it’s pretty meh and not helped at all by the glaring plot holes. Still, Junga is not meant to be taken seriously, and Vijay Sethupathi strolls through all the mayhem raising laughs with his take on a parsimonious criminal out to win back his family fortune.

The film starts with Junga (Vijay Sethupathi) being removed from jail by two policemen who plan to kill him in an encounter. Sadly, despite the presence of Rajendran as one of the officers, these are some of the least successful scenes in the film where the dialogue seems forced and not remotely amusing. Luckily this is only a brief introduction to allow Junga to begin relating his life story, which is where all the action happens.

The flashback shows Junga as a small-town bus conductor (all comparisons with Baasha are deliberate) whose love for a Telugu girl (Madonna Sebastian) leads to him taking on a persistent and unwanted stalker and his gang of friends. This foray into fighting shocks his mother who reveals that he is genetically predisposed to violence as he is actually the son of Don Ranga and the grandson of Don Lingaa; gangsters who lost all their money due to their extravagant celebrations and poor accounting skills. Junga’s mother (Saranya Ponvannan) and grandmother (Vijaya) bewail the loss of the family fortune, particularly a picture hall in Chennai which was Junga’s mother’s dowry. Junga vows to be a money conscious Don and heads back to Chennai to restore his inheritance along with his best mate YoYo (Yogi Babu).

Junga quickly builds up a reputation as a cheap option for those seeking intimidation or assassination skills, but fails in his attempts to buy back Cinema Paradise from its new owner, Chettiyar (Suresh Chandra Menon).  Plan B involves heading to Paris to kidnap Chettiyar’s daughter Yazhini (Sayyeshaa) and thus force him to hand over the theatre. Naturally all does not go to plan and Junga’s kidnap scheme is foiled by the Italian mafia who have their own plans for Yazhini.

The first half has plenty of excellent comedy, mainly based around Junga’s miserly tendencies and extreme economies to save money. The film is irreverently tongue in cheek and pokes fun at classic Tamil films as well as modern-day tropes and even at the actors themselves, most of which works well. Radha Ravi channels Marlon Brando as the head of the Committee of Dons who are morally outraged by Junga’s discounted thuggery while Yogi Babu provides solid back-up as Junga’s chief henchman.  The first half has some good fight scenes too along with the best of the songs, including the wonderfully colourful Amma Mela Sathiyam.

The second half falters when the action moves to Paris and the Italian mafia muscle in. What does work is Junga’s obvious pain when he realises just how much money he has spent and the various jokes around the confusion between Parry’s (in Chennai) and Paris (in France). Best of all are Saranya Ponvannan and Vijaya who swagger around as a brilliant double act and completely steal the show as Gangster Amma and Gangster Patti. They have the best lines as they try to shake down Chettiyar and it’s great to see Saranya Ponvannan have a chance to step out of her usual standard mother role, albeit in a small way.

What doesn’t work is the whole storyline with the Italian mafia and French police, although we do get a great fight scene with an umbrella and some good car chases. But there are just too many silly plot holes that stop some of the comedy dead in its tracks while the rather contrived romance between Junga and Yazhini doesn’t work at all. After good chemistry with Madonna Sebastian and an amusing end to that whole episode, the love story with Sayyeshaa is limp and anaemic without even the benefit of any comedy to lighten the romance.

As with Oru Nalla Naal Paathu Solren, Vijay Sethupathi gets to wear some outlandish costumes as part of his trip to France and when he plays the roles of his father and grandfather. There is plenty of moustache twirling along with flamboyant gestures which have become Vijay’s signature comedy style, but he is very funny in this persona and his charm and charisma are almost enough to carry the film through the problematic second half. Almost, but not quite. Thankfully, Vijay is ably supported by Yogi Babu and the double act of Saranya Ponvannan and Vijaya who ensure their scenes are funny and help to keep the plot (such as it is) moving along.

Junga is a film that works when the action is kept close to home with the comedy centred on Vijay Sethupathi and his Don Amma and Don Patti. The more action-based sequences disrupt the flow and don’t fit into the overall pace of the film, even though the fight sequences are well choreographed. They also drag out the film which is already overly long by the time Yazhini is kidnapped. However the songs are good, the comedy for the most part is very funny and Vijay Sethupathi is excellent in the title role. Junga isn’t consistent, but it is hilarious in parts and that, along with the enthusiastic cast make it worth at least a one-time watch.

 

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.