Maari 2

Balaji Mohan revisits the concept of the bad Don that everyone loves to hate, but this time gives the titular character a best friend and a heart of gold that unfortunately reduce Maari’s onscreen impact. The standard mass formula doesn’t help either and the story feels tired despite attempts to refresh it with Sai Pallavi as Maari’s love interest and Krishna Kulasekaran as bestie Kalai. Still, in terms of generic gangster flick it’s not totally terrible, and there are a few flashes of the ‘old Maari’ while Tovino Thomas is better than the script deserves as the film’s villain. Overall the film is entertaining enough for a one-time watch, but as a sequel Maari 2 doesn’t come close to matching the appeal of the original.

Maari 2 opens well with the 100thassignation attempt on Maari’s life after which the gang celebrate his continued survival in plenty of style with cake and a party. A few years have seemingly passed since the end of the first film, and Maari’s boss Velu has died, leaving the leadership of the gang open. This is where Balaji Mohan adds in the new character of Kalai (Krishna Kulasekaran), the son of Velu and Maari’s best friend since they were both kids. While everyone wants Maari to become the leader (which in itself is a major turnaround from the first film), he proposes Kalai takes charge while he remains in the background.

Maari is seen to be trying to do the right thing, even as he cracks the usual jokes and slaps around his henchmen, Sani (Robo Shankar) and Adithangi (Kalloori Vinoth). Despite the loud shirts, sunglasses and gold chains, this Maari is a totally different character, with one of the biggest changes being the attitudes of the people around him – the only people who hate him now are the rival gangs. Adding to this newfound popularity, Maari has a stalker in the form of auto driver Aanandhi (Sai Pallavi) who refuses to be put off her attempts to coerce Maari into a relationship, despite Maari’s truly appalling treatment. The reason for her devotion is revealed later in the film but appears simply as a blatant attempt to appear feminist-aware and completely misfires given the film’s general attitude towards women and Aanandhi in particular. 

Aanandhi states that she isn’t a “loosu ponnu”, but she veers uncomfortably close while her character initially appears mainly as a butt for numerous jokes. Although Aanandhi tries to give as good as she gets, she’s limited by her determination to make Maari fall in love with her, and as a result does look just like any typical mass film heroine. The hearty demeanour of the character and over-the-top attempts to gain Maari’s attention don’t work well either despite Sai Pallavi doing her best to make her character sympathetic. Where she does shine however is in the songs, and her dancing in Rowdy Baby in particular is simply superb. Her energy is amazing and she matches Dhanush step for step, in some parts even surpassing him for passion and commitment to the routine. Prabhu Deva provides the choreography and ensures that Rowdy Baby is the most memorable song of the film.

Tovino Thomas plays the villain Beeja, aka Thanathos. Although he is first seen in a prison cell, Beeja is portrayed as a more intellectual gangster, speaking in English and using the name of the Greek god of death as his alias. However, he’s still the crazy psychopath Tamil cinema loves to have as a mass villain, since he sports dreadlocks, a gold tooth and has scrawled the words “Kill Maari” all over the walls of his prison cell. No doubts at all then about his plans for the hero. Tovino Thomas is an accomplished actor, and in the first half of the film he does a better than average job of making Beeja a more menacing character than his overdone theatrical traits would suggest. Unfortunately, he is let down by the plodding dialogue and nonsensical storyline in the second half, while the final fight sequence doesn’t do much for either Tovino or Dhanush. The later channels his inner Salman Khan in a rather unnecessary shirtless fight scene, while Tovino’s character rolls over much too easily for someone who has made the death of his opponent his driving force for the last few years.  

Varalaxmi Sarathkumar makes yet another appearance as a respectable member of government, this time as IAS Officer Vijaya Chamundeswariin charge of law and order. It’s a role with a rather similar feel to her last appearance in Sarkar and she really only gets to look stern or concerned in roughly equal measures as she hunts for Maari as a potential witness. The rest of the support cast are fine in equally narrow roles, mostly reprising characters from the first film. Worth a mention is Aranthangi Nisha who has a small comedic role as one of the other auto-drivers also named Aanandhi. Most of the fight scenes are well choreographed by Stunt Silva, but there isn’t anything that stands out as particularly new or innovative. The music too from Yuvan Shankar Raja works well enough within the film, but apart from Rowdy Baby none of the songs are memorable after leaving the cinema. Om Prakash captures the colour and energy of Maari and his sidekicks and I did like his contrasts between the worlds of Maari and Beeja. Both are gangsters in the same area of Chennai, but Maari is always bright while Beeja revels in dark costumes and equally dark lighting.  

While there are a few flashes of the old Maari, for the most part he is a more considerate and thoughtful character this time round. This softening of the character is completed by the romance with Aanandhi and without the ‘gangster everyone loves to hate’ persona as a point of difference from other gangster flicks, Maari 2 is just another mass masala movie. Even Dhanush seems at times to be unsure exactly which role he is supposed to be playing as he switches between callous gangster, the infuriated target of Aanandhi’s advances, caring friend and concerned lover. It’s only in the first of these that Maari 2 really comes to life and these are without doubt the best parts of the film. Further déjà vu comes from numerous references to Rajinikanth films, particularly in the second half, and the overall unlikeliness of the story further reduces the impact of the film. However, if all that you want is a potboiler gangster story with plenty of fight scenes, some good comedy and the odd dance sequence then Maari 2 fulfils all of that and adds just a little bit more. 

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Pudhupettai (2006)

Pudhupettai

Pudhupettai is Selvaraghavan’s ode to gangster life, telling the story of the rise and fall of Kokki Kumar in the slums of Chennai. It’s brutal and violent, and for the most part Selva doesn’t give his ‘hero’ any redeeming features making this a departure from most other Tamil gangster flicks. At the end of the day, the only real priority for Kumar is himself and trying to keep himself alive, which reflects the film’s tagline ‘survival of the fittest’. The film is shot almost like a documentary, following the wandering path of Kumar’s life rather than having a distinct narrative, and it’s this realism and attention to the details of the characters and their harsh lives that makes Pudhupettai such a fascinating watch.

The film opens with Kokki Kumar (Dhanush) in jail. He seems disorientated, perhaps mentally ill, as he shouts out for anyone who might be listening to him. These opening shots feature Kumar in green with contrasting red light from outside the cell, further isolating him and accentuating his odd behaviour. This colour scheme replicates throughout the film, maybe to illustrate Kumar’s almost split personality but it’s also used to highlight important moments in his life. It’s part of how Selva pulls the story together, using images and brief vignettes rather than long drawn out scenes to develop his characters.

The film then moves to a flashback of Kumar’s early life in the slums of Pudhupettai. He seems a typical young man as flirts with girls and is chastised by his mother for dancing in the streets rather than hurrying off to school. However, violence is never far away. His father is violently abusive and finally one night Kumar returns to find his mother has been murdered by his father. Fearing for his own life, Kumar flees onto the streets to try to make his own way in the world.

He’s not terribly successful at this and eventually turns to begging in the streets where he is accidentally picked up by the police during a raid on drug sellers operating under local thug Anbu (Bala Singh). Anbu’s men take Kumar under their wing and introduce him to their boss, managing to secure him a spot in their gang. Interestingly, Vijay Sethupathi has a small role here as one of the gang, and there are a few other familiar faces including Aadukalam Murugadoss who also pop up in the background.

Kumar gradually learns how to be a gangster and there is some good humour worked into the scenes where he learns how to use a machete and case the scene before a crime. He also has a mean temper and when backed into a corner by a rival gang lead by Murthy (Prudhviraj) he fights back, killing Murthy’s brother and turning Murthy into an enemy for life. The film follows Kumar as he meets and falls in love with prostitute Krishnaveni (Sneha) and subsequently takes over the area from Anbu after killing his former boss in a dispute over his treatment of Krishnaveni.

Kumar has grand ambitions and with the gang behind him he takes Anbu’s place working for corrupt politician Thamizhselvan (Azhagam Perumal). The body count rises as Thamizhselvan commissions murders and Kumar steadily makes inroads into Murthy’s territory. But then Kumar sees Selvi (Sonia Agarwal), the sister of his main henchman Mani, and he falls instantly in lust. Forgetting Krishnaveni he marries Selvi instead of the real groom at her wedding and immediately has another enemy out for his blood. Mani joins forces with Murthy and the two conspire to bring Kumar down.

This is the seedy side of gangster life and Selva shows the grubby political deals and bloody in-fighting between the rival gangs as something to be expected, rather than as exceptions to the rule. No-one comes out of this looking good and Kumar in particular is not a nice man. At first there seems to be some attempt to explain Kumar’s violent tendencies on his early experiences, but during a drinking session with the gang one night, it’s revealed that everyone has a similar story. It’s even a source of entertainment for the gang as they each tell their stories of abuse and murder and decide who has the funniest story.

It then seems as if there may be some compassion in Kumar when he fights Anbu for Krishnaveni’s freedom, but this doesn’t ever seem to be a grand passion or even much of a love story at all, and Kumar tends to treat Krishnaveni more as a possession rather than a lover. He’s able to completely ignore her when he sees Selvi and isn’t at all bothered by Krishnaveni’s attempt to leave him, until she announces that she is pregnant. That of course makes all the difference, and this is the one part of the film where Kumar genuinely seems to care for someone else. The birth of his son is a momentous event in his life, which makes his son’s loss later in the film more effective than expected.

There are signs that Kumar might be a better man than first appears when he takes on cases where the local people have been affected by corruption and crime after overthrowing Anbu. But this appearance of trying to help the poor turns out to be just an easy way to develop a power base and get support – something that Kumar needs if he wants to further his political ambitions and make a name for himself. I love how each time Kumar seems to be acting more responsibly it’s shown to be just another way to make sure he comes out on top. The pragmatism and cunning he shows seem to be reasonable requirements for someone who aspires to be a top politician, while the extreme violence and disregard for human life explain why Kumar makes such a good gangster.

Throughout, Dhanush is excellent despite a tendency to overact in the prison scenes where he has to explain his story directly to the audience. His transformation from a scared adolescent to a violent and cold-blooded criminal is brilliantly achieved, and his tendency to become completely feral when he loses his temper gives the character a chilling authenticity. Here is someone with few morals, who decides what they want and then goes ahead and takes it without worrying about the consequences or the possible price. Sneha does a fantastic job with the character of Krishnaveni and gives her dignity and grace despite her profession and her association with the gang. Krishnaveni seems to genuinely love Kumar, although some of this may be gratitude for helping her escape the brothel, but she brings some normalcy into the storyline and provides a good contrast to all the violence. She’s not completely innocent either and her entrapment of Kumar by mentioning her pregnancy after he marries Selvi is a clever twist, as is Selvi’s nasty dig when she points out that Kumar can’t be sure that the baby is his. It all rings true and despite the buckets of blood and excessive use of knives (check out Kumar’s impressive machete storage cupboard!) this doesn’t seem to be too fantastical a story. The characters all seem plausible too, particularly in the way they let their petty squabbles and problems spill over to affect the whole area.

The rest of the cast are uniformly good too – Sonia Agarwal has less to do than Sneha but she is excellent as the reluctant bride, while Azhagam Perumal has so many backflips that it’s a wonder he can work out which way to look at the camera. Clever writing and good dialogue ensure that everyone has a role to play while the good performances mean it all flows beautifully.

The film is enhanced by excellent cinematography from Arvind Krishna, who makes Chennai look stunningly beautiful one moment and then grimly ugly, just as Selva juxtaposes Kumar’s dreams with the harsh reality of life as a gangster. The songs and background music by Yuvan Shankar Raja also suit the film well with the songs seamlessly flowing into the dialogue and some hauntingly beautiful instrumentals.

At almost 3 hours Pudhupettai is a long film and at times it does tend to drift into indulgent territory, but then it’s so well made that it’s hard to complain. This is a film that seems to get better and better with repeated viewings as more of the story becomes clear. As with most Selvaraghavan’s films, the subject matter is dark and his characters flawed, but the subject matter here suits this type of delivery and as a whole the film works very well indeed. Not one for the squeamish given the preponderance of edged weapons and gory bloodshed but for anyone who enjoys a gangster film, this is one of the best. 4½ stars.

Massu Engira Masilamani (Masss)

Masss

Venkat Prabhu is a man of many ideas – usually very good ideas – which have resulted in a number of successful films. However for his latest release Masss, he tries to cram as many ideas as possible into the first 20 minutes, and then continues to throw in yet more new ideas throughout the rest of the film. Now that’s not necessarily a bad thing, but not all of his ideas work and it’s even difficult to decide if they work or not because the film has already moved on to the next idea! As a result the confusion of the opening scenes feels like trying to cram a year’s work into 10 minutes before the start of an exam. Situations and characters flash by without a chance to work out who is who, what they are doing and how they fit into the story, and if I did have to answer questions on what was going on, I would fail miserably! However it does get better. Suriya is amazing, and his presence holds the film together even through the odd and even more oddly placed songs. The story starts to make sense and the pace slows down to manageable levels with enough comedy and action mixed in to make Masss well worth a watch and much better than the opening sequences would suggest.

Suriya plays Masilamani aka Mass, a con-man and thief who works with his best buddy Jet (Premgi) on a number of overly complicated heists that involve as much theatricality as they do actual thievery. But they make a mistake when they decide to rob a local don who takes exception to their activities. Mass and Jet only just manage to escape, but in doing so they have a serious car crash which has more implications than they first realise.

I had no idea about the story behind Masss and I think it works better when the events that occur are completely unexpected, so I will leave the details of the story there. Up to this point Suriya works his lovable rogue persona well and Premgi is relatively low-key as his best friend. After the first twist (one of many), Premgi takes more of a back seat in the proceedings which is an advantage to the storyline since he doesn’t quite have the acting chops required for such a major role, although his comedy does work well. Suriya takes centre stage and drives the story forwards with an excellent performance and plenty of charisma. There is a double role too, which is perhaps a little clichéd but still works within the format of the story. Plus double Suriya is always a benefit in my opinion (as long as they are not conjoined twins!).

Nayantara pops up as Malini, a love interest for Masss, but she has very little to do and doesn’t even manage a duet with the hero, so her role could have been skipped without too much trouble. She does look beautiful though, if perhaps a little unconvincing as a nurse, but has surprisingly little chemistry with Suriya. However I’m going to mark that down as not having any real opportunity to develop any sparkage due to the briefness of their time spent together rather than any real problem with Nayantara. Vidyullekha Raman makes an appearance as Malini’s friend and actually makes more of an impact than Nayantara, although sadly she too quickly drops out of the story. However they both fare better than Pranitha who appears totally mis-cast, or at least inappropriately dressed with terrible make-up, for her role as flash-back Suriya’s wife.

The film has a huge cast list and there are a large number of good actors who appear as assorted villains or who are part of a group who help Mass later in the film. Brahmi has a brief role as a corrupt doctor in Malini’s hospital, while Samuthirakani has probably the best realised villain role, although even he only appears occasionally. Parthiban manages a little more screen-time as a police officer on the trail of Mass and has some good one-liners while Karunas, Riyaz Khan and many others provide excellent back-up for Suriya. It seems a long time since I’ve seen Rajendran and it’s great to see him here in a small role as a member of the gang helping Mass even if again he only appears briefly.

The second half follows a more linear storyline, even with the flashback portion and the film settles down to an easier pace. What surprises me is that the film received a U certificate given that there is some fairly extreme violence and at times the film is quite frightening for a young audience, although the kids in Melbourne seem to be made of fairly tough stuff and seemed to take it all in their stride.

Masss is a little overlong and the at times it seems that Venkat Prabhu got a little too carried away with his special effect team. There are times when less really is better and there are a few moments here where more restraint would have had a greater effect. In addition, the songs don’t really fit, apart from one during the flash-back sequence and there are perhaps a few too many nods to other films in the screenplay giving the film a more derivative feel than I think it really deserves. However Suriya is excellent and the background score from Yuvan Shankar Raja makes up for any lack in the dance numbers. This is a film to watch for Suriya, the excellent support cast and for Venkat Prabhu’s occasional flashes of brilliance which occur just often enough to give Masss sufficient unexpected twists to entertain.