More than a crime drama, ‘Dabba Cartel’ works as an interesting character study of women across different strata of society.
Dabba Cartel (Hindi), 28-02-2025, Action, Drama, 7 episodes, 16+, OTT
Main Cast: Shabhana Azmi, Jyothika, Shalini Pandey, Nimisha Sajayan, Anjali Anand, and Sai Tamhankar
Director: Hitesh Bhatia
Producer: Farhan Akhar, Ritesh Sidwani, and Shibani Akhtar
Music Director: Gaurav Raina and Tarana Marwah
Cinematography: Eeshit Narain
Rating: 3/5
Hitesh Bhatia’s Dabba Cartel centres on various women across different social strata. The director is successful in creating interesting characters and also making some impactful social commentary.
More than a crime drama, Dabba Cartel works as an interesting character study of women across different strata of society.
Synopsis
There is Raji (Shalini Pandey) running a small Tiffin service with her maid Mala (Nimisha Sajyayan), this soon becomes a drug cartel service thanks to Mala.
Mala secretly distributes a certain kind of Viagra to get extra cash. As a frustrated single mother grappling with society’s degradation of her, she wants to make sure that her daughter gets the best education.
Adding to the mix is a local broker, Shahida (Anjali Anand), and Varuna (Jyothika), the wife of Shankar Dasgupta (Jisshu Sengupta), a top executive at a pharmaceutical giant. Varuna, an ex-employee of the company, is now a regular housewife. Her relationship with her husband is on the brink of disintegration.
Shabana Azmi plays Raji’s mother-in-law referred to as Baa aka Sheila. She has a dark secret of her own. Due to certain circumstances, these five women form a group. On the surface, the connection between women and a drug cartel may seem dubious but here it’s more about survival rather than power.
Strengths
Shabana Azmi in ‘Dabba Cartel’. (X)
A strong aspect of Dabba Cartel is how Hitesh Batia uses the set-up of the pharmaceutical company. It becomes a very useful accessory for women to run the drug cartel while using the Tiffin service grounded in home-cooked meals as a front.
This setup is used cleverly to play up on some of the societal norms that we reduce women to particularly homemakers.
Thankfully director Hitesh Bhatia, along with the writers Vishnu Menon and Bhavana Kher ground the narrative from the lived experience of these women. The show is shaped more by the biases which play a significant role and the subsequent decisions they make under pressure.
The show also excels in its depiction of gender dynamics. The male characters, particularly the husbands are very dismissive of their wives, particularly Shankar.
There is a brilliant confrontation between Varuna and Shankar, concerning an important revelation. This revelation acts as a major drive for Varuna.
In more ways than one Dabba Cartel is a character-driven show rather than a plot-driven one.
Flaws
A major problem with Drug Cartel is some of the patchily written tracks. For example, in the beginning episodes, a character called Chavan is given a lot of importance but is soon forgotten after a point.
Even the LGBTQ+ track involving Anjali Anand’ Shahida and Sai Tamhankar’ Preeti isn’t organically woven. Varuna’s acceptance in the group could also have been better written particularly given that she is an outsider for others.
Characterisation
Gajraj Rao in ‘Dabba Cartel’. (X)
The supposed invisibility of these housewives becomes their biggest weapon. Mention must also be made of the track involving Gajaraj Rao and an eager-to-prove police officer played by Sai Tamhankar.
Gajraj Rao’s character is an officer from Narcotics who wants to unveil the duplicities happening in the pharmaceutical company VivaLife. His detective-like persona coupled with the desperation of Sai Tamhankar’s Preeti in solving her first major case adds an interesting layer to the web show, particularly in the middle episodes.
Some of the tension-filled moments where a heist kind of mission takes place with the use of the song from the famous Excel Entertainment movie Don add a touch of mischievousness.
Performances
Shalini Pandey and Jyothika in ‘Dabba Cartel’. (X)
Not surprisingly, Dabba Cartel is mostly shouldered by its female cast with particular mention of Shabana Azmi, Nimisha Sajayan and Jyothika.
Shabana Azmi has a towering presence and portrays the role with her usual finesse, she conveys a lot through her eyes and overall body language. Nimisha Sajayan does a very good job of capturing the fiery nature of a woman from a marginalized community.
The character’s need for respect has been portrayed brilliantly by the actor. Jyothika as the seemingly happy housewife with a growing resentment is also a delight to watch.
Among the men, Gajraj Rao leaves the biggest impact as the no-nonsense investigator followed by Jisshu Sengupta.
Technical aspects
The music composed by Gaurav Raina and Tarana Marwah is funky jellying perfectly with the nature of the series.
Eeshit Narian’s cinematography is also of a very good standard. He effectively captures the rooted middle-class milieu through his lens. His cinematography is particularly impressive in the scenes of the crowded alleys and the heavy monsoons.
Final take
To sum it up Dabba Cartel doesn’t completely deliver, still, the show is worth watching for its fantastic female cast.
(Views expressed here are personal, edited by Sumavarsha)
Much like C Prem Kumar’s last Jaanu a remake of his own movie 96 this movie also explores the theme of nostalgia in a different setting. The core plot of Satyam Sundaram is about a character’s inability to remember the name of the other. This results in numerous laugh loud out moments and also a hugely poignant moment towards the end
C Premkumar’s Satyam Sundaram is a definite breadth of fresh air from the larger than life pan India movies that the Indian viewers have been subjected to. This isn’t a film for those wanting elaborate action sequences, or romantic scenes with the heroines. The main plotline of Satyam Sundaram is paper thin but what makes it work is the depiction of human emotions. It also helps that both Aravind Swamy and Karthi are in perfect sync with each other. Both the actors are a delight to watch sharing a wonderful camaraderie.
Both Aravind Swamy and Karthi are in perfect sync with each other
Satyam Sundaram begins in the year 1996. A young Satyam is forced to leave both his house and hometown due to a family dispute. The first five to ten minutes establish Satyam’s deep attachment with the house. Fast forward to many years later Satyam has a settled life in Vizag. He has zero intentions of revisiting the past due to the painful nostalgia. But a situation comes when Satyam has to attend an important family wedding, with a lot of reluctance he returns to the native village of Uddandarayunipalem set in Guntur. His plan is to give the gift and quickly get away from there, but things don’t go according to plan. Satyam bumps into Karthi’s Sundaram. Satyam doesn’t recognize who Sundaram is but puts up an act of remembering him. Sundaram treats Satyam with a lot of affection further adding to Satyam’s predicament. That night Satyam misses the bus to Vizag, but his life undergoes a drastic change.
As already mentioned, the core plot of Satyam Sundaram is the protagonist inability to remember the other person’s name. Aravind Swamy’s Satyam recognizes Karthi’s character’s name and how they are related only in the pre- climax. This could have turned out very silly in the hands of an inefficient director, but C Premkumar makes these scenarios believable. The first ten to fifteen minutes have a very sobor tone, but the movie picks up huge momentum with the entry of Karthi.
Karthi’s Sundaram has shades of what he has already done in Vamshi Paidipally’s Oopiri. Just like that film here too he is the catalyst. Still Karthi shines big time with his vibrant presence. The dubbing done for Karthi does take a while getting used to, but the actor raises many chuckles with his witty dialogues and situational humor. He perfectly embodies the idealistic and selfless nature of Sundaram. Apart from the humorous scenes Karthi also makes a striking impact in the emotional scenes too.
Aravind Swamy’s Satyam is more of an introvert with a brooding nature and this works as a perfect contrast to Karthi’s energetic persona. Aravind Swamy does a splendid job in portraying Satyam’s trauma making the viewers feel the pain. He particularly shines in the scenes of Satyam trying to remember why Sundaram is being so affectionate towards him.
Their on-screen chemistry is what drives the movie majorly. The supporting cast comprising of Devadarshini as Satyam’s wife and Rajkiran as Sathyam’s uncle have brief yet memorable characters. Rajkiran in particular is extremely affective, he would remind the viewers a lot of their own uncles.
Rajkiran as Sathyam’s uncle would remind the viewers a lot of their own uncles
The film’s music by Govind Vasantha is striking too. The translation of the Tamil lyrics doesn’t feel jarring. The song Pothoo Nee Pothoo is especially memorable. Mahendiran Jayaraju’s cinematography is also of the highest order. The atmospherics of a rural life has been skillfully captured through his lens.
Satyam Sundaram doesn’t dwell much into the characters of greedy relatives. They are strictly cardboard cutouts meant to make the viewers empathize with Satyam. However, through this subplot the director does seem to be giving a message about forgiving people and in the process overcoming bitterness leading to a happier life.
Satyam Sundaram is a must watch for those like emotionally driven narratives.
Main Cast: Rajkummar Rao, Alaya F, Jyothika and Sharad Kelkar
Director: Tushar Hiranandani
Producer: Bhushan Kumar and Krishan Kumar
Music Director: Anand Milind, Tanishk Bagchi, Sachet Parampara, Ved Sharma
Cinematography: Pratham Mehta
Rating: 3.5/5
Published in: Southfirst
There was a time when biopics on different personalities used to sell like hotcakes. Cases in point are Farhan Akhtar’s Bhaag Milkha Bhaag (2013), Vidya Balan’s The Dirty Picture (2012), and Sonam Kapoor’s Neerja (2015).
These movies raked up both critical acclaim and commercial success.
However, the genre has somewhere lost its sheen in the last few years, particularly the ones related to sports like Taapsee Pannu’s Shabhaash Mithu (2023) or even this year Maidaan (2024). The box office numbers of the Ajay Devgn-starrer are still far away from the producer’s investment.
A major reason for Indian biopics losing its sheen is the overt melodrama along with the predictable beats.
Nevertheless, director Tushar Hiranandani’s Srikanth, based on the visually impaired businessman named Srikanth Bolla, is a welcome change in more ways than one.
Sure, there is a fairytale-like structure in how Srikanth overcomes his obstacles. But, at the same time, the movie does throw light on some important things.
How we should not view differently-abled persons through the lens of pity, instead we should engage with him or her as equals.
Synopsis
‘Srikanth’ is a biography. (X)
The movie begins with the birth of a boy. The father is initially ecstatic about a son being born and rushes home.
He names him Srikanth after the famous batsman Krishnama Chari Srikanth. However, all this changes once the fact of his son being blind comes out.
In the beginning, both parents have a hard time worrying constantly about the child. Things are further compounded by neighbours and relatives who think that Srikanth has no future.
At one point, the father almost buries him alive. But better sense prevails with the wife stopping him.
The rest of the plot looks at the journey of Srikanth from just another village boy to an inspiration for many people like him.
Analysis
Generally, Indian biopics do shy away from showcasing the grey areas of their protagonists. Here too, Tushar Hiranandi surprises big time.
In the second half of the movie, Srikanth has a downfall in business because of his overconfidence and also a bitter attitude towards his business partner-cum-friend Ravi (Sharad Kelkar).
There is a scene where a media person talks about how Srikanth wouldn’t be successful if Ravi hadn’t backed him up.
This does not go down too well with Srikanth; he believes he is wholly and solely responsible for his victory.
Writers Jagadeep Siddhu and Sumit Purohit have written some crackling dialogues that stay with the viewers long after the movie has ended.
A good example of this is the sequence where Srikanth is not allowed to board the plane on account of being visually challenged. The officials insist on someone accompanying him.
How Srikanth turns the situation around with some crackling dialogues not only brings a wide smile but the lines also provide a reality check on how persons with disabilities are not treated as equals.
The monologue at the end also deserves a big thumbs up.
There are scathing remarks on how some people think that the best way to help the blind is only by making them cross the road.
Takeaways
Jyothika at ‘Srikanth’ press meet. (X)
A strong aspect of Srikanth is how the director has projected the stark contrast between India and the West regarding the education facilities for the differently abled.
There are scenes where Srikanth faces rejection for wanting to choose science, though he tops the 12th board exams. The challenges of the protagonist with the Indian educational system have been presented poignantly.
Tushar Hiranandani also does a wonderful job of showcasing the bond between Rajkummar Rao’s Srikanth and Jyothika’s Devika.
Devika was a teacher of businessman Srikanth when he studied at a special school for the visually impaired in Hyderabad.
However, her association with Srikanth goes much beyond school. She is his friend, philosopher and guide.
Devika supports him in every step that he takes but at the same time, she also gives him a reality check when needed.
The best example of this is the portion where she lambasts him for becoming insecure and bitter in the second half.
A speedbump
Rajkummar Rao in ‘Srikanth’. (X)
The love story between Rajkummar and Alaya F though comes across as a major speedbump.
Alaya F has a charming presence but her character of Swathi appears and disappears at the whim of the writers.
The blossoming of love between the two feels rather hurried. Also, there are times when the all-round abilities of Srikanth become a little difficult to digest; like the scenes where he plays basketball and cricket without any hiccups.
The romantic songs of Sachet Parampara “Tu Mil Gaya” and “Tumhe Hi Apna Maana Hai” are soothing in nature. However, the recreation of “Papa Kehte Hain” from Qayamat Se Qayamat Tak (1988) is the major highlight of the soundtrack.
Rajkummar and Jyothika excel
In the title role, Rajkummar Rao delivers an exceptional performance. The actor just disappears into the role starting from the mannerisms.
He particularly shines in the scenes of Srikanth grappling with insecurities. There is also a goofiness to Srikanth which Rajkummar brings out expertly.
Jyothika also makes a big impact bringing the right mixture of warmth and fierceness.
Sharad Kelkar plays the business partner-cum-friend with a lot of empathy.
Final take
Srikanth makes you think about how differently-abled persons should be treated as mainstream and deserve equal opportunities, just like anyone.
Despite some hiccups in the second half, ‘Shaitaan’ is a welcome return to form for Vikas Bahl after the atrocious ‘Ganapath’.
Main Cast: Ajay Devgn, R Madhavan, Jyothika Saravanan, Jangki Bodiwala, and Anngad Raaj
Director: Vikas Bahl
Producer: Ajay Devgn, Jyoti Deshpande, and Abhishek Pathak
Music Director: Amit Trivedi
Cinematography: Sudhakar Reddy Yakkanti
Run time: 2 hours 12 minutes
Genre: Horror-Thriller
Rating: 3.5/5
Published in: Southfirst
Vikas Bahl has had a roller coaster of a journey starting with Chillar Party (2011), which he directed along with Nitesh Tiwari.
His second film Queen (2013) was much acclaimed for its progressive story along with getting good box office numbers.
Shaandaar (2015) was unfortunately a massive flop, but Vikas struck back with Super 30 (2019). It was a moving drama about the mathematics teacher-educator Anand Kumar (played by Hrithik Roshan). Despite some flaws, Super 30 was a well-made inspirational drama that talked about how education should be a level playing field.
Later, though Vikas Bahl went through a rough patch with Goodbye (2022) and Ganapath (2023), Ganapath ended up being a tough one to endure for both critics and audiences.
But with his latest Shaitaan, the filmmaker has made a good comeback.
Shaitaan is based on the Gujarati film Vash (2023). Since I have not seen that, this will be a standalone review.
Combining horror with suspense is not an easy task given the clichés of the Indian horror genre. But thankfully here there are no creaking doors. The scares mostly come from the sinister plans of the antagonist.
Synopsis
Ajay Devgn in ‘Shaitaan’. (X)
Shaitaan begins with the introduction of Kabir (Ajay Devgn). His family consists of Jyothi (Jyothika), their teenage daughter Jahnavi (Janki Bodiwala) and their son Dhruv (Anngad Raaj).
The first 10 to 15 minutes are devoted to the family moments.
Soon, everything becomes topsy-turvy with the arrival of Vanraj Kshyap (R Madhavan), an expert hypnotist who puts Jahnavi completely under his spell. She obeys every command he gives.
Soon, the commands of Vanraj become increasingly dangerous to both Jahnavi and the rest of her family.
Kabir and Jyothi are helpless in front of this demonic man.
The rest of the story unravels the mystery behind what makes Vanraj so powerful and what are his motives in wreaking havoc. But the most important question is whether Kabir and his wife can save their children from this highly dangerous tormentor.
Analysis
For a film of this nature, building an effective atmosphere of dread is of utmost importance. Director Vikas Bahl scores big time in creating a sense of unease with the help of his cinematographer Sudhakar Reddy Yakkanti.
Amit Trivedi’s background music also helps big time, particularly in the portions where Vanaraj talks about his sinister plans.
Vanraj wants to control young women and make sure that they do not become rebels with a combination of black magic and science.
On occasions, the viewers are reminded of the Pied Piper story—a man who lures all the children to seek revenge on the mayor for not giving him gold as promised.
Coming back to the movie, the second half of Shaaitaan does lose its grip with some monotonous moments.
The plot is paper thin and this also contributes to some of the dogginess. Also, the psyche behind Vanraj doing these things could have been explored with more heft. But still, they do not become a major problem.
Brilliant cast
Madhavan in ‘Shaitaan’. (X)
What also makes Shaitaan work is its brilliant cast.
Ajay Devgn, as Kabir, is back in the Drishyam mode playing a determined father wanting to save his family. In spite of the obvious similarities, the actor does a terrific job of showcasing both the vulnerability and determination of Kabir.
There are many occasions where Kabir comes across as helpless and it is in these portions that Ajay particularly shines.
Jyothika is also in fine form. She plays her part with utmost honesty. A particular mention must be made of her combat scene with R Madhavan.
Janki Bodiwala is also pitch-perfect. She laughs, cries, and dances as required with absolute finesse.
Anngad Raaj is cute and his scenes with Ajay are quite adorable.
Last but not least, Madhavan is simply outstanding. As Vanaraj, the actor showcases a vastly different facet of his that audiences haven’t seen before.
Sure, he did play a grey character in Mani Ratnam’s Yuva (2004), but this performance is something else. He does a first-class job of portraying the sadistic and sinister nature of Vanraj.
The actor has had a blast in exploring the mean streak of his role.
Final take
Shaitaan is a good watch for those who are interested in stories that combine horror with suspense. The movie is also a treat for Madhavan’s fans.
2023 can be easily called as the year of Mammootty both critically and commercially. The legendary actor had three releases this year and all of them are so distinct from each other. The Malayalam film industry did not see a lot of commercial successes this year but for Mammootty, who is 70 now, 2023 will always be hugely memorable.
It all began with Nanpakal Nerathu Mayakkam (Like an Afternoon dream). The film belongs to the genre of surrealism where a Malayali man enters into a Tamil village and starts behaving like a Tamilian. Though it looked absurd on the surface the audiences thoroughly enjoyed these unexplained situations. This is majorly thanks to Lijo Jose Pollissery’s direction coupled with Mammootty’s performance.
Next up was the police procedural Kannur Squad. The film was based on a real-life accident where a bunch of police officers had to head north in order to catch and bring back some criminals. More than the story what made the film gripping was the direction of Roby Varghese Raj and also the star power of Mammootty. The actor had some powerful mass dialogues coupled with well choreographed action sequences. However, Mammootty saved the best for the year end with Jeo Baby’s marital drama Kaathal – The Core. The homosexual angle was dealt with utmost sensitivity without falling into the trap of mainstream clichés. Jeo Baby also did a brilliant job in exploring the predicament of Jyothika’s character.
Among the other Malayalam actors Tovino Thomas found both critical acclaim and commercial success with the film 2018. It was a survival drama based on the Kerala floods that had devastated the state in 2018. The film had an ensemble cast with everyone doing justice to their parts.
Regarding Tamil Film Industry Siddharth struck gold with his production Chithha. Chithha is a hard-hitting drama about the bond between Eeswaran (Siddarth) and his niece Sundari (Sahasra Sree). While Eeswaran is like a father figure to Sundari, he absolutely adores her. The backdrop of Chithha is the killings of young girls by a pedophilic serial killer. Chithha is not a movie that is easy on the eyes, it has some highly disturbing visuals but this film is a must watch particularly for those who like intense dramas based on an important social topic.
Now let’s take a deep dive into the best of Malayalam and Tamil in 2023
Malayalam
1 Kaathal – The Core
In the last few years many movies and web series have depicted homosexuality in different angles. What makes this Mammootty and Jyothika starrer refreshing is the utmost humanness with which Jeo Baby presented the situation. The life of Mathew Devassy (Mammootty) takes a drastic turn when his wife Omana (Jyothika) files divorce after twenty years of marriage.
Kaathal – The Core unfolds in a very leisurely manner. This is a movie that needs to be watched with some patience as the story takes time to kick in. But once the plot and the conflicts are established there is no looking back.
A very strong aspect of Kaathal – The Core is how Jeo Baby has dealt with the relationship of Mathew and Omana. Omana has no personal animosity towards Mathew despite not having a fulfilling relationship with him. She understands his sexual orientation and not only wants to have a life of her own but also wants Mathew to make peace with his sexuality. There is an inherent decency in the way both the characters have been written and that is what makes this marital drama refreshing.
The courtroom portions also have some impactful dialogues and scenes. Mammootty undoubtedly deserves all the accolades that came his way. It is not just about accepting a path breaking role but the veteran actor also did a brilliant job in showcasing different emotions. Jyothika also stood tall with her graceful performance. On many occasions she lets her subtle expressions do the talking. Another actor worth mentioning here is R.S Panicker as Mathews’s dad Devassy. There is a heartbreaking scene between him and Mammootty when the latter apologises for forcing his son to get married in spite of knowing his son’s feelings.
2. Nanpakal Nerathu Mayakkam
In this film Mammootty played a man called James returning with his family from a pilgrimage. He has a peevish personality in terms of easily getting irritated and always being doubtful about people even if they do some good to him. On the way back from the pilgrimage James tells the driver to stop the vehicle at a certain place when others are in deep sleep. He walks straight into a Tamil Village and starts behaving like a Tamilian man called Sundaram. Everyone is puzzled but they wait patiently to understand who the man is because he was behaving exactly like the missing Sundaram. This leads to many amusing situations with both his old and new families.
Nanpakal Nerathu Mayakkam is one of those films where audiences can interpret the story in different ways because director Lijo Jose Pellissery does not give any explanation for the behavior of James. There is no particular medical condition that you can pin point and as a result the audiences are constantly playing a guessing game. This is a major plus for the film.
Cinematographer Theni Eshwar also did a brilliant job in capturing the beauty and the quirks of the village through his lens. There is surrealness to the frames. What also made the transformation of James into Sundaram a smooth process was Mammootty’s incredible performance.
3. Kannur Squad
Roby Varghese Raj’s Kannur Squad is a solid police procedural that engages the viewers in spite of some generic mainstream elements. The film is based on the real-life incidents that happened in Kannur between 2007 and 2013.
Roby Varghese struck a perfect balance between the commercial tropes and the grittiness needed for the subject. Mammootty in this film is ASI George who leads a special investigative team.
Kannur Squad takes a little time to get going but gathers momentum soon when the plot moves into a thriller mode. What also works for the Kannur Squad are the back stories of the team members. They have been well written and add a certain weight. An interesting aspect of Kannur Squad is that one of the officers is facing serious corruption charges but is still on the investigative team. Certain rifts happen in the team at a crucial juncture because of this.
A particular stretch that has to be mentioned here is the one involving the Tikri village in U.P. The action sequences in the dark were brilliantly shot. As viewers there is a certain tension that we feel about the safety of these police officers.
The role of a police officer is not new for Mammootty but the veteran actor shined bright as the determined squad leader. There are some delightful massy moments also involving Mammootty which the actor pulled off with great panache.
4. 2018
Jude Anthany Joseph’s 2018 is a well-made survival drama that engrosses the viewers throughout. The film is set in the village of Aruvikkulam. The first half an hour is devoted to establishing the lives of the villagers. Tovino Thomas plays a former army soldier. He drops out of army as he feared death. Among the other cast members there is Lal and Narain (Mathachan and Winston) respectively. They make a living through fishing.
For a survival drama like this it is imperative that the technical department puts its best foot forward. Thankfully the atmospherics of 2018 are solid. The VFX team in particular deserves appreciation as they successfully created a chilling atmosphere. Cinematographer Akhil George’s work is also A class.
Apart from extracting solid performances Jude Anthany Joseph also did a wonderful job in showing the unity between villagers in times of crisis across caste, religion and politics.
One area where 2018 could have been better is showcasing the role of the government and the media during those tough times. While the performances were brilliant all round Tovino Thomas deserves a particular mention for how he portrayed the different shades. His character transitions from fearing death to becoming a brave man who fights against all odds.
5. Thuramukham
Rajeev Ravi’s Thuramukham is a hard-hitting tale of the workers movement in Kochi. The film is based on the real-life incidents that happened in Mattancherry area. Apart from the exploitation of the workers Rajeev Ravi also showed how the headmen and the bosses pit the poor against each other.
What makes Thuramukham even more compelling is how the director integrated a family drama into this narrative. Mymood (Joju George) is a worker who is forced to leave Mattancherry because he raised his voice against the work site supervisor ‘moopan’. Moopans are part of a nexus that ensure the ‘Chappa system’ prevailing in the harbor. As a result of his leaving his wife Umma is forced to bring up their three children on her own. While the elder son Moidu becomes the leader of a gang working for the cruel contractors, the second son Hamsa joins the union fighting against the Chappa system.
In spite of the lengthy running time and the leisurely pace Thuramukham is a must watch for how Rajeev Ravi has documented the struggles of poor and oppressed in the format of a commercial pot boiler. He brings to life an important chapter in history that is forgotten. The cinematography and the music are in perfect sync with the rustic nature of the film. The director has done a good job in capturing the spirit of those who fought for labour rights.
The performance of the actors across the board also adds a lot of power with specific mention to Nivin Pauly and Poorna Indrajith.
Now to the best of Tamil films in 2023
1. Chithha (Uncle)
S.U. Arun Kumar’s Chithha is a powerful film on many levels. On one hand it is a solid emotional drama about a strong bond between a doting uncle Eeswaran and his niece Sundari (Sahasra Shree). S.U Arun does not waste any time in establishing how Eeswaran is a father like figure to Sundari. He bathes her and also combs her hair. On the other hand the film also offers a fresh perspective on how to help a sexual assault victim. It is not just only getting angry and swearing to take revenge.
The film also touches upon how men and women react differently to a crisis and what kind of approach they adopt. Nimisha Sajayan plays Sakthi. She and Eeswaran had a misunderstanding in the past but in the present they end up falling in love all over again. Their romance has some fine moments of tenderness that acts as a soothing balm to this otherwise grim story. However, Nimisha’s role is not pertained to just being a love interest. There are scenes where she asks some important questions and nudges Eeswaran to not get swept away in his aggressiveness. Chithha is for most part is a disturbing yet gripping watch but there are some scenes which needed trimming. These portions include the scenes of Sundari and the kidnapper. The very thought of a little girl being held captive by a serial rapist is hair-raising thought in itself.
2. Farhana
Farhana headlined by Aishwarya Rajesh and directed by Nelson Venkatesan is a gripping thriller about human psyche. In Farhana Aishwarya Rajesh played a middle-class housewife who joins a bank call center. Her husband and father in law run a shoe shop but the money isn’t sufficient for Farhana to manage the household. Farhana is initially reluctant to go for the interview but she gets through the exam with distinction marks.
In order to earn more money she shifts from the bank call center to a friendship chat center. Initially the lewd talks from the male callers disturb Farhana but soon she comes across a caller who talks to her in a sympathetic and sweet manner. She feels overwhelmed as she is not used to this kind of affection. But soon the story takes a dark turn.
A big strength of Farhana is how the title character has been written and performed. Farhana starts off as shy and under-confident but soon the character undergoes many changes and Aishwarya Rajesh did a brilliant job in showcasing the various nuances. The thriller elements were also very well done. The backdrop of this mystery man and how he ends up being a tormentor has some chilling moments. Similarly, how Farhana uses technology to get even with her tormentor gives a lot of high. In the second half the screenplay does become loose with some unconvincing scenes involving the husband but there is no denying that this thriller/drama packed a huge punch.
3. Por Thozhil (The Art of War)
Por Thozhil is a gripping whodunnit about two policemen whose working methods are very different from each other. On one hand there is Prakash (Ashok Selvan) who is heavily bookish. His way of doing an investigation is majorly inspired from the crime novels that he has read. Loganathan (R. Sarathkumar) is blunt and has little patience for the bookish ways of Prakash. Naturally they do not get along well but during the course of an investigation they end up forming a bond while coming across some shocking revelations.
In most psycho thrillers the theme of a disturbed childhood plays a key role. This one also touches upon a similar theme but the gripping execution of Vignesh Raja makes sure that the audiences don’t feel a sense of de javu.
Late Sarath Babu’s role is a major highlight of Por Thozhil. His character has been well designed and the actor has done a terrific job in evoking fear. As far as the two main policemen are concerned both R. Sarathkumar and Ashok Selvan have done a wonderful job. Jakes Bejoy’s background score coupled with Kaliselvan’s cinematography elevate the drama further.
