Amaran: A well-made war drama with an outstanding Sivakarthikeyan

Amaran ticks all the boxes of a typical army movie. As viewers you know where the film is headed still the tight writing coupled with the performances make it an engaging watch. Sai Pallavi as Indu Rebecca Varghese adds an emotional depth to her mostly one note character
  • Starcast: Sivakarthikeyan, Sai Pallavi, Bhuvan Arora, Rahul Bose, Geetha Kailasam and others
  • Direction and screenplay: Rajkumar Periyaswamy
  • Additional screenplay: Stefan Richer
  • Based on: India’s Most Fearless: True Stories of Modern Military Heroes
  • Producers: Kamal Haasan, R Mahendran and Vivek Krishnani
  • Production Companies: Raaj Kamal Films International and Sony Pictures Films India
  • Cinematography: CH Sai
  • Music: GV Prakash Kumar
  • Running time: 2 hours and 49 minutes

Rajkumar Periyaswamy’s Amaran follows a certain template particularly the beats of Adavi Sesh’s Major. Just like the protagonist of Major here too the hero Mukund decides at an early age that he will join the army. Unlike both parents who are not happy with their son’s decision in Major, here the father is quite supportive. The mother though prays to God that he should fail the army test which of course doesn’t happen. There is also the angle of the future in laws who are dead against their daughter marrying an army man. The death of Major Mukund while battling a deadly enemy is also something that the viewers can see from a mile. In spite of the predictable scenarios Amaran touches an emotional chord particularly for those coming from army families. Even if you aren’t a fan of movies with army background Amaran is still enjoyable.

Amaran follows a certain template particularly the beats of Adavi Sesh’s Major

Amaran is told from the perspective of Major Mukund’s wife Indu Rebecca Varghese (an excellent Sai Pallavi). How love blossomed between them in Madras Christian college. Indhu has a major stage fear which Mukund helps her overcome. The movie plays like a series of flashbacks showing the different facets of Mukund as a son, lover, husband, father alongside his various roles in the army.

Sivakarthikeyan and Sai Pallavi in Amaran

The heart of Amaran is the love story and the director has done a wonderful job in showcasing the various stages of the relationship. The tender moments between Mukund and Indhu make the viewers wish that the real-life story had panned out differently. A couple of scenes worth mentioning here are the one where Mukund leans on Indhu’s shoulder saying that he didn’t think military training would be this tough and wants to sleep on her shoulders for a while. Similarly, there is an adorable video call where Mukund calms down Indhu’s tensions making her temporarily forget the kilometers of distance between them.

Mention must also be made of the dynamics between Indhu and Geeta Kailasam’s Geetha Varadarajan. Initially Geeta is dead against their marriage and even tries to sabotage the relationship but soon they become thick friends. The commonality between them is the pain of separation and the underlying love for Mukund.

A major portion of Mukund’s military life is set amidst the backdrop of political insurgency in Kashmir. The numerous battles of CRPF in dealing with the militant outfits has been well documented. There are scenes of Indian army working closely with the camps of ex militants wanting to start a fresh life. A few members of the Kashmiri youth are also seen working in the Indian army which doesn’t go down well with a certain community.

There are lines hinting on how the tension filled atmosphere is due to the people sitting in the government. The film also gives a brief glimpse into the emotional turmoil of the militant families. However, the presentation of Kashmir conflict needed greater depth. At the end of day Rajkumar Periyaswamy reduces the decades long upheaval to a superficial good versus bad saga. For example, the scenes of stone pelting are shown to be an act of terrorism ignoring the fact that it is also a form of protest. In its quest to honor Mukund’s bravery the political complexity of the issue is sidetracked.

Talking about the fights the movie has some well-choreographed combat sequences like the scene where Mukund’s fellow army man cum friend leaps on to a grenade with only a wooden board as a shield. Even the pre climax of Mukund battling with the enemy in a confined space is thrilling. Cinematographer CH Sai deserves distinction marks for a job very well done. He does a wonderful job in capturing both the scenic beauty of Kashmir and also the ambush sequences. GV Prakash Kumar’s background score is another asset for the movie particularly in the action sequences. The songs are quite melodious.

The role of major Mukund is truly a game changer for Sivakarthikeyan. It is vastly different from what he usually does, he springs a very pleasant surprise transforming from a boy next door in the initial portions to a brave army man. The best part of Sivakarthikeyan’s performance is how he manages to convey a certain sense of vulnerability and humanness underneath the tough exterior. For example, there is a scene in the second half where he tears up pleading with the senior officer by Rahul Bose. Sai Pallavi as already mentioned plays a mostly one note character a constant cheerleader for the husband however adverse the circumstances are. In the hands of a weak actor Indhu would have been annoying but given Sai Pallavi’s acting prowess she adds a lot of emotional depth with her nuanced act. She is particularly good in the breakdown scene post Mukund’s death.

Sivakarthikeyan as the brave army man
Sai Pallavi adds a lot of emotional depth with her nuanced acting

The supporting cast comprises of actors in small yet significant parts. Geeta Kailasam as the mother makes a striking impact. Among the actors playing Mukund’s colleagues Bhuvan Arora does a wonderful job. Rahul Bose as the senior officer brings in the required authority and a sense of empathy. Talking about Mukund’s scenes with the colleagues a mention must be made of the portion where Mukund and his fellow men discuss about movies with references to Thuppakki and Fahadh Fassil. The camaraderie has come out well.

To sum it up Amaran makes for a satisfying war drama in spite of some glitches.

Neeyat: A Concoction Of Agatha Christie And Sherlock Holmes That Produces More Groans Than Thrills

Director Anu Menon creates the right atmosphere, thanks to the art direction and cinematography, but flounders when it comes to storytelling.

Flat direction!
Neeyat (Hindi)
  • Cast: Vidya Balan, Ram Kapoor, Shahana Goswami, Shashank Arora, Amrita Puri, and Shefali Shah (special appearance)
  • Writer-Director: Anu Menon
  • Producer: Vikram Malhotra
  • Music: Mickey McCleary
  • Runtime: 2 hours and 10 minutes

Director Anu Menon’s Neeyat (Motive) is a solid example of how making a mystery film is not everyone’s cup of tea. Apart from the Agatha Christie and Sherlock Holmes hangover, the film also reminds you of Daniel Craig’s Knives Out (2019).

Neeyat also has a minuscule semblance to the pilot episode of Vishal Bharadwaj’s web series Charlie Chopra & The Mystery of Solang Valley (2023).

Well, there is nothing wrong with getting influenced by the works of others provided you make a compelling film. But Anu Menon’s Neeyat provides very few thrills. In fact, the thrills can be counted on your fingertips.

Synopsis

The film’s plot revolves around a fugitive billionaire Ashish Kapoor (Ram Kapoor).

It is easy to guess that he is modelled by several businessmen who have committed financial fraud and escaped from the country. His over-ambitious behaviour causes many innocent employees in his company to commit suicide.

Ashish Kapoor has a beautiful mansion by the seaside in Scotland. He decides to celebrate his birthday there with close family members and friends. They all have their inner demons.

Present at this party is also the supposed CBI officer Meera Rao (Vidya Balan).

Things take a drastic turn when Ashish Kapoor is found dead under the sea. What follows is a whodunnit where each member is a suspect.

Ram Kapoor & Rahul Bose stand out

There are only a few actors who stand out in this ensemble cast.  Chief among them is Ram Kapoor and Rahul Bose.

Ram Kapoor plays the power-hungry billionaire with panache. He does a swell job of capturing the eccentrics of Ashish.

Rahul Bose also has his moments playing Ashish Kapoor’s brother-in-law Jimmy. His character is a caricature but Rahul Bose makes it land with his enthusiasm.

Last but not least, Shefali Shah, in a special appearance, packs a far bigger punch than Vidya in the entire film.

There are a couple of twists that do take you by surprise — one of them is Ram Kapoor’s character and the other is Vidya Balan’s. But these twists come so late that the audiences are exhausted by that time.

Dragged narrative

As mentioned earlier, Anu Menon does create the right atmosphere. This is majorly thanks to Lydia Moss’s art direction and the cinematography by Andreas Neo.

They both are successful in creating a tension-filled atmosphere. This atmosphere adds more depth to the story than the direction.

Ashish Kapoor’s mansion is also a character in itself.

However, a big issue with Neeyat is the dragged narration of Anu Menon. The film takes a long time to get to the point. The pacing is slow and some layers have been unnecessarily added.

Neeyat also tries to make social commentary on how the employees are left in a lurch because of these power-hungry billionaires, driving them to suicide. But these portions don’t make any impact because of the flat direction.

Another major problem with Neeyat is how Vidya Balan goes about her role as Meera Rao. The energy needed for a female Sherlock Holmes is absolutely missing. Vidya plays her character with unenthusiasm.

Verdict

In all, Anu Menon’s Neeyat produces more groans than thrills.

(Views expressed here are personal.)

Salaam Venky: Venky’s Spirit Deserves A Salute, But Not The Film

Too much melodrama!

Salaam Venky (Hindi)

  • Cast: Kajol, Vishal Jethwa, Ahana Kumra, Rahul Bose, Rajeev Khandelwal, Prakash Raj, Anant Mahadevan, Priya Mani, Kamal Sadanah, Maala Parvathi, Ridhi Kumar, Aneet Padda, and Aamir Khan (special appearance)
  • Director: Revathy
  • Producers: Suraj Singh, Shraddha Agrawal, and Varsha Kukreja
  • Music: Mithoon
  • Runtime: 2 hours 17 minutes

Salaam Venky, directed by Revathy, reminds the audiences of several films, including Sanjay Leela Bhansali’s Guazaarish.

In fact, the debate surrounding euthanasia (mercy killing) in this Kajol-starrer is inspired by Bhansali’s directorial.

However, to Revathy’s credit, she also brings the angle of organ donation through the protagonist.

The other significant influence is the 1971 classic Anand.

The protagonist, Venky, is heavily influenced by the late Rajesh Khanna’s philosophy in Anand. He firmly believes that “life must be big irrespective of the longevity”.

In Salaam Venky, Revathy tries to merge these two aspects, but it is not entirely successful.

There are some truly heartfelt moments, including an extended cameo of a big actor. However, the film never achieves its full potential.

The storyline

For those who are not aware, the story of Salaam Venky is inspired by the novel Last Hurrah. The novel itself was inspired by the true story of the 24-year-old chess player Kolavennu Venkatesh.

The movie follows the journey of a patient with the life-threatening condition DMD (Duchenne Muscular Dystrophy), which weakens the muscles from an early age.

Vishal Jethwa is Venkatesh Krishnan aka Venky. His mother is Sujatha Prasad (Kajol).


Venky was expected to live only 16 years. But his zest for life coupled with Sujata’s efforts made him reach 24; however, his death is now imminent. It is only a matter of time.

Venky wants to donate his organs before he dies and urges his mother to appeal for euthanasia. Naturally, Sujata is unwilling as she has not given up on her son yet.

But soon, she reconciles with this bitter truth and accepts her son’s wishes. She finds a lawyer named Parvez Alam (Rahul Bose) with the help of Dr Shekhar (Rajeev Khandelwal).

The court agrees to hear the case but there is still a long way to go. Of course, Venky loses the case but he sparks a much-needed debate.

Apart from the aforementioned characters, there is also Aamir Khan in an extended cameo. But only Kajol can see him!

What really worked?

Before getting into the negatives, it is necessary to say a few things about what works for the film.

Revathy extracts solid performances from most of her cast.

Kajol is resilient and vulnerable in equal parts. She balances both these aspects wonderfully. She is particularly good in the scenes where she is battling her inner demons.

However, the scene-stealer is easily Vishal Jethwa. He does a successful U-turn from his roles in Mardaani 2 and the web series Human, showing good range.

The filminess of Venky’s character would have been grating in the hands of a less capable actor, but Vishal more than rises to the occasion.

His cheerful attitude in the face of adversity does bring a smile to your face.

A particular mention must be made of Venky’s scenes with his love Nandini (Aneet Padda). They are heartwarming and provide some much-needed respite.

One of the other subplots worth mentioning here is the one between Kajol and Aamir. Aamir has a mysterious presence and whenever he appears, there is curiosity in the minds of the audience.

The scenes between the two are few, but they leave a solid impact. Aamir, in an extended cameo here, is more watchable than in his last two ventures.

What didn’t work?

The second half is definitely more gripping than the first. The courtroom scenes between Rahul Bose and Priya Mani, the opposing lawyer, have some meat.

The arguments for and against euthanasia along with organ donation give the film some of its best moments.

However, the biggest issue with Salaam Venky is the tone that Revathy adopts, particularly in the first half. There is too much melodrama, which is not really needed, given the explosive content.

Additionally, the dialogues with filmy references feel overdone after a particular point. On more than one occasion, these dialogues come across as cringe rather than fun.

Some of the other subplots could have also been avoided. The case in point is Venky’s father, who makes an unnecessary comeback, only to disappear after showing how insensitive he was as a father and husband in the flashback.

Aahana Kumara as the TV reporter also doesn’t add much to the plot. The TV debates shown are artificial.

Music by Mithoon is pleasant, but the songs could have been more heartfelt.

Overall, Salaam Venky has all the right ingredients, but the garnishing is the problem!