Category: Movie Reviews

Posted on

Pushpa 2: The Rule: Watch it for Allu Arjun’s wildfire performance, Fahadh Faasil’s eccentric act

‘Pushpa 2: The Rule’ is a definite improvement over the first one but needed a tighter edit particularly the elongated action sequences which don’t serve much purpose other than establishing Pushpa’s invincibility.
Pushpa 2: The Rule (Telugu), 05-12-2024, Action, Thriller, 3 hours 20 minutes, U/A, Theatre
  • Main Cast: Allu Arjun, Rashmika Mandanna, Fahadh Faasil, and Sunil
  • Director: Sukumar
  • Producer: Naveen and Ravi Shankar
  • Music Director: Devi Sri Prasad
  • Cinematography: Miroslaw Brozek
  • Rating: 3/5

It goes without saying that Pushpa 2: The Rule is one of the most anticipated commercial films of 2024, after the first part Pushpa: The Rise became a huge success across India.

Allu Arjun’s swag and mannerisms, coupled with the rustic, atmosphere found many admirers despite the problematic aspects. With Allu Arjun winning the National Award, expectations have increased multifold.

Synopsis

Pushpa 2: The Rule is a definite improvement over its predecessor. The relationship between Allu Arjun’s Pushpa and Rashmika Mandanna’s Srivalli is far better etched in this one. The chemistry is very much spot on giving the movie some of its best moments. At the same time, there are deficiencies too which I will elaborate on later.

Pushpa 2: The Rule takes off from the first one’s dramatic finale involving Allu Arjun and Fahadh Faasil. From a daily wage worker, Allu Arjun’s Pushpa has now become a very influential person in the smuggling syndicate.

In the second part, the viewers see two shades of Pushpa: one as a doting husband, and two as a kingpin who has maintained his status amidst the return of Fahadh Faasil’s Bhanwar Singh Shekwat and some other old enemies. The second part primarily focuses on the rivalry and how Pushpa maintains his hold while being a perfect husband.

What works and what doesn’t

Allu Arjun and Rashmika Mandanna
Allu Arjun and Rashmika Mandanna. (X)

A strong aspect of Pushpa 2: The Rule is undoubtedly the husband and wife scenes. There is playfulness to their interactions making the scenes adorable. Apart from the light moments, there are also some well-written and enacted emotional ones.

A particular mention must be made of a hugely poignant moment after Allu Arjun’s intense dance in the Jathara episode.

Rashmika’s Srivalli is a strong emotional anchor for Pushpa, and this has come out well in numerous scenes like the lengthy monologue. The actor does a wonderful job of showcasing Srivalli’s different shades.

The rivalry between Allu Arjun and Fahadh Faasil is also entertaining to watch. A major reason for that is the crackling dialogues whether it is the intense portions or scenes underlined with humour. Fahadh in the first part got a raw deal but in this one, the actor gives a memorable act.

He perfectly portrays both the eccentric nature and also the simmering anger. Fahadh Fassil makes for a very worthy antagonist.
Another strong aspect of Pushpa 2: The Rule is the portions tying up Pushpa’s baggage of being an illegitimate child. Director Sukumar has given a touching closure to this angle.

An emotional breakdown featuring Ajay as the elder brother is wonderfully written and enacted.

Coming to the flaws, a major problem with Pushpa 2: The Rule is the portrayal of Allu Arjun as an invincible man someone who can defeat anyone and can never lose.

The action sequences by nature are very much over the top and this does become a hindrance more so for those who don’t enjoy larger-than-life heroes. Also, the movie’ wafer-thin storyline doesn’t warrant the huge running time. Editing needed to be much tighter, especially in the second half.

Performances

Allu Arjun in Pushpa 2 The Rule
Allu Arjun in ‘Pushpa 2 The Rule’. (X)

Coming to the main man Allu Arjun successfully takes off without any hiccups. It is clear that Allu Arjun has made Pushpa his own; his outstanding act is easily the strongest pillar of the movie. He not only sells the superhero nature of the role, but also shines equally in the emotionally charged moments.

Talking about his dance in the Jathara sequence, spellbinding would be an understatement. He brings so much depth with those eyes and overall body language. With this film, Allu Arjun once again shows why he is not just a star but also a powerhouse performer who deserves the national award bestowed on him.

Technical aspects

The cinematography of Miroslaw Kuba Brozek is of the highest order. The intensity of the action sequences along with the thrilling night scenes in the forest has been wonderfully captured by him.

Devi Sri Prasad’s music doesn’t completely match up to the first part, but the songs have their moments. Tracks like “Sooseki” and “Peelings” make for a good watch.

Final take

All said and done Pushpa 2: The Rule is a treat for die-hard Allu Arjun fans and action lovers.

(Views expressed here are personal, edited by Sumavarsha)

https://thesouthfirst.com/entertainment/telugu/pushpa-2-the-rule-movie-review/

Posted on

All We Imagine As Light: A compelling slice of life drama about female friendships along with the hustle and bustle of Mumbai

  • Starcast: Divya Prabha, Kani Kusruti, Chhaya Kadam, Hridhu Haroon and others
  • Director and writer: Payal Kapadia
  • Producers: Thomas Hakim and Julien Graff
  • Production Companies: Petit Chaos, Chalk &Cheese Films etc
  • Cinematography: Ranabir Das
  • Music: Topshe, Guebrou etc
  • Running time: 2 hours and 4 minutes
  • Genre: Slice of life/drama

Payal Kapadia’s All We Imagine As Light can be categorized into two parts. The first half focuses primarily on the tough lives of migrant workers, people coming from far off places trying to make a place for themselves in alien surroundings. In this case it is the busy city of Mumbai where numerous people come from different areas trying to make a living. In the second half there is a tonality shift as it focuses on two of the central characters coming out of their closet and taking a stand. This mixture of themes is not seamless, still there is a lot to savor particularly for those who enjoy layered stories.

All We Imagine As Light majorly focuses on the lives of three women headed by Prabha (Kani Kusruti), she is head nurse in Mumbai hospital. Prabha was abandoned by her husband a long time back. From the outside she may appear unaffected but there is an unspoken loneliness. Then there is the rebellious Anu (Divya Prabha). Anu is trying to establish herself in this city of dreams, she is in love with a Muslim man which can lead to dangerous consequences. Lastly there is Chhaya Kadam’s Parvati, Parvati also works in the same hospital. She is asked to vacate the apartment by the property developers who want to construct a big building in that place. Parvati has been living in Mumbai for a very long time, yet she is not able to prove that the house is hers. Upon losing the battle she returns to her native seaside village. Anu and Prabha go to help her in relocating, leading to a significant change in their lives.

All We Imagine As Light majorly focuses on the lives of three women

A strong aspect of All We Imagine As Light is how Payal Kapadia captures the struggle of immigrants. She portrays the sense of alienation which outsiders feel even after staying so many years in their city of dreams. In fact, the city of Mumbai becomes a major character in itself. The divide between the haves and have nots has been explored subtly. The duality of a big city like Mumbai where there is both belonging and alienation has a gritty feel.

What also makes the first half an immersive experience is the cinematography of Ranabir Das. Through his lens he skillfully captures both the race of life and also the loneliness of the people living there.

The wonderful characterization of all the three women is another big strength of the movie. They have distinctive traits making the movie very engrossing. The chemistry between the three actresses is an icing on the cake. The sisterhood comes out strongly, it has a lived-in feel adding to the immersive experience.

The director also deserves credit for how she portrays the loneliness and vulnerabilities with simple, yet very effective scenes. For example, in one scene Prabha is seen embracing a rice cooker. This simple act brilliantly conveys Prabha’s yearning for sex/husband’s touch.

As already mentioned, the second half has a tonal shift which slows down the movie. There is a scene of extended intimacy between Anu and her Muslim lover in the beach. This stays on for a little too long. Similarly, there is a confusing bit where Prabha saves a man who is initially suspected to be dead. The purpose of this bit takes a while to understand, at one point the viewers may think that this man is actually the husband who had abandoned her, but it turns out to be something else. This illusion proves to be an effective catalyst in Prabha getting over her past, but again it slows down the proceedings considerably. Crisper editing in both the above-mentioned portions would have made the film better.

It goes without saying All We Imagine As Light majorly runs on the shoulders of the three leading ladies. The trio are in fantastic form delivering brilliant performances. Kani Kursuti as Prabha gave a nuanced performance conveying her loneliness and the unspoken desires. Divya Prabha’s chirpiness works as a perfect foil to Kani Kursuti’s restrained act. She effortlessly portrays both the free-spirited nature as well as the inner conflicts. Chhaya Kadam successfully takes off from her feisty act in Laapata Ladies. She does a wonderful job in bringing out both her inner strength and also a palpable sadness. Her efforts to preserve her home and dignity amidst the mounting pressures gives the movie some of its best moments.

Chhaya Kadam in All We Imagine As Light. She successfully takes off from her feisty act in Laapata Ladies

All We Imagine As Light is a poignant take on resilience, female friendships and the power of healing through shared experiences. In spite of the bumpy second half this movie deserves a watch on the big screen.

Posted on

I Want To Talk: Not Shoojit Sircar’s best, yet this tale of determination and resilience is worth watching

Abhishek Bachchan delivers an extraordinary performance rising above the uneven storytelling. The father and daughter dynamics are the movie’s strongest suit.
I Want To Talk (Hindi), 22-11-2024, Drama, 2 hours 2 minutes, U/A, Theatre
  • Main Cast:Abhishek Bachchan, Ahilya Bamroo, and Johny Lever
  • Director: Shoojit Sircar
  • Producer: Ronnie Lahiri, Sheel Kumar
  • Music Director: George Joseph, Koyna
  • Cinematography: Avik Mukhopadhayay
  • Rating: 3/5

Shoojit Sircar, known for his films like Piku (2015), October (2018) and Sardar Udham Singh (2021), focuses primarily on grief, death and hope.

His latest release I Want To Talk also dabbles with similar themes. In fact, it feels like an extension of his previous films, so much so that, some parts of Abhishek Bachchan’s characterization have a hangover of Amitabh Bachchan in the engrossing Piku.

Synopsis

Based on an incredible real-life story, I Want To Talk focuses on Abhishek Bachchan’s Arjun Sen. Arjun is a typical marketing man who can manipulate customers with ease.

He has given more importance to rising high in his career, and as a result, his personal relationships aren’t in the best shape.

The story takes a turn when Arjun’s professional career hits rock bottom when he is diagnosed with a particular type of cancer.

His doctor, Dr Deb played by Jayant Kriplani, gives him a timeline of just about 100 days leading to a major metamorphosis in Arjun Sen’s life.

This is the story in brief.

Abhishek as Arjun Sen

Abhishek Bachchan in I Want To Talk
Abhishek Bachchan in ‘I Want To Talk’. (X)

A story like I Want To Talk relies a lot on how well your central character showcases the gamut of emotions. And Abhishek Bachchan is easily the movie’s biggest strength. He gets into the skin of the role.

It is a character filled with many layers and Abhishek makes sure that the viewers root for him in spite of the fact that Arjun isn’t always likeable.

How he portrays the initial hopelessness to eventually transform himself into a fighter is simply outstanding.

Father daughter dynamics

The actor particularly shines in the scenes with the daughter played by the fantastic Ahilya Bamroo.

The way he portrays Arjun’s possessiveness and the attempts to reconnect with the daughter is heart-touching.

Ahilya Bamroo more than holds her own opposite Abhishek. She wonderfully conveys the emotional turmoil of a teenage daughter caught in a complex situation.

The intense scenes between her and Abhishek are a delight to watch. Underneath the anger, there is also a tenderness which comes out strong.

Apart from the father and daughter dynamics mention must also be made of the equation between Arjun and Dr Deb. The scenes between them have shades of humour particularly the portions of banter.

A scene which deserves a particular mention is when Arjun crashes into Dr Deb’s Sunday lunch and comes to know that most of his stomach has to be cut. Jayanth Kriplani as Dr Deb plays his part with a lot of warmth giving the movie some of its best moments.

What doesn’t work

A major issue with I Want To Talk is its way too languid pace. The movie feels way too slow with some repetitive shots. The film also needed a much better exploration of Arjun’s relationship with his ex-wife.

It comes across as a side note adding little heft. The portions featuring Johny Lever also drag down the movie significantly.

The attempt to infuse humour into a morbid subject like this doesn’t always land, unlike an October.

A movie like this hasn’t got much place for music, still, the tunes are lacklustre, to say the least.

On the other hand, Avik Mukhopadhyay’s cinematography is of a fine order. He does a fine job of capturing the various moods of the protagonist through his lens.

Final take

Overall I Want To Talk leaves something to be desired. Given the emotional core of the subject, the film could have been much more, yet Abhishek Bachchan’s stand-out act along with the main message of fighting against all odds make it worth watching.

(Views expressed here are personal.)

https://thesouthfirst.com/entertainment/i-want-to-talk-movie-review/

Posted on

Matka: Karuna Kumar’s gamble is a weak game marred by predictable scenarios and flat storytelling

‘Matka’ is technically proficient with special mention to the cinematography department but suffers from the regular clichés of a gangster movie. Varun Tej does his level best managing to rise above the ordinary material but it isn’t enough to salvage the movie.
Matka (Telugu), 13-11-2024, Action, Period, Thriller, 2 hours 39 minutes, U/A, Theatre
  • Main Cast: Varun Tej, Meenakshi Chaudhary, Nora Fatehi, and Naveen Chandra
  • Director: Karuna Kumar
  • Producer: Vijender Reddy Teegala and Rajani Talluri
  • Music Director: GV Prakash Kumar
  • Cinematography: Kishor Kumar
  • Rating: 2/5

Four films old, director Karuna Kumar has created a niche with Palasa 1978 (2020) and Sridevi Soda Centre (2021). Both dealt with the themes of caste and class in a hard-hitting manner.

With Matka, the director has moved out of his usual space making a gangster movie based on a real-life Matka gambler Ratan Khetri.

The attempt to get mainstream acceptance is clearly visible. However, the movie feels like a stale leftover of other films in the same space.

Synopsis

The slight freshness in Matka only comes from the gambling background and the huge dent it left on the Indian economy. However, this aspect isn’t enough to save the film as the movie lacks the major highs needed for this genre.

In simple terms, the story of Matka is set in the background of Visakhapatnam between 1958 and 1962. It traces the journey of Varun Tej’s Vasu, coming to the city as a refugee and how the tough circumstances shaped his journey as a gambler and gangster.

One of the very few positive aspects of Matka is the recreation of the bygone era. Cinematographer A Kishore Kumar does a wonderful job of capturing both the retro vibe and also the various timelines through his lens. Special mention must be made of the scenes in the market yard.

Analysis

Matka is written and directed by Karuna Kumar
‘Matka’ is written and directed by Karuna Kumar. (Instagram)

The first half is mostly a slog given the predictable scenarios and not much effort being made in showcasing the graph of the protagonist. It is just a series of moments to establish Vasu’s heroism. At regular intervals, slides flash indicating a change in the passage of time but this technique comes across as superficial trying to hide the lack of depth.

The movie only gets interesting when it showcases the network of Matka gambling. How much money was made out of this and the consequences of this dangerous game engage the audiences for a while. The addiction of people towards gambling though set in 60’s feels contemporary.

The CBI investigation headed by an earnest Naveen Chandra has its moments too. But this also doesn’t last for long as the movie gets back to being a formulaic fare.

The love story between Varun Tej’s Vasu and Meenakshi Chaudhary’s Sujatha should have been the emotional backbone of the movie; unfortunately, the drab writing plays a spoilsport. There is no proper build-up to how both of them fall for each other.

As a result of this, the distance in their marriage because of Vasu’s greed doesn’t register strongly.

Performances

Varun Tej in Matka
Varun Tej in ‘Matka’. (X)

Meenakshi Chaudhary suffers on account of a sketchy characterization after her wonderful performance in Lucky Baskhar (2024).

Varun Tej in the title role has given it his all; he does a fine job of portraying Vasu’s transition from a normal young man to a Matka king.

The role of Vasu gives Varun space to explore grey areas and he does go full throttle. But on some occasions, his gangster act feels repetitive lacking the nuances to bring out some variation.

The supporting cast comprising of Naveen Chandra, Kishore, and Satyam Rajesh are competent but none of them stand out.

GV Prakash’s music isn’t great but two songs “Le Le Raja” and “Tassadiya” are visually fine. The background music also leaves a lot to be desired.

Final take

To sum it up Matka is strictly for those who enjoy conventional gangster films.

(Views expressed here are personal, edited by Sumavarsha Kandula)

https://thesouthfirst.com/entertainment/telugu/matka-movie-review/

Posted on

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.

Sivakarthikeyan as the brave army man

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.

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.

Posted on

Lucky Bashkar: A well-made financial thriller/drama with a terrific Dulquer Salmaan

Director Venky Atluri is successful in transporting the viewers into the world of bank scams and how people made huge fortunes on stock markets by exploiting the banking system. What also makes the movie work is the characterization of Baskhar, a normal middle class bank employee wanting to change the family fortunes through whatever it takes

  • Starcast: Dulquer Salmaan, Meenakshi Chaudhary, Rithvik P. Sai Kumar, Ramki, Tinnu Anand and others
  • Director and writer: Venky Atluri
  • Producers: Suryadevara Naga Vamsi and Sai Soujanya
  • Production Companies: Sithara Entertainments and Fortune Four Cinemas
  • Music: G. V Prakash Kumar
  • Running time: 2 hours and 30 minutes
  • Cinematography: Nimish Ravi

Before the Tamil Film Vaathi starring Dhanush the filmography of Venky Atluri was dominated by romantic movies. Vaathi showcased a different side to Venky Atluri, though far from perfect the director did a fair job in exploring right to education and also some institutions which treat education as business. With his latest Lucky Baskhar the director has once again stepped out of his comfort zone dealing with a subject involving the banking system and the stock market. He pulls it off for most part.

Venky Atluri has once again stepped out of his comfort zone dealing with a subject involving the banking system and the stock market

The story of Lucky Baskhar is set in the period of the early 90’s. Dulquer Salmaan is the main protagonist. Baskhar is a middle-class employee working in Magadh Bank. Meenakshi Chaudhary of Hit 2 and Guntur Kaaram fame is the wife Sumathi, Rithivik plays the son. Baskhar’s salary is mere nine thousand rupees, given the large family consisting of brother, sister and father this money is nowhere sufficient to support them. Additionally, debts are also there. Also adding to Bashkar’s woes are the in laws who don’t shy away from expressing their dissatisfaction with his financial condition. The final nail in the coffin happens when Baskhar doesn’t get the promotion he was expecting. Frustrated with the circumstances Baskhar treads a very dangerous path starting with a small scam. Baskhar’s new path changes his entire personality causing friction with those closest to him. This is the story in brief.

The theme of financial crime set against the backdrop of a bank is a new genre for Telugu Cinema. Thankfully director Venky Atluri doesn’t make it overtly complicated. The banking system and the functioning of stock markets are presented in such a way even a lay men can understand.

Lucky Baskhar also works due to the effective world building of a bygone era. Venky Atluri along with the cinematographer Nimish Ravi do a wonderful job in transporting the viewers into the Bombay of 1989 and 1990 giving the viewers a lived-in feel.

The portrayal of the middle-class life in terms of the conversations and the overall texture is a big plus for the movie. This particularly reflects in the ups and downs of Baskhar and Sumati’s relationship. The dialogues often have a philosophical tone, but they never get verbose. A Trivikram flavor can be found in the dialogues related to the concepts of success, failure and greed.

The financial struggles of Baskhar are presented in a crisp yet very impactful manner. The humiliations and the financial hardships which he undergoes makes the viewers empathize with him even when he takes a route which isn’t ethically right.

What also enhances the films are the constant twists and turns. Every venture of Baskhar feels like a mini adventure where the viewers are constantly guessing on how Baskhar will come out triumphs.

Baskhar’s huge rise and the subsequent crash has a lot of emotional depth. Baskhar’s regret over his actions has come out wonderfully too.

The biggest ace of Lucky Bashkar though is its leading man. Dulquer has always experimented with a range of characters making them his own. Here too he does a swell job in portraying the various nuances. He is simply terrific both as a struggling middle class man and also showcasing the subsequent arrogance of Bashkar as he loses the way. The actor is particularly impressive in the emotional scene like the portion where he vents out his frustration on not being promoted in spite of slogging hard for 3 years and winning the best employee award consecutively.

Dulquer Salmaan does a swell job in portraying the various nuances of Bashkar

Meenakshi Chaudhary gets a far better role in this one compared to the tiny part in Guntur Kaaram. She makes full use of it delivering a strong act particularly the portions where Sumati expresses her rage at the change in Bashkar.

Meenakshi Chaudary as Sumathi also delivers a strong act

G V Prakash’s songs flow seamlessly into the narrative. Particular mention must be of the Srimathi Garu song. It is a soothing romantic number enhanced by the chemistry of Dulquer and Meenakshi. His background score also deserves distinction marks. It adds to the thrill quotient significantly.

Dulquer and Meenakshi in Srimathi Garu song

The ending of Lucky Baskhar is also interesting. The director completely leaves it to the viewers to judge the actions of Baskhar.

While mostly engaging Lucky Baskhar has a couple of loose ends. One of them is a sequence involving Raghu Babu and a cop. It feels dragged, also the movie needed a stronger opposition to Baskhar given how he always comes out unscathed in spite of how tough the situations are like the pre- climax and climax.

Leaving aside these small niggles Lucky Baskhar is an entertaining thriller/drama particularly for die hard Dulquer fans.

Posted on

Jigra: A perfect mixture of an emotional drama and prison break

Director Vasan Bala does a good job in showcasing how sometimes anarchy is the best solution to fight against the system. Alia Bhatt perfectly embodies the tigress nature of Satya. Her actions aren’t always ethically right but the movie never judges her.

  • Starcast: Alia Bhatt, Vedang Raina, Manoj Pahwa, Rahul Ravindran, Vivek Gomber and others
  • Writer and director: Vasan Bala
  • Additional writer: Debashish Irengbam
  • Producers: Karan Johar, Apoorva Mehta, Alia Bhatt, Shaheen Bhatt and Soumen Mishra
  • Cinematography: Swanpil S. Sonawane
  • Music and background score: Achint Thakkar
  • Production Companies: Dharma Productions and Eternal Sunshine Productions
  • Running time: 2 hours and 35 minutes

Stories about sibling love are pretty much a genre in itself. But stories from the perspective of a sister are few. Vasan Bala’s Jigra is one such tale combining two different genres. On one hand it is about an extremely protective sister who from childhood has taken it upon herself to look after her younger brother. Jigra begins with a little boy Ankur complaining of bullying by some of his classmates to his sister Satya. She assures him that the situation won’t repeat. This is followed by the scene of the father jumping off the roof. Satya covers her brother’s eyes so that he need not face the trauma. This moment best describes their relationship. The movie is also a social commentary on the delayed justice system forcing innocent prisoners to take things into their own hands. Vasan Bala has combined these two elements wonderfully despite an over stretched climax.

In simple terms the story of Jigra focuses on the wrongful imprisonment of Vedang Raina’s Ankur in a foreign prison. The place is Hanshi Dao a fictional country reminiscent of North Korea. Ankur along with his cousin goes there to meet an investor but unknown to Ankur the cousin is in possession of drugs. They are caught by the police while driving speedily. Both of them are immediately jailed leading to a harrowing situation for Ankur. Punishment for possessing drugs in that country is death by electric execution. The cousin manages to get away in spite of being a habitual offender, but Ankur is sentenced to death. There are other people too who have been wrongfully accused. Alia Bhatt’s Satya takes it upon herself to free her brother, facing innumerable hardships along the way. In a way she is like a female Amitabh Bachchan standing tall against all odds.

Alia Bhatt as Satya who would go to any lengths to protect her brother

One of the strong aspects of Jigra is Vasan Bala’s seamless handling of emotional drama with high-octane action moments. The first half is mostly devoted to the world of Satya and Ankur. He establishes their bond in an impactful manner without wasting much time. Satya may come across as too dominant, but the movie reflects real life situations where protective sisters are a reality. Satya’s personality is shaped by the traumatic incident of seeing her father’s death.

The first half also has some light moments that makes viewers chuckle. For example, there is a scene where Satya stuffs lot of food out of stress. The quizzical look of the air hostess played by Akansha Ranjan adds to the humor.

Alia Bhatt eating scene in Jigra

The second half shifts gears by focusing on the big escape plan. Aiding Satya in this jail breakout are a former gangster and a former cop Manoj Pahwa and Rahul Ravindran respectively. Manoj Pahwa’s son is also in prison. The senior actor effortlessly combines humor with pathos making a strong impact. Rahul Ravindran in his Bollywood debut portrays an ex-cop battling his own scars. His character Muthu initially wants to stay away from Satya’s audacious plan but soon joins in due to certain events. Unknown to Satya Ankur and his inmates are also designing their own escape plan making the second half more thrilling. Yes, the scenarios do get complicated but there is no denying the thrill quotient. There is even a dialogue by Manoj Pahwa’s Bhatia that the escape plan is getting complicated, so let’s make it easy. Mithu replies that this isn’t a masala movie to simplify things leading to some chuckles.

The second half also benefits immensely from fantastic cinematography and well shot action sequences. A particular mention must be made of the scene where Alia Bhatt and Rahul Ravindran battle it out in a jungle. Before this fight an incident happens creating rift between them making it hard for the viewers whom to side with. The fight ends with a hugely poignant moment. The jailbreak scene at the end feels like a real-life prison riot. Swapnil S Sonawane’s cinematography is impressive especially in these two sequences. Mention must also be made of Achint Thakkar’s immersive background score; it enhances the scenes of Alia battling it out. The music is well placed with special mention of the two songs sung by Vedang: The Jigra title track and the recreated version of Phooloon Ka Taaron Ka…

What also makes Jigra a big winner is how the director has written Alia’s character and her towering performance. There is an emotional intensity to Satya which the actress pulls off. Satya doesn’t claim to be virtuous; an argument between her and Rahul Ravindran perfectly captures the grey shades of Satya. She is just a determined sister who wants to get her brother out whatever the method and Alia is successful in bringing out those nuances, The good thing here is that Vasan Bala never takes a stand on Satya’s morality leaving the viewers to interpret her actions in their own way.

There is an emotional intensity to Satya which the actress pulls off

As far Rahul Ravindran’s Bollywood debut he has a solid role, and he does a fine job in portraying Muthu’s moral dilemmas. The scenes between him and Alia are easily one of the best parts of Jigra. Lastly Vedang Raina is pitch perfect as a naive young man caught in a complex web. His portrayal of anguish in the torture scenes deserves a major kudos. The actor also shares a wonderful chemistry with Alia.

Rahul Ravindran does a fine job in portraying Mithu’s moral dilemmas
Vedang Raina is pitch perfect as the naive young man caught in a complex web

A slight issue with Jigra is the overstretched climax which takes place on international waters. It doesn’t add much other than extending the proceedings.

Posted on

Vettaiyan: The triumph of stardom over storytelling

At its core director TJ Gnanvel has an important story to say, the dangers of hurried justice resulting from external pressure and sufferings of the poor but the struggle to balance the societal aspects with the demands of Rajinikanth fans make it an uneven film at best

  • Starcast: Rajinikanth, Amitabh Bachchan, Fahadh Faasil, Rana Daggubati, Manju Warrier, Ritika Singh and others
  • Director and writer: TJ Gnanvel
  • Additional writer: B Kiruthika
  • Producer: Subaskaran Allirajah
  • Music: Anirudh Ravichander
  • Cinematography: SR Kathir
  • Production Company: Lyca Productions
  • Running time: 2 hours and 45 minutes

T J Gnanvel’s last movie Jai Bhim was a hard-hitting tale on the horrors of custodial torture. It was by no means an easy watch particularly the portions involving police atrocities, but still the relevancy of those scenes shook the viewers conscience. Jai Bhim rightfully won many awards along with garnering excellent ratings. What also made Jai Bhim a major winner was the use of Suriya’s stardom. The actors star power at no point overpowered the narrative, Suriya also blended in perfectly delivering his lines with absolute conviction. Vettaiyan directed by the same TJ Gnanvel’s also focuses on the sufferings of poor people showcasing the transformation of an encounter specialist while merging the topic of educational scams. But unlike Jai Bhim here the director’s handling of the subject leaves a lot to be desired. Vettaiyan isn’t a complete washout particularly if you are a diehard Rajinikanth fan, but the movie leaves you with the feeling that it could have been so much more given the names associated.

Vettaiyan isn’t a complete washout particularly if you are a diehard Rajnikanth fan

Vettaiyan primarily focuses on the vastly different ideologies of SP Athiyan (Rajinikanth) and a prominent lawyer cum human rights activist Sathyaraj (Amitabh Bachchan). SP Athiyan is popularly known as an encounter specialist. He is a no- nonsense police officer who prefers the method of extrajudicial killings in order to deliver speedy justice. Sathyaraj is a vocal critic of SP Athiyan’s methods. Sathyaraj firmly believes that speedy justice is not the way to go about things. For him it is as bad as delaying cases for years in court. Fahadh Faasil is Patrick. He is a thief turned police informer with a lot of technical knowledge. His knowledge regarding the technical aspects makes him a very valuable addition. SP Athiyan’s firm belief on speedy justice takes a major hit when an innocent person dies. He is forced to reconsider his ideals marking a significant change in the thought process. This is the story in brief.

Vettaiyan primarily focuses on the vastly different ideologies of SP Athiyan (Rajinikanth) and a prominent lawyer cum human rights activist Sathyaraj (Amitabh Bachchan)

Through Vettaiyan director TJ Gnanvel has focused on multiple social issues whether it is encounter killings to satisfy a mob or the business of education, particularly exams like NEET. All of this while trying to merge Rajinikanth’s stardom. This khichdi doesn’t come across satisfactorily and a major reason for that it is the confused tone.

The first half is filled with numerous scenes of Rajinikanth carrying out his own form of justice against the backdrop of Anirudh Ravichander’s stylized background score. These are very repetitive in nature tiring the audiences quickly. What also makes the proceedings silly is the reason behind SP Athiyan’s wife played by Manju Warrier to not have children. There is a scene where Athiyan talks about the wife not wanting children as she believes it is a form of sacrifice for her husband killings. It is a very flimsily written scene leaving no impact whatsoever.

Yes, the inevitable transformation in SP Athiyan does take place in the second half. There are few scenes exploring the guilt that SP Athiyan faces, but TJ Gnanvel doesn’t let those moments linger. From the middle of second half the movie gets into the usual zone of good versus evil. Rana Daggubati plays a typical corporate villain who feeds on the poor. The actor has a towering presence but suffers majorly on the account of a sketchy characterization. It looks he had directly entered from Baahubali sets to this.

Amitabh Bachchan as Sathyaraj though makes his presence amply felt. Sure, the characterization lacks the meat of what Nag Ashwin pulled off with the Shahenshah in Kalki 2989 AD. But still the senior actor brings in a much-needed gravitas in the scenes where he talks about unequal society and the poor generally being the causalities of encounter killings. Rajinikanth as SP Athiyan is mostly required to be a star which the actor pulls off with consummate ease but there isn’t much in the role for the actor Rajini to shine.

Fahadh Faasil as Patrick raises many chuckles with his antics. He brings in a certain energy perfectly embodying the required street smartness. There is also a slight emotional touch in a crucial scene with Rajinikanth making the viewers feel for Patrick.

Fahadh Faasil as Patrick raises many chuckles with his antics. He perfectly embodies the street-smart nature

Anirudh’s music once again after Devara is a major misfire. Working on too many projects is clearly affecting the quality of this young talented musician. The background score though slightly better becomes monotonous after a point.

A major problem of Vettaiyan are also the investigative portions of the second half. The pattern of investigation and the eventual reveal of Rana being the big villain becomes easy to guess leaving little to no surprises. The hero and villain clash also becomes heavily one sided.

To sum it up Vettaiyan wants to be both a commercial entertainer and also a serious movie, but it eventually ends up in the zone of nowhere. A major letdown from the director of Jai Bhim.

Posted on

Satyam Sundaram (Meiyazhagan in Tamil): A heartwarming emotional drama about self-discovery and moving on

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

  • Starcast: Aravind Swamy, Karthi, Devadarshini, Jayaprakash, Rajkiran, Saran Shakthi and others
  • Writer and director: C Premkumar
  • Music: Govind Vasantha
  • Cinematography: Mahendiran Jayaraju
  • Producers: Jyothika and Suriya
  • Production banner: 2d Entertainment
  • Running time: 2 hours and 57 minutes

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.

Posted on

Devara Part 1: Junior NTR and the action on high seas make it just about watchable

Koratala Siva’s pan India debut has majestic visuals and thrilling action set pieces but suffers on the account of an overstretched plot with no attention-grabbing twists. The ending has a Baahubali like twist but lacks the required impact

  • Starcast: Junior NTR, Saif Ali Khan, Janhvi Kapoor, Prakash Raj, Srikanth, Murali Sharma, Ajay, Tom Shine Chasko and others
  • Director and writer: Koratala Siva
  • Music and background score: Anirudh Ravichander
  • Producers: Nandamuri Kalyan Ram, Kosaraju Harikrishna and Sudhakar Mikkilineni
  • Production companies: NTR Arts and Yuvasudha Arts
  • Cinematography: R Rathnavelu
  • Running time: 2 hours and 57 minutes

The storyline of Koratala Siva’s Devara Part 1 focuses primarily on heads of two villages turning against one another. The story takes place on the border of Andhra and Telangana in an area called of Ratnagiri, also called as Erra Samudram (Red Sea), notorious for pirate operations targeting cargo ships. Junior NTR plays double role of both Devara and his son Vara. Saif Ali Khan on the other hand is the antagonist Bhaira. The ancestors of Devara and Bhaira had fought together against the British but now the situation is very different. Things take a drastic turn when Devara realizes that they have been smuggling dangerous weapons. These weapons are used by powerful people to wreak havoc. Devara takes it upon himself to put an end to these illicit operations going against his longtime ally Bhaira. He suggests an alternate method to earn income. Obviously, this doesn’t go well with Bhaira leading to a major rift. Most of the story is told from the perspective of Prakash Raj’s Singappa. After KGF 2 the senior actor once again plays the narrator.

Saif Ali Khan as Bhaira, nemesis of Devara

It goes without saying that Devara Part 1 relies heavily on the star power and the acting chops of Junior NTR. To the actor’s credit he pulls off both Devara and Vara in his charismatic style. As Devara he exudes both humility and destructive nature in equal measure. The character of Vara has a certain innocence and timidity unlike the father. Junior NTR showcases the variations in a wonderful manner. In the numerous interviews leading up to the movie Koratala Siva has emphasized on how Devara’s core is the concept of fear, and the negative things people are capable of doing in absence of fear. It has to be said that he has done justice to this.

Junior NTR in double role

Apart from Junior NTR what makes the film somewhat engaging is the vastly different moral compass of Devara and Bhaira. For example, there are scenes where Devara tries to make the people around him understand and differentiate between the courage required to live an honest life as opposed to the brute courage that can kill. The gradual rift between Devara and Bhaira has been brought out well.

Saif Ali Khan also delivers a powerful performance as the man who cannot see beyond greed. Yes, the characterization doesn’t have the hammer strong impact of Omkara but still the actor once again proves his capability in portraying negative roles.

The coastal setting has also been done well. Among the technicians R. Rathnavelu’s work deserves a specific mention. His cinematography is visually striking enhancing the movie’s large scale. Through his lens he does an effective job in capturing the various moods and emotions that both Devara and Vara go through.

Anirudh Ravichander’s background music elevates the action sequences particularly those of the father. The music except for Chuttamalle song comes across as major speed bump.

Coming to the flaws the big problem with Devara Part 1 is its overstretched plot. Since the mega success of SS Rajamouli’s Baahubali movies numerous directors have taken the path of splitting their movies into two parts. The first part being more of a buildup to the sequel. Devara Part 1 also suffers on account of this. Dividing the storyline into two parts feels very unnecessary as there isn’t that much meat in the story. The introduction of Devara itself takes 15 to 20 minutes after the movie starts by which time we lose patience. Those 15 minutes are taken up by Prakash raj and Ajay having a laborious conversation.

The plot is simplistic, tiring the audiences particularly towards the end. As viewers you know that Vara is not going to remain timid till the end and has his own hidden agendas. As a result, Singappa’s big reveal produces more yawns than claps. Like most pan India movies these days the movie is filled with many known supporting actors but there is little for them to do.

Janhvi Kapoor’s Tollywood debut is very disappointing to say the least. Her character Thangam is only seen fawning over Junior NTR’s Vara and pining for a strong husband. Thangam comes with a certain chirpiness that is meant to be a contrast to the film’s otherwise dark tone. But neither the characterization nor the performance lands. Janhvi Kapoor’s sensuous dance moves in Chuttamalle is the only noteworthy aspect of her rather insipid debut.

Janhvi Kapoor’s sensuous dance moves in Chuttamalle song

Devara part 1 is definitely a better outing for Koratala Siva in comparison to Acharya and chances are that die hard Junior NTR fans would definitely enjoy it. But in totality the film doesn’t come across as a memorable big event movie.