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Saani Kaayidham: Keerty Suresh Scores An A Plus In This Engaging But Problematic Revenge Saga

Arun Matheswaran’s Saani Kaayidham is an amalgamation of two strong influences. One is Shekhar Kapur’s Bandit Queen and other is Quentin Tarantino’s films. Much like Bandit queen here too the director mixes up caste and violence on women. The scenes of revenge on the other hand remind you of the Tarantino’s films. There are multiple shots of the villains being stabbed and tortured. The film is definitely not for the faint hearted. The story of Saani Kaayidham isn’t particularly new but what makes it engaging are the performances of Keerty Suresh and Selvaraghavan. Arun’s direction is at his strongest when he deals with the dynamics between these two. The direction in the revenge portions is less sure footed but more on that later.

Keerty Suresh and Selvaraghavan play half-siblings (Poni and Sangaiyah) respectively. Both of them have faced trauma beyond measure due to an unjust tragic event. Poni works in the police department but that doesn’t stop the upper caste men from raping her. Their excuse for raping her is the husband who stands up to the upper caste men. After being let down by the court and police she sets out on a journey of revenge with her half sibling Sangaiyah. The rest plays out like a cross between Bandit queen and Kill- Bill.

The basic theme of Saani Kaayidham is how a woman always becomes a soft target when men face humiliation and fight in their own worlds. This aspect has been brought out strongly by the director.

In the initial portions we see a strained relation between Poni and Sangaiyah. But once they get together the dynamics slowly change. There is an undercurrent of emotions that come to the surface. This entire process has been well developed by both the writers and the director.

Both Keerty Suresh and Selvaraghavan deliver outstanding performances. After Mahanati it looked like the actress in Keerty was lost. But here Keerty makes more than a strong comeback. She makes you feel the loss of Poni with her terrific acting. She expresses a lot through her fiery eyes. Keerty also gets to perform some action scenes and also punch lines that are generally reserved for men. Needlessly to say she rocks it.

Selvaraghavan also fits effortlessly into his role. He is the perfect foil for Keerty Suresh’s Poni. His role is comparatively more understated but the actor makes sure that the audiences don’t forget him.

The one major drawback of Saani Kaayidham is the excessive violence. It gets nauseating after a point. The vigilante justice is a trope which has been seen in many films, the presentation of the vigilante justice in this one is similar to what we have seen in other films of this genre.

As an audience you get the feeling that the director is glorifying the violence. Agree that Poni deserves justice for what she has undergone but that is no excuse for the blood curling violence that the director employs.

Another issue with the film is the lack of sufficient family scenes between Poni, her husband and the child. Addition of some family scenes would have given more emotional heft.

The villains are all one dimensional as expected. They are mere cardboard cutouts than flesh and blood characters. At the beginning the villains are shown to be very powerful but by the end they are reduced to being powerless.

In a nutshell, Saani Kaayidam is engaging but would have worked more if the director had taken a different approach.

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Acharya: This Time Koratala Siva Misses The Bus

Koratala Siva is a director who is known for taking social backdrops and giving them a commercial garnishing. It is a formula that paid rich diligence in films like Mirchi and Janata Garage. Here too you have the trademark Koratala Siva elements. There is naxalism and uranium mining among other aspects. The fights and the dances are also there but the missing link here is a solid base that binds the story together. The first half in particular is a big drag where nothing much happens. The second half is definitely far better but that is not enough to salvage the film.

The plot of Acharya revolves around a town with a mythical past. You have two settlements Dharmasthali and Paadaghattam. Both of them are surrounded by dense forests and a sparkling river. Mahesh Babu’s voice over at the start gives the audience an understanding of the town’s past. Now Dharmasthali has become Adharmasthali after Ramcharan’s Siddha disappeared from there.

ACHARYA HAS THE ELEMENTS BUT THE MIXING HAS GONE TERRIBLY WRONG. IT IS HIGH TIME THAT FILMMAKERS RETHINK ON WHAT THEY ARE MAKING IN THE NAME OF TWO HERO CINEMA.

Sonu Sood is once again the dreaded antagonist. But it is hard to imagine him as a villain particularly after the humanitarian work that he did during the first wave of COVID.

Jisshu Sengupta plays another forgettable part after last year’s Shyam Singha Roy.

Coming back to the story the people of Dharmasthali are waiting for a savior who will restore dharma. It is at this juncture that Chiranjeevi’s Acharya enters the town. The rest of the plot is about what the connection between Acharya and Siddha is, and how dharma is restored.

THE SCENES FEATURING THESE TWO ARE GOOD TO WATCH. THEY ARE IN PERFECT SYNC WITH EACH OTHER.

The lifeline of Acharya is without a doubt the back-story of Ramcharan and his connection with Acharya. The scenes featuring these two are good to watch. They are in perfect sync with each other, whether it is the stunt sequences or the dance number Bhale bhale Banjara. The song is no Natu Natu but still it is fun to watch them shaking a leg.
There are certain moments in the film where you can see Chiranjeevi’s eyes swell with pride. This happens particularly in the scenes where Ramcharan’s Siddha holds forth on what is right and wrong, and goes to any length to save someone of his ilk. Putrotsaaham.

As Siddha Ramcharan once again delivers a formidable performance, his growth from a boy in Gurukul to the eventual transformation is well etched. There is a scene towards the end of the flashback regarding Ramcharan’s character. It is a moment that will make you feel emotional.

As Acharya Chiranjeevi shows that he has still got it in him to play a leading man. The intensity and the screen presence are still very much there. His dance moves are also fluid.
The sets of Dharmastali are visually grand. The art work and the cinematography are a feast to the eyes.

THE BIGGEST MINUS OF ACHARYA IS THE LACKLUSTER FIRST HALF.

The biggest minus of Acharya is the lackluster first half. Nothing much happens after setting up the plot. Acharya’s interactions with the people are nothing great.

The characters of the town people on either side has been hardly explored by the director, they are used as props to elevate Chiranjeevi.

As a result it is difficult to feel any emotion for the suffering that they are undergoing. This is sad because you have a bunch of talented actors like Tanikella Bharani and Ajay but they are wasted.

POOJA HEDGE PLAYS AN EXTENDED VERSION OF WHAT ALIA BHATT DID IN RRR.

The love story between Ramcharan and Pooja Hegde is also done in a haphazard manner. The chemistry is good but you don’t root for the couple.

Pooja Hedge plays an extended version of what Alia Bhatt did in RRR. She is beautiful to look at but you will forget her character as soon as the movie is finished.

The villains are poorly etched; they are no match for the mega duo.

In a nutshell Acharya has the elements but the mixing has gone terribly wrong. It is high time that filmmakers rethink on what they are making in the name of two hero cinema.

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Mai: Sakshi Tanwar And The Presentation Make This Familiar Cocktail Work

Mothers seeking justice for their daughters has become a genre in itself. Late Sridevi’s Mom along With RaveenaTandon’s Maatr are very good examples of that. Directors Atul Mongia and Anshai Lal take this familiar premise but they still make it work. They make sure that the audiences connect emotionally with the main protagonist Sheel Chaudhary (SakshiTanwar). She is the mourning mother in search of justice. The story takes place in the labyrinthine of Lucknow over six episodes.

Wamiqa Gabbi plays the daughter Surpriya. She is a mute girl who is not just a doctor, but she also does standup comedy. She is in love with a married police officer Faroque Siddiqui (Ankur Ratan).In the very opening episode we see her being hit by a truck. Sheel is absolutely convinced that it’s a murder and not a hit and run accident. She sets out to find the killers. However, Sheel has no idea that she is going to rub shoulders with a big syndicate that takes lives each day. What starts off as a search for killers turns into a tangle of crime, more murders, corruption etc.Other important caste members include Vaibhav Raj Gupta, Raima Sen and Vivek Mushran among others.

There are many things which work for Mai. To begin with the co-directors have done a very impressive job in building up the character of Sheel. When Sheel gets into the revenge mode she doesn’t become cunning or smart overnight.

She is a woman who has not even thought of slapping a stranger let alone killing someone. Her moves at the beginning are a little foolish but sheel still makes it work.

Of course, sheel gets smarter with time, but there is a journey to the entire thing and this journey has a strong emotional connect.

The husband and the wife relationship between Sheel and Vivek Mushran’s Yash also gives the show some of its best moments. The ups and downs of their marriage particularly after the death of their daughter has been dealt with the required sensitivity. Vivek Mushran is also in good form as the husband who is facing the storms of life with a smile.

There are many subplots that the co-directors have integrated into the narrative. My most favorite of the lot is the one involving Ankur Ratan’s Faroque Siddiqui. He is a police officer who could not fit into the world of his upper class wife. He is also not successful in ensuring that Surpriya had a passage to enter his. Initially Sheel just sees him as a Muslim. But as the series progresses the dynamics between these two undergo a significant change. Both of them realize that they are living in a very complex space grappling with many inner demons. He along with Wamiqa Gabi give arresting performances in their respective parts.

The biggest reason why the series works though is the conviction that Sakshi Tanwar brings in. She embodies the various aspects of her character without missing a single beat. The guilt, grief, anger, vengeance and the softness of being a mother to a dead child is all brought out superbly by the actress. She constantly osculates between being a homemaker and a badass woman who is on the quest of finding her daughter’s killers. This juggling act majorly works because of Sakshi Tanwar’s performance. This series should do what Aarya web series did for Sushmita Sen.

DOP Ravi Kiran’s work is another big plus for the series. He captures the three distinct landscapes of Lucknow without much effort. The three distinct landscapes here are the elite, middleclass and slum dwellers. Ravi Kiran had earlier worked on a classic like Sairat and you can see a bit of that perspective.

There are some things which stick out like a sore thumb in this series. One among them is Raima Sen’s character and performance. The character is sketchily etched and Raima’s stone faced act doesn’t exactly help the cause either. She is not able to muster up the deadliness which is required.

The story also ends up being convenient at certain junctures. Sheel is always there at the right time and that sometimes looks odd. Also the percentage of family scenes could have more.

All said and done Mai is a haunting series that is going to stay with you.

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Bloody Mary: An Engrossing Thriller With A Formidable Performance From Its Leading Lady

Narratives weaved around the characters of visually impaired isn’t something really new. For example you have had Nayanathara’s Netrikaraan. Director Chandoo Mondeti’s Bloody Mary is an intense thriller with a social cause integrated into it.

Mary (Nivetha Pethuraj) is a nurse in a hospital. She is also an orphan who lives in a small apartment along with her childhood friends Basha and Raju (Kriti Damaraju and Rajkumar Kasireddy). Basha aspires to become an actor although he cannot speak. One day a hospital doctor tries to misbehave with Mary, Mary accidentally kills him.

Parallel to this you have her friend Basha seeing a murder committed by the area circle inspector (Played by Ajay). The rest of the plot is about how Mary will handle the situation? Who is Mary? What is her actual Identity? Among others. Revealing anything more wouldn’t be appropriate given that it is a thriller.

Chandoo Mondeti doesn’t waste any time in setting up the plot. There are no unnecessary diversions here; as a result you are hooked to the narrative. He is also well aided by the technical team. Kala Bhairava’s background music is very much apt for the film’s genre. The photography by Karthik Ghattamaneni is also in perfect sync. The framing and the set up aid immensely in building up the perfect atmospherics.

The runtime is another huge plus for Bloody Mary. It is very much slick.

A major reason why Bloody Mary works is because of the way the title character has been developed. We initially see her as this subdued person but more and more layers are revealed as we go along. The director is successful in making you root for her.

Nivitha Pethuraj gives an arresting performance as a lady with big dreams in life. Her screen presence along with the performance brings depth to the key episodes. She also gets some nice masala moments which are usually reserved for heroes.

The scenes between Nivetha and Ajay are also good to watch. The cat and the mouse between Mary and the cop keeps you engaged. Ajay gets a good amount of screen time and he does his aggressive cop act perfectly.

 The bond that Mary shares with Basha and Raju is also well presented.

Bloody Mary does suffer a bit from impossibility issues. Some of the twists will put you off but these are minor grouses as the film is mostly satisfying.

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Kaun Pravin Tambe: A Heartwarming Saga That Touches Your Heart

It is difficult to make an engaging sports film given that the audiences know what will happen at the end. Over the years there has been a flurry of sports biopics like  Priyanka Chopra’s Mary Kom. Farhan Akhtar’s Bhaag Milkha Bhaag, and late Sushant Singh Rajput’s MS Dhoni among many others.

As a result the genre has lost some of its sheen. But Jayprasad Desai’s Kaun Pravin Tambe works not only as a sports film, but it also gives an important message on patience, perseverance and resilience. It gives an important lesson to all underachievers on continuing to do what they do best until the tables turn in their favor.

For those who are not aware, Pravin Tambe is a cricketer who made his debut at the age of 41. He had played in the Indian premier league without any first class or international experience.

The director perfectly captures the grit of Pravin Thambe and makes sure that the audiences root for him. Apart from Shreyas Talpade the other important cast members include Ashish Vidyarthi, Anjali Patil and Parambrata Chatterjee.

An interesting aspect of the film is how Jayprasad Desai captures the life of those cricketers who haven’t made it to the big league. However, they still continue to play cricket thanks to the private companies who hire them for their cricketing teams.

The jobs are mundane but they provide a steady income to these cricketers. As a result they are able to use their skills on the field.

The chief reason why Pravin Tambe is able to pursue his dream is because of his talent and the kindness of the people that he encounters.

The home life of Pravin, and his wife, also gives the film some of its best moments. The director authentically captures the middle class lifestyle. There is certain realisticness to the proceedings.

Anjali Patil’s character never comes across as a nagging wife. She has her arguments with the husband but at the same time she understands his passion for cricket, this has come out really well.

The scenes between Ashish Vidyarthi and Shreyas are also a delight to watch. Initially the audiences along with Pravin don’t understand why Ashish Vidyarthi’s character insists that Pravin should change from being a medium pace bowler to a spinner. But as we go along we understand why he is insisting so much.

The reason is Pravin’s wrists and grip is very strong. It is a pleasure to see Ashish Vidyarthi in a positive role. The actor delivers a solid performance.

Parambrata Chatterjee’s Rajat starts off as some kind of villain. He doesn’t think much of Pravin’s talent. There is a dismissive attitude that he has towards Pravin. He never seems to appreciate anything that Tambe does,

But thankfully the character doesn’t slip into a caricature thanks to the assured direction and also the actor’s performance.

Coming to the onscreen Pravin Tambe, it is great to see Shreyas Talpade doing something substantial after a long time. The actor delivers a performance which is on par with his debut role in Nagesh Kukunoor’s Iqbal. It looks like Shreya’s acting career has come full circle with Kaun Pravin Tambe.

He throws himself into the part with full conviction. He makes the audiences resonate with Tambe’s passion for cricket.

In a nutshell, Kaun Pravin Tambe is much more than just your regular sports drama. It will inspire you to pursue your dreams until you achieve your goals.

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Sharmaji Namkeen: The Perfect Swan Song To Rishi Kapoor

Sharmaji Namkeen is a special movie primarily for two reasons. It is of course the last time that we will see Rishi Kapoor on screen, but it also the first time in the history of cinema that two actors have played the same role. Paresh Rawal had stepped in to complete the film after the death of the actor. It is very generous of Paresh Rawal to do it, the reason being the film would be remembered for Rishi Kapoor and not Paresh Rawal.

Sharmaji Namkeen tells the story of a retired manager Brij Gopal Sharma (Rishi Kapoor and Paresh Rawal). Brij Gopal is someone who cannot sit idle at home. The retired life is frustrating him. He contemplates taking up Zumba classes and becoming a property agent among other jobs. His son Rinku (Suhail Nayyar) tells him to enjoy his post-retirement life and not to do unnecessary things. Sharma ji’s biggest hobby is cooking.

He takes his passion for cooking to another level. He is tricked by his friend Chadda (Satish Kaushik) into cooking at a ladies kitty party, and soon it becomes a regular affair. In this process he meets Veena (Juhi Chawla). She becomes his friend and confidante. But things take a turn when Sharmaji’s sons come to know about his secret job. This is all about the plot in brief.

Hitesh Bhatia’s story takes a little time to get into the groove. The initial portions are a bit hazy but he soon finds his groove. The experiment of two actors playing the same role is well managed by the director.

The story has certain similarities to Amitabh Bachchan’s Baghban. In that film too you have got a retired father but there is a sea difference between the treatment of both the films.

In this one, Sharmaji starts his second innings independently without any approval from his sons. There is a scene in the film where the character insists that he should not be dependent on his sons and look after himself.

There are several comic punches that bring a smile to your face. The best ones of course are those featuring late Rishi Kapoor. There is a certain warmth that Rishi Kapoor brings to the role.

My favorite scenes in the film are those featuring Juhi Chawla and Rishi Kapoor.  There is lot of charm in the scenes featuring the two. There is an undercurrent of romance between them; this is well explored by Hitesh Bhatia. You look forward to seeing their scenes. Juhi Chawla is a delight to watch as Veena.

The film also takes certain digs at the patriarchal ways of our society. The director openly talks about how a woman still needs to take permission from their male counterparts before following her passion.

Coming to Paresh Rawal the actor does a pretty good job in maintaining the continuity, however there are times when you feel that he doesn’t fit the character as well as Rishi Kapoor. The warmth that Rishi Kapoor exudes is missing in Paresh Rawal.

Another factor is that both of them come from different schools of acting. Rishi Kapoor is someone who has always been a natural actor. There is a spontaneity that he brings to the table. Paresh Rawal on the other hand is a method actor. The role of Sharmaji fits Rishi Kapoor’s acting style more than Paresh Rawal’s.

Satish Kaushik as Chadda does a fairly fine job. The rest also contribute in making the film enjoyable.

In a nutshell, watch Sharmaji Namkeen to witness the magic of Rishi Kapoor one last time.

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RRR: An Important R Is Missing, That Is The Story

The influence of Amar Chitra Katha stories has always been apparent in Rajamouli’s films. In the two Bahubali films the director had combined Amar Chitra Katha elements with an engaging story. There were several aspects that the audiences connected with in spite of a stale storyline. With RRR the director once again takes a larger-than-life canvas but misses the Connect.

With RRR the director tries to make an epic mythological film with superhero bromance. But here the ingredients feel undercooked.  The focus is more on its lead actors and the visuals than a solid storyline. As a result RRR lost the magic that Bahubali had. It is not unwatchable but at the same time it doesn’t have the repeat value.

RRR is set in British India of 1920’s. The film begins off with a tribal girl being taken away by a British officer’s wife. Bheem (Junior NTR) belongs to the same tribe and takes the responsibility of bringing the girl back. Standing in his path is Ramaraju (Ram Charan). Ramaraju is part of the British set up but he has his own goal to achieve against the Britishers. The rest of the story is about Ram’s personal goal, will Bheem and Ram patch up for a common cause etc.

Actors like Ajay Devgan, Alia Bhatt, Rahul Ramakrishna and Shriya Saran appear in bits and pieces.

From the beginning it is clear that Rajamouli has heavily relied on Junior NTR and Ramcharan to make things work. A lot has been said about their off-screen camaraderie, which is very apparent on screen. Their bromance and the different stages of their relationship have come across well.

The scenes where Ramcharan’s character tries to help Bheem in his courtship with Jenny (Olivia Morris) are quite cute.

The interval bang where the two heroes go at each other is emotionally moving. The scene is too prolonged but it still works. The grey shades of Ramcharan’s character and how it is connected to his past is smartly integrated by the director.

Performances wise it is out and out a Ramcharan and Junior NTR show. Both the actors embrace their parts wholeheartedly. The other actors do what is required but none of them stands out. This is sad because you have the likes of Ajay Devgan and Alia Bhatt. Alia as Sita gets only one solid scene which of course she does her best.

The romantic angle between Ramcharan and Alia is pretty much non-existent. Infact, Alia’s soloscene with Junior NTR has far bigger impact.

Visually RRR is stunning just like the Bahubali films. Cinematography by Senthil Kumar is appropriate to the atmospherics of the film. The production design by Sabu Cyril also makes the film a visual treat.

The biggest issue with RRR is the lack of focus on building an engaging storyline. Suspension of disbelief is fine but even that requires a certain finesse.

You know that both the heroes will emerge victorious in the end irrespective of what weapons the Britishers use. As a result you don’t feel the high which you ideally should.

The British characters are not just evil but they are also annoyingly foolish. You don’t at all understand why a British woman would kidnap a small tribal girl. The most annoying British character is of the General’s wife.

There is also too much violence and bloodshed happening in every second reel. The action scenes are way too long, and on top of it the BGM is deafeningly loud.

In a nutshell RRR may make money but it is high time the director reflects on the stories that he is directing.