Tag: Dhanush

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Kara: Familiar tropes but a well staged cat and mouse game

Vignesh Raja’s Kara is two films rolled into one. One a social thriller tackling the issue of financial exploitation and rural debts. The impact of Gulf war set in 1991 forms an important subplot. At the same time the films feature a father and son emotional thread. The latter is melodramatic, but the first one engages the viewers more so in the post interval portions. The grey areas of both Dhanush and Suraj Venjaramoodu is well written and enacted.

Starcast: Dhanush, Suraj Venjaramoodu, Jayaram, Mamita Buiji, K S Ravikumar and others

Genre: Crime/drama

Director and writer: Vignesh Raja

Additional writer: Alfred Prakash

Music: G V Prakash

Cinematography: Theni Eshwar

Producer: Ishari K Ganesh

Production Companies: Vels Film international and Think Studios

Running time: 2 hours and 41 minutes

The proceedings in Vignesh Raja’s Kara has a certain contemporariness though the plot is set in the 90’s. The current fuel crisis because of a global war is a well-known thing. Kara’s timeline features an important subplot along the lines of current war. Here the focus is on the bank exploiting the vulnerable farmers. The movie begins with Dhanush’s Kaarsami along with an associate robbing a house. For Kaarasami it’s his supposed last theft but things go awry after a successful robbery. The protagonist though manages to get away from police clutches. Flash forward he is now a family man with Mamitha Buiji playing the wife Selli. Without revealing much a situation comes when Kaarasami is in desperate need of money for setting up his own food mess. However, that’s easier said than done. Nothing more can be revealed given the different layers

A strong aspect of Kara are the thriller portions. Midway through the first half a scenario comes when Kaarasami also called Kara has to rob a bank going back to his former self. Kaarasami makes two attempts with his associates. One of them is Karunas as an elderly figure. The first attempt turns out to be a disaster though they don’t get caught. The second time around Dhanush and co decide to rob in morning at a particular time. These sequences have a super combination of thrills coupled with humor. There is a scene of Dhanush pretending to be a bank employee and Karunas doing the pretension of filling a form. This is wonderfully written and enacted.

The second half turns into a cat and mouse with the reentry of Suraj Venjaramoodu’s DSP Bharatan. He has a past connected with Kara. Bharatan much like the protagonist comes with his own grey areas. The biggest motivation for Bharatan to catch the thief is having his name splashed in the newspaper. Early on in the movie there is a scene of Bharatan trying to attach his name to an already open and shut case. However, he doesn’t succeed with Kara escaping. Suraj Venjaramoodu’s act of a determined cop and his portions with the sinister bank head (a wonderful Jayaram) gives the movie its best moments.

Dhanush as Kaarasami is expectedly solid. Kaarasami is a layered character coming across as not so likeable in some portions. Dhanush particularly shines in the emotionally vulnerable moments like a heartfelt scene with Mamita Buiji. The subplot of gulf war and its impact on the downtrodden is a character in itself. It gives Kara a contemporary feel moving the viewers emotionally.

A major roadblock of Kara is the underdeveloped love story between Dhanush and Mamita. Mamita as Selli gets a couple of intense moments and the young actress does hold her own. But the writing needed to be much better. Also, the portions featuring KS Ravikumar as Dhanush’s father could have done with less melodrama. The background score does more heavy lifting here than the writing. Finally, Dhanush’s justification of multiple robberies may not work for all.

Technically speaking Theni Eshwar does a fine job in capturing the rural atmospherics through his lens. The production design is on point too; the action sequences have also been well designed. GV Prakash Kumar’s music has its moments. The song Kanamma has a melodious feel making for a soothing listen and watch. The background score on the other amplifies the tense moments successfully.

Final word: Kara is worth watching for the cat and mouse game as well as the social themes it addresses. But tighter writing would have made it a more wholesome experience.

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Tere Ishq Mein: A headache in the name of intense love

Tere Ishq Mein often feels like a friendship meet between Kabir Singh, Animal and fighter. Aanand L Rai and his longtime collaborator Himanshu Sharma pick elements from various movies: the end result is let’s hate a woman for rejecting the hero, how dare she marry someone else. The problematic representation of mental health also adds to the agony. The cliched use of trauma as a justification for protagonist’s violence is the final nail

Starcast: Dhanush, Kriti Sanon, Prakash Raj, Tota Roy Chowdhury and others

Genre: Romantic drama

Director: Aanand L Rai

Writers: Himanshu Sharma and Neeraj Yadav

Producers: Aanand L Rai, Himanshu Sharma, Bhushan Kumar etc

Production Companies: Color Yellow Productions and T Series Films

Music: A R Rahman

Cinematography: Tushar Kranti Roy

Running time: 2 hours and 49 minutes

There is a very thin line separating intense love and celebrating problematic characters under the disguise of romance. Mohit Suri’s Saiyaara was an intense romantic drama done right. Yes, Ahaan Pandey’s Krish Kapoor starts off as a hot-headed young man with temper issues: however, the second half sees a major change with the hero becoming a devoted boyfriend putting his love above the need for fame. By the end the hero strikes the perfect balance between ambition and standing for his love. Tere Ishq Mein on the other hand has very harmful gender politics. The hot-headed nature of Dhanush’s Shankar is often passed as heroism and deep love.

The storyline of this convoluted mess begins with a scene firmly establishing the hero’s aggressive nature. Shankar (an intense Dhanush) is a fighter pilot facing disciplinary action. Shankar needs a mental health certificate clearance stating that he is fit to participate in an ongoing war. Kriti Sanon plays a supposed psychologist Mukti which is more unintentionally funny. Mukti has a complicated past with Shankar: this is revealed gradually with numerous flashbacks.

Looking for positives in a train wreck like this is similar to searching for a needle in Haystack. Still to give credit where its due Prakash Raj as Shankar’s concerned father strikes an emotional chord. The veteran actor especially shines in the sequence of pleading with Mukti’s father (a suitably arrogant Tota Roy Chowdhury). There is also a very poignant father and son moment explaining why Shankar becomes a fighter pilot instead of pursuing UPSC. Tota Roy Chowdhury as the upper-class aristocrat has a strong presence. His attitude towards Shankar has a condescending nature but as a father it’s understandable why he wouldn’t want a guy like Shankar to be his son- in- law. It also doesn’t help that Shankar continues to be a proud alpha.

Dhanush as Shankar brings his trademark earnestness. The south Indian accent along with the character’s nature stops the viewers from being completely invested. But Dhanush’s efforts as a performer cannot be faulted. He is especially good in a heartbreak sequence involving Kriti. The questions that he asks about Mukti using him as a guinea pig for her psychological study of violence is genuinely good.

As far as the flaws are concerned the basic premise is the biggest problem. Mukti’s obsession with getting her thesis done and a certain overconfidence on her ability’s reeks of stupidity. She is very much aware of Shankar’s temper and how dangerous he can be: In spite of being aware Mukti invites self-trouble. As a professor rightly says Mukti could have chosen another subject area for PHD thesis rather than I will go out of my way to reform a violent man. This in itself becomes a major obstacle for sympathizing with Mukti. Also, the character graph from a confident young woman to walloping in self-destruction has many tonal problems.

For a supposed psychologist Mukti has zero control over her emotional turmoil. There are numerous sequences of her drinking and vomiting. This happens even when she is pregnant. As a viewer you really feel for the on-screen husband who in spite of knowing her complicated past and an inability to get over stands with her.

Shankar for all his temper issues at least becomes a fighter pilot which is a huge improvement from Raanjhanaa. The entire arc of Mukti in simple terms is spinless. This is in a very sharp contrast to a movie like The Girlfriend where Rashmika’s Bhooma goes from timid to assertive. Even Shivani Nagaram’s Khathyayani in Little Hearts does a much better job in handling pressure and exercising her choice. Kriti tries her best but there isn’t much she can do with a self-defeating woman like Mukti.

There is also a forced link with Raanjhanaa with an extended special appearance of Mohammed Zeeshan Ayub. His attempts at philosophical puns on Shiva and Mukti is completely out of place. It irritates the viewer’s big time. Both the writing and the dialogues don’t help. The portions of Dhanush pursuing UPSC is also very shabbily done. It will make the fans of 12th fail movie squirm in their seats.

Finally, Tere Ishq Mein’s attempt at handling different threads like class differences, Emotional trauma due to a loss of parent etc. is simply surface level. Most of it is used for convenient dramatic moments.

AR Rahman’s music works in parts. The theme song coupled with a Sufi track Deewana Deewana is striking. Tushar Kranti Ray’s cinematography is effective in capturing the different moods of the movie.

Final word: Watch Tere Ishq Mein only if you are in the mood for heartbreak and are fans of doomed love stories.

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Kuberaa: Shekhar Kammula’s most socio political movie till date

Shekhar Kamula and Chaitanya Pingali’s Kubera is a taut financial thriller/drama keeping the viewers on the edge. What makes Kubera stand out from other stories involving scams and corruption is the angle of beggars being used as Benaim’s by a ruthless capitalist. The transformation of Dhanush’s Deva as an unlikely hero keeps the audiences completely hooked. Nagarjuna in a grey shaded role of a former CBI officer grappling with moral dilemmas delivers one of his best acts in a long time

  • Starcast: Dhanush, Nagarjuna, Rashmika Mandanna, Jim Sarbh and others
  • Genre: Crime thriller/drama
  • Story, direction, screenplay and dialogues: Shekhar Kammula
  • Co writer and associate director: Chaitanya Pingali
  • Music and background score: Devi Sri Prasad
  • Cinematography: Niketh Bommireddy
  • Producers: Sunil Narang, Ajay Kaikala etc
  • Production Companies: Sree Venkateswara Cinemas LLP and Amigo Creations
  • Running time: 3 hours and 1 minute

Shekhar Kammula’s last movie before Kubera Love Story with Naga Chaitanya and Sai Pallavi marked a significant shift in the kinds of stories that Shekhar has dealt so far. Strong women characters have always been Shekhar Kamula’s forte but what made Love Story different was the angle of caste and class. Working with Chaitanya Pingali has clearly brought a different facet of Shekhar, with Kuberra the director moves into a very political zone with themes of class disparity and capitalism. Kuberra is an audacious movie in more ways than one , it takes a little time to get drawn but soon the viewers are sucked feeling tensed on what will happen next.

Chaitanya Pingali the associate director and writer

The storyline of Kuberaa begins with Neeraj Mitta (a truly despicable Jim Sarbh). He is a ruthless businessman embodying a typical capitalist whose only aim is to become richer and richer. A rare oil is discovered and Neeraj Mitta plans to make it a source of wealth and control, he does a secret meeting with top leaders. To make this plan work Neeraj Mitta and the father played by Dalip Tahil rope in a once honest CBI officer Deepak (Nagarjuna). Deepak has lost faith in the system, there is a simmering anger inside him. This turns out to be an advantage for Neeraj. As part of plan Deepak gathers a group of beggars who will become benamis. Dhanush’s Deva is one of them. Soon things start to spiral out of control for Neeraj and Deepak is forced to confront his inner demons. This is the story in brief.

A strong aspect of Kuberaa is the world building specifically the Juxtaposition of Mumbai’s high scrapers and the not so privileged ones . The movie presents a heart touching picture of the society’s attitude towards beggars. There is a scene early on showcasing the death of a beggar run over by a car and except for the fellow beggars no one cares. As Jim Sarbh says in a dialogue this section of society represent the invisible type making them easy scapegoats for his task.

The cinematography of Niketh Bomireddy coupled with Thota Tharani’s production design play a significant role in creating an authentic atmosphere. The stench of the garbage dumps like the scene where Rashmika and Dhanush get into a van in a tense moment filled with waste bags have a realistic feel to them. Devi Sri Prasad’s music and background score is another asset for the movie. The songs aren’t of the blockbuster type but have a soulful nature.

Apart from the world building the movie’s dialogues often laced with philosophical undertones is also a delight to watch. In a scene Rashmika Mandanna talks about how all of us are beggars in some way or other. The dialogue goes like this “I begged freedom from my parents. I begged my boyfriend to not break up with me. I begged my friend to let me stay at her place for a few days and now I’m begging people to give me a job. So in some way or other all of us are qualified to be called beggars’. This is a just sample example of the numerous impactful dialogues critiquing class and capitalism. The underlying message of Kubera is true wealth lies in improving other people’s lives and not just hoarding riches.

The tense cat and mouse game between Dhanush and Nagarjuna also has many thrilling moments. Rashmika Mandanna in a different role from her previous ventures has been smartly integrated into the main plot. Her character Sameera gets herself into a tangle by helping Dhanush. The scenes between the two are filled with tension and humorous moments in equal measure. Rashmika is successful in bringing an inner strength. Jim Sarbh as the ruthless capitalist perfectly embodies the nastiness making the viewers hate him.

Rashmika Mandanna as Sameera

Kuberaa primarily rests on the shoulders of Dhanush and Nagarjuna, both get into the skin of their respective parts. Dhanush as an innocent beggar turning into an unlikely hero delivers a first rate act. He immerses himself completely showcasing why he is a worthy national award winner again. Dhanush particularly shines in the scenes with Nagarjuna. As Deepak Nagarjuna delivers a nuanced performance, the senior actor has done a swell job in capturing the moral complexities which Deepak under goes on numerous occasions. As viewers you feel for Deepak inner dilemmas on where he started and what he has become. A particular moment has to be mentioned where Nagarjuna shoots a police officer because of a crucial reveal, there is a visible distraught on the face of Nagarjuna where the existential crisis is extremely visible.

Talking about the flaws the final stretches of Kubera become a little hard to digest. The portion of Jim Sarbh turning into a beggar for a night on the order of Dhanush can appear silly. Also the confrontation scene between Dhanush and Jim in the pre climax could have been more crisp.

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Raayan: Solid performances along with the technical department elevate a familiar saga of gangster wars and a protective brother

Dhanush does a good job in establishing the emotional bond of the siblings particularly the strong characterizations of Sundeep Kishan and Dushara Vijayan

  • Starcast: Dhanush, Sundeep Kishan, Kalidas Jayaram, Dushara Vijayan, S.J. Suryah, Prakash Raj, Aparna Balamurali and others
  • Director and writer: Dhanush
  • Music: A. R. Rahman
  • Production Company: Sun Pictures
  • Cinematography: Om Prakash
  • Running time: 2 hours and 25 minutes

Dhanush is one of those few actors who is both a bankable star along with being a fantastic performer. His name comes with a certain weightage. Raayan is Dhanush’s 50th movie, naturally there are some expectations of it being a solid one. Raayan is also the second movie directed by Dhanush after Pa. Pandi.

For his second venture Dhanush has chosen an emotional story of four siblings who flee from their village and come to the city of North Chennai. Raayan (Dhanush) is the elder one. The youngest one is Manickam (Kalidas Jayaram). The second youngest is Muthu (Sundeep Kishan). Durga (Dushara Vijayan) is the sister, she is the binding factor. All the four have their own distinct qualities. Their lives undergo a drastic change when Raayan finds himself sandwiched in a power struggle between two gangsters Sethu (SJ Suryah) and Durai (Saravanan). There is also a new cop in town played by Prakash Raj. Prakash Raj wants to turn the two gangsters against each other so that the city will become clean. This is the story in brief

Dhanush has chosen a strong emotional story of four siblings

There is no denying that Raayan gives a major deja vu of some previous movies set in the gangster milieu. Even the stoic nature of Raayan is far from novel. The viewers can predict the violent persona of Raayan that will eventually come through. However, what makes the movie somewhat engaging are sibling dynamics that come with a few unexpected twists and turns. Dhanush has made sure that the movie doesn’t become a one- man show.

Sundeep Kishan as Muthu gets a chance to display a wide spectrum of emotions and the actor doesn’t disappoint. The way he portrays the emotional turmoil of Muthu during a key sequence of the second half in particular deserves a lot of praise. Dushara Vijayan has a very meaty part never reduced to a doormat sister. Dushara Vijayan portrays her fiery character in an excellent manner. She even upstages Dhanush in some sequences.

Sundeep Kishan as Muthu gets a chance to display a wide spectrum of emotions

As Raayan Dhanush is mostly seen in a brooding manner, he emotes through his eyes and overall body language. Dhanush’s role of a protector is similar to the one already done in Asuran, nevertheless the actor impresses with his trademark intensity. Selvaraghavan also makes for a perfect guardian with his calm demanor.

Dushara Vijayan has a very meaty part and not reduced to a doormat sister

Om Prakash’s cinematography goes perfectly well with the mood of the movie. His frames perfectly capture the dangers lurking around. A. R Rahman’s music and background score also elevate the movie in many places. My favorite song of the album is “Uusure Nee Thaane,” this comes in the first half and perfectly captures the emotional bond among the siblings.

A major drawback for Raayan is the lack of development in Prakash Raj’s role. He gets a grand entry but ends up being a mere puppeteer in the larger scheme of things. His mind games are thoroughly uninspiring to say the least. He never comes across as an authoritative figure which was the need of the role. The film’s action while thrilling to watch also feels overdone after a point. The constant slashing and bone crunching makes the movie look like an assemblage of violent scenes. However, an action sequence in hospital where Dushara Vijayan takes on the bodies deserves distinction marks for the way it has been choreographed.

The story’s basic arc is of betrayal and revenge, something done to death. As a result, the viewers feel no major high at the end of the movie.

To sum it up Raayan doesn’t completely match the high standards that Dhanush has set for himself.

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Narappa: An Unnecessary Remake

Vetrimaran’s Asuran was a powerful take on the caste system and made you root for the central character’s quest of protecting his family. Narappa on the other hand is not just an unnecessary remake but also doesn’t work as a standalone film. Director Srikant Addala misses the target by miles. It would have been best if Asuran was dubbed in Telugu instead of being remaked.

The film would have probably worked more in theatres for those who couldn’t  see Asuran. But given that it has released on OTT where you have many other options there are very less chances of Narappa being liked.

The plotline of Narappa is the same as Asuran with no changes at all, just the actors change. Venketash replaces Dhanush as the father who has left his violent past behind and is now living a quiet life with his wife and three children. He is satisfied with farming a small part of land and has no major expectations from life. The only thing he wants to see is his eldest son Munikanna getting married. Munikanna is a hot headed youngster who feels that his father is a coward and isn’t happy with the passive attitude of his father. Since Munikanna is  more aggressive he often gets into fights with an upper class family. During one of these conflicts the situation takes an ugly turn and Narappa and his family are forced to run away. While he is on the run Narappa is pushed to revisit his past which he had left many years ago. This is the basic plot for those who haven’t seen Asuran.

The most glaring thing about Narappa is the shifting of the story to Rayalaseema region. By placing the story in that particular region Srikant Addala adds to the streyotypes that have been associated with that place thanks to dozens of Telugu movies.

Narappa could have been easily placed somewhere else too but the director could only think of Rayalaseema of all the places.

It also doesn’t help that the accents of almost all the actors are inconsistent. Only Rao Ramesh gets the slang right, his scenes are the only ones which make some sort of impression even though they are copy pasted.

Coming to the obvious comparisions Venketash is no Dhanush and the reasons for that are very clear from the first frame. Venketash tries his level best but the performance comes across as laboured. He is no way able to bring the rustic presence of Dhanush. It is not just about histrionics but it is also about the physicality. Dhanush physicality also worked well for the original but here Venketesh’s one comes across as a misfit.

To make matters worse the flashback portions are not even half as impactful as Asuran.  The flashback portions in Asuran were important as it made you understand the reasons behind the lead character’s quietness and why he is the way he is. However here it comes across as not so natural. Venketesh is made to look younger in these scenes but it is hard for the audience to buy it.

GV Prakash’s music was a key element in Asuran but here the songs don’t add much to the plot. The background score is impactful but again it is not something new for those who have seen Asuran.

Technically the film is all right as Shyam K Naidu is able to capture the rusticness of the place and the surroundings.

Narappa just like Asuran gives a message which is very important for the society regarding how education can help you in overcoming the caste barrier. Wonder why they could not take an original story from Andhra Telangana regions.