VIkram

 Vikram

Tamil, 2022, 9.1/10 IMDB, Directed by Lokesh Kanagaraj

An astounding 'male-dominated' multi-story world, convincingly spun, in an intriguing premise. The 'multi-starrer' demands an undivided attention to every 'star' onboard, with its holistic approach of inclusion and belonging. The unerring screenplay, propels the daring journey, making it a memorable vigilante thriller of Kamal Haasan's.

For any given creator, the requisite to spin a celluloid world, is just a miniscule of an idea. One such thought made Director Thiagaraja Kumaraja's 'Aranya kandam' story, cross paths superficially in his 'Super Deluxe', hinting the viewers of the Kumaraja's creative world. Vikram goes a notch further, to tease the viewers educatively, of its 'multi-story worlds'. A classic 'westernism' of creating a world of characters and integrating another creative world's plot to it, by converging multiple storylines of both the Director's and the lead actor Kamal Hassan's, makes it a joyful ride for both the makers and the new generation movie goers.

'Lokeshisms' are aplenty in 'Vikram 2022'- the nocturnal boy's world, multiple macho antagonists, well rounded characters, infallible screenplay, an eager desire for action elements, an artistry to explore the wide range of guns and swords. In Vikram, the director captivatingly exhibits the usage of cowboy lever and hellboy air rifles, webley revolvers and double barrel guns, as one is informed that weaponry is an interest of the veteran actor too.

The choice of actors is the strength of 'Vikram'. Fahad's character 'Amar', assists the viewers to decode the 'Pablo Escobar World' of Vijay Sethupathi's. Again, it is through Amar, that we perceive the primary characters, once the plot starts to unravel, making Fahad's role undeniably pivotal. The actor's 'eyes' are the window to the character's thoughts that he dons. Fahad further hones the traits of his character 'Amar', with swift bodily movements, infused sarcasm and a deep-focusing mind. His persistent angst in the later part of the film, reverberates serious effects in the screenplay, making him the 'hook' to the entire plot.

When a young male director, directs a movie of a veteran actor, of whom he is a die-hard fan of, his agenda would be to choose a script that would showcase his actor in a never seen role. But Director Lokesh, pitches a character that is from a 36-year-old movie of Kamal Hassan and intersects with a world of his own, from his previous outing. This is relatively new to the Tamil industry and the engrossing screenplay ends up exciting the audience to fit the jigsaw pieces. The true success is when both the young and the old, experiences a sense of accomplishment, when they are made to revisit their movie experiences. The 1986 'Vikram' for the old and 2019 'Kaithi' for the young, and they virtually stich the new screenplay themselves as the story unfolds onscreen.

The two-part Vishwaroopam and a couple of slow burners, evaded an entire decade in the adept actor Kamal Hassan's filmography. With a whopping 230 odd films to his kitty and to give the audience what he hasn't so far, is seriously an insane task. But the actor never fails to deliver some 'never seen expressions'. The facial muscle movements accompanied by the savage eye-rolls in the extreme close-up shots during both the prison fight and the cannon blast, leaves you with a reverential respect for the actor's passion. The umpteen intriguing avatars of a warm grand dad, a combatant facet enduring sacrifices, a swaggering squaddie, a warrior hero, a heavily armed man-at-arms, the camaraderie, the vigilante mode, all of it never ceases to impress.

Back-to-back antagonist roles in Lokesh's ventures, did dampen the excitement for actor Vijay Sethupathi's character in 'Vikram'. But the introduction shot proves otherwise and the actor's confidence in climbing out of the toppled vehicle and walking away with no shirt on, speaks for his versatility. Lokesh builds his character's traits, through a narrative glimpse of each of their worlds. The Vijay Sethupathi's world is beautifully conveyed through the actor's stripped shirts, the golden tooth, the ray bans, the hulky physique, 'a focus stimulant' style substance abuse and his forethoughts for his large family. The character is etched to be 'a befitting antagonist' to Kamal, but gets diluted towards the 'home run'. There are other faces that claim a shared antagonist credit, such as, Chemban Vinod, playing the corrupt cop, Arjun Das and Harish Uthaman from 'Kaidhi' backdrop and the Cameo actor Surya playing the ultimate Drug Baron. Vijay Sethupathi's character 'Santhanam', sadly fades, as the 'sequel links' pops on the large screen.

Vigilantism is backed by a bonanza of arms and weapons. Director Lokesh's signature of never leaving any loose end untied, he goes to 'suspend our disbelief' by a genuine substantiation- the ammunitions are the disbanded RAW team's. This manages to reason the liberty of the makers in using a Cannon and a soviet heavy machine gun, the DShK in its full glory in the blazing climax. Anirudh's western inspired background score renders a distinct tonality to the film. The National award-winning Cinematographer Girish Gangadhran's experimental shots and his night light composition are commendable. As the rebel young Director, is not keen on any conventional 'Over the Shoulder shots', the team fascinates with the 'Robotic Arm' and High Speed 'Phantom' shots, making Vikram, a grand watch.  

Pada

 Pada

2022, Malayalam, Amazon, 8/10 IMDB, Directed by Kamal. K.M

An enthralling work that jolts the viewers with its presentation and grippy narration. The thriller backed by true incidents, leaves the viewers utterly astonished through its edgy screenplay and impressive performances.

The opening sequence of the film, hints the real life incident that the film intends to illustrate. A hostage situation by the group that sympathizes with the tribal community, demanding to revoke the amendment of the tribal act. The interesting premise is paired with a screenplay that tries to set the right mood and it devours you with its story-telling skills.

The makers of the movie, holds the attention of the viewers, the key being the sequences involving the mysterious planning and execution. The character establishment sequences, beautifully crosses path with all the five characters.

The expectations rockets for their plan to unfold and when it does, the panic stricken actors perfectly deliver the complex shot-compositions. The clumsiness and the chaotic hostage situation at the District Collector's Office, is a fine reflection of the unpreparedness of the rebels.

The intercuts of the official decision-making lags, at the Chief Secretary's office and the huge police force trying to bring the situation under control, adds to the momentum. The fierce looking country bombs, tubes and wires tied to the Collector, threatens the entire police force and the eeriness resonates with the viewers as well . The irony of the fear in the eyes of the people who stage the hostage drama, being explicitly greater than that of the Collector's, is a brilliant choreography. It lets the audience weigh the efforts taken by these innocent protestors, risking their lives and livelihood.

The maker's intention of bringing the unresolved issue of the tribal people in to mainstream, is commendable. As the tribal land right's status is no different from what it was quarter a century back when the incident happened, the film reinvigorates the issue and by doing so it is a new rebellion in itself. To awaken the viewers on how lives are being taken granted for, the film toils to represent the living standards of the tribal community, through the hilly walks of Kallar Bala's family.

The Tamil movie 'Thaen', which translates 'Honey', is also based on true events and addressed similar tribal issues. But what Pada achieves is to revisit the anger of the group that staged their hostage drama. 'Ayyankali Pada', took the government laws to circumvent the High Court order in reclaiming the tribal land and evicting the Aadhivasis, to public conscience, the movie 'Pada' almost does the same, except it is also a reminder to the next gen law makers and the country's youth. The film's intention indirectly fights the hugely funded global projects that is evicting the Aadhivasis and to speed up the enactment of tribal rights reforms.

The actors playing the key roles, demonstrate courage and professional traits in choosing to be a part of the film. Balu Kallar's role played by the fantastic Vinayakan, Kunchacko Boban as Rakesh Kanhangad and the IAS officer played by Arjun Radhakrishnan leaves a huge impact long after the film's credits role.

RRR

 RRR

2022, Telugu, IMDB 9.1/10, Directed by S.S.Rajamouli

A wholesome entertainer, fascinatingly incorporates Hindu Mythology to the racy action epic, showcasing talents at par global standards. The metaphor establishment of elements of nature, intensifies the saga, keeping the audience invested in its heroic achievements.

The fictitious story that is spun around the two real life characters in the British rule backdrop, rocketed the expectations on the Triple 'R' team - Rajamouli, Rama Rao and Ram Charan. The introduction scenes of the two lead characters delightfully leaves us contented.

The astounding cop Alluri Sitarama Raju Vs the mob sequence, played by the remarkable Ram Charan, glues the viewers to the wide screen. The face-off sequence with the big cat and Komaram Bheem played by the fierce NT Rama Rao Jr, absorbs our attention. The exemplary train blast sequence to establish the bonding between the lead heroes and the personification of natural elements - water and fire to their characters, reinforces and escalates the crux.

Pan-Indian casting, parallel stories of the two heroes, freedom fighting British rule milieu, flawless action choreography, indigenous sub-plots, undying entertainment quotient, character devising, invigorating narration, conception of evocative vignettes - makes the film, a compelling watch.

What makes the film an unique experience apart from the narrative pattern, is the conscientious performance and the justifiable backstories. The infusion of Hindu Mythology, an apparent ingenuity from the real-life surnames - Sitaram Raju and Bheem, leaves the audience spell bound for its creative thread. The characters rise true to their respective mythological roles, with archery, heavy weight lifting and all. The fabled magic, transpires credibly on the silver screen, with grenade picking Lord Ram's arrow and Bheem's motorcycle substitute, for his shoulder mace.

The 'Willing Suspension of Disbelief' is synonymous to all of director SS. Rajamouli's works and RRR is no exception. The maker always gets his proportions right, when he mixes genres in a single work of his. The ratio of action, comedy, romance, drama and melodrama are always spot on, along with key musical elements and alluring social environment.

However, the narrative dispersal of stories within stories in wearisome detail and the 3 hours running time, fatigues the audience. The intertwining plots wouldn't have been a burden, if the transitions were handled a little more seamlessly. Of all the three commercial inclusions, Alia Bhatt, Ajay Devgan and Samuthirakani, the latter's role is an impactful one.

Any work of art can't escape comparison and when it is from the maker who had had heads turned at, globally, it is inevitable not to compare the previous works of his. In Rajamouli's case, in comparison to his Bahubali and Eega, RRR still manages to leaves us awestricken.

But, at some point, the elaborate narration disengages the viewers with its overpowering digression of action and emotional sequences.

Kadaseela Biriyani

 Kadaseela Biriyani

2021, Tamil, Netflix 7.6/10 IMDB, Directed By Nishanth Kalidindi

The director exhaustively traverses with no haste on the western genre, whose premise is built on the familiar 'reciprocal justice'- similar degree of injury by the injured to the injurer. But what makes one intrigued is, how the images and tone translates onscreen. Also, the maker divulges his intention, in the last 28 minutes to be precise, which potentially swaps the motive of the 'story-telling', up until then.

The vulgarity of certain words and its profanity, diminishes when the word becomes a 'slang' and is used to refer any generally used nouns, such as surprise, annoyance and anger. When we theorize the word, it may just be a 'transformed' sophisticated-style of communication. But we tend to forget that the equivalent word in any other language, might still retain its vulgarity. It reminded me of a contestant on a recent reality show, who whined that the Tamil version of the originally English swear word, humiliated her more.

The dialogues of the film, gambles on a similar widely used 'swear-turned-cosmopolitan' English 'S' word which is often deliberately replaced as 'shoot' and 'shucks' to reduce its objectionable nature. The repetitive phonetics of the Tamil version, in endless combinations, referring the 'excreting process', feels obnoxious to begin with. Surprisingly, after a while, the human brain, either is getting palsy-walsy with the Tamil word game or the plot is intriguingly established through uncanny characterization, that the Tamil jargons aren't obscene.

The narration in the satirical voice sets the mood right. Two brothers force their younger brother to accompany them to avenge their father's murder. The elder brother Periya Pandi played by Vasanth Selvam, fondly reminds actor Shoubin Shahir, both in his looks and his deep gaze. His driving purpose to avenge his father's death, has more intensity to it and he is convincing. The second brother Ila Pandi's character played by Dinesh Manias, is chucklesome and clumsy, but his resourcefulness persuades the viewers of his allegiance.

The maker diligently treats the 'subplots' as individual sections and later compiles them impeccably. Both the brother character's arc abruptly ends, which is the 'beginning' for the despondent third brother's character Chikku Pandi, played by 'Super Deluxe' actor Vijay Ram. The key characters such as the lorry driver, his son, the rubber estate owner and his psychopath son are also interestingly introduced through these evocative vignettes.

The deliberate action of constant trailing, near captures and repeated escapes, keeps the audiences indulged. The abrupt 'stops and starts' pattern in the screenplay, got to be attributed to the maker's inclination. He subjects the viewers with emotions, similar to that of the onscreen character's experiences, however eerie it might be.

As the behavior, attitude and personality of most of the characters are narration-driven visualizations, it at times unscrupulously dodges the minds of the viewers. But ironically, that feature becomes the highly developed moment of truth, at its best, as and when the characters reveal themselves.

After Chikku Pandi's 'shot-span revelations', all his attempts to break-free from the evil fails. The character 'arc' come a near 'full-circle' hero's journey, when he surmounts the obstacle and resists, so he can seize the world that was denied to him.

The director chooses to end the film, with a scene that represents a transliteration of the title- a boy ordering 'Biriyani at last'. This elementary scene is sequenced, just after the boy longingly gazes at a school gate. The countless torments of the vulnerable weakling, keeps reflecting in your eye, along with his futile attempts to restrain his brothers.

The choice of actor Vijay Sethupathi for the voice-over, apart from viability reasons, has a purpose to it, as it amplifies the key satirical tone of the film, by many folds. 

Hridayam

 Hridayam

2022, Malayalam, 8.9/10 IMDB, Directed by Vineeth Sreenivasan

A fresher's life in a city of dreams and a title 'Hridhayam' ought to be backed with an intense admiration that begin as an infatuation and travels rough paths. The pair's passion is either short-lived or they end as life partners. This premise offers endless permutations that can be explored for another century at the least.

The makers of Hridhyam opts to keep the characterizations real and the emotions natural. Meticulous detailing of the sequences seems the priority of the team as there seems to be no rush. The psychological process of two persons trying to relate to each other's attraction is always intriguing and the characters Arun and Dharshana, played by Pranav Mohanlal and Dharshana Rajendran, emote it beautifully in the backdrop that is set a decade and half ago.

When the relationship fizzles out early, on untruthful grounds of a moment of weakness which, Arun duly regrets, the proprietorial behaviour pushes them to hurt, annoy and offend each other. Their competitive spitefulness that urges them to manoeuvre into untruthful relationships, is a well-choreographed sequence of the typical juvenile characteristics. The scenes that Arun becomes physically dependent on substances through unorthodox company and it taking a toll on his studies were shot extensively as a set up to be paid off when a lower middle-income classmate, pulls Arun out as a saviour from his unpleasant lifestyle.

The Director surprises you with his prowess to the mundane sequences. The 'not so true love' of Arun for his junior Maya, gets a beautiful closure when Maya asks Arun on the day her father died, if Arun's love for her was true. The insecurity in a girl who had just lost her dad is what the director is betting on, while constructing such an intense scene, over a loss. The dialogues and instances might be familiar but the treatment and the right placement is pristine.

The maker's trying to imbibe the distinctive quality of Chennai City - its multiculturalism, the housing board livelihood, the thirst for water, the self-motivated studious study circles, makes the premise more legitimate. The sub plots mightily influence the screenplay in substantiating its hero transformation template.

Dharshana's character is etched carefully with complex emotions, that reminds of Jessy's from 'Vinnai Thandhi Varuvaya'. While movies of the past mockingly illustrate 'letting go' as an easy biological phenomena of women folk, Director Vineeth chooses to make Dharshan a person who keeps dwelling, whether her choice of 'letting go off Arun' over a small tiff was a mistake.

The maker's attempts to establish that 'To hold on to' is a human instinct and it fulfills a need for certainty from Dharshana's perspective. Letting go becomes even harder when you know that you had misjudged a person and the other person is conveniently moving in to space where he needs nothing more than friendship with truce. Dharshana Rajendran emotes the character's traits perfectly in the scene where she bids farewell at the railway station after college. It sure does reminds 'Neethane Ponvasantham' in many instances but Hridhyam is unwavering and stays loyal to its story telling.

The later part of the film travels to a space where Arun meets Nithya played by the brilliant Kalyani, and they decide to get married. The fundamental dispositions and characteristics of humans, determine their ways of thinking, feeling and acting. This fantastic contrasting of the two women characters on how each handles relationships, is done cleverly and reflects how each woman looks life at.

While Dharshana is uncertain on getting married to a newly met friend whom she trusts, Nithya even after knowing Arun's serious past relationship, handles it more maturely and practically, even if she had to ignore the evident hidden feelings of Dharshana for her husband .

Through careful crafting and analytical music sensibilities, the director, seems to have a flair in finding the right harmony for his visual sequences, that comprehensively represent his creativity.