Visaranai

Visaranai

Engraving an impactful drama with raw and rough dramatic narration, Visaranai glimpses into the real life inspirations authored in the novel ‘Lock Up’, penned by Auto Chandran.

The film picks some of the intriguing episodes in the auto driver’s life and has fictionally pictured with creative writing. Filmmaker Vetrimaaran has been always carried a strong profound affinity for some unconventional movies, which was so much evident with National award winning film ‘Aadukalam’ and his production ventures with Dhanush in the past including ‘Kaaka Muttai’.

The film’s drama involves a bunch of youngsters, who have left Tamil Nadu to Andhra Pradesh for their livelihood. In terms of commercial elements, there are few romantic episodes involving Attakathi Dinesh and Kayal fame Anandhi, which has been included as a flashback, not upsetting or hampering the screenplay anywhere.

The first half has been crafted with an intensity of seriousness. We aren’t moved anywhere with our attention away from the screens….. Although the running length of the complete show is limited of approximately lesser than couple of hours, but we are taken through a course of lots of dramatic moments, which are quite engrossing. In fact, there are rarity in films, where while reviewing or analysing, you speak about everything including the technical and narrative details, but not anything on the plot. Because the film ‘Visaranai’ has such a brilliance of reality sketched up in every sequence. The last 20 minutes of this film it gives an experience that you almost gained in Mel Gibson’s Apocalypto.

Getting on with the performance, Attakathi Dinesh has simply lived into the role that has been offered to him. He is someone, who could easily give a decent stroke through his performance in roles that was embedded with innocence. Kayal Anandhi doesn’t get more scope, but is on her best in portions offered to her. The ultimate showstoppers are Kishore and Samuthirakani. These versatile actors have their own realms spread out. Especially the performance of Samuthirakani in the second half deserves so much of appreciations.

Just as Yuvan Shankar Raja had created a massive attempt with background score in Aaranya Kaandam, GV Prakash too makes an impressive show here. The film has no songs, but it could eventually make up for the best on background score in enhancing the screenplay.

Verdict: Surpassing drama of bitter reality and strong performances

Aranmanai 2

Aranmanai 2

Directed by : Sundar C.
Produced by : Kushboo
Written by : Venkat Raghavan, Sundar C.
Screenplay by : Sundar.C, S.B.Ramadoss
Starring : Sundar.C, Siddharth, Trisha, Hansika Motwani, Poonam Bajwa, Soori
Music by : Hiphop Tamizha
Cinematography : U. K. Senthil Kumar
Edited by : N. B. Srikanth
Production company : Avni Cinemax
Distributed by : Sri Thenandal Films
Release dates : 29 January 2016
Country : India
Language : Tamil

First and foremost, you could raise your hands for applauding the earnest works of CG experts and set decorators. Their work is predominately prevalent throughout the film or else, Aranmanai 2 would be nothing but a boring experience loaded with same old plot of previous version with inclusion of some additional star-cast like Trisha and Poonam Bajwa, who are intentionally used for their skin shows, especially the former one. Siddarth looks pale and deplorable throughout the film, where he doesn’t get to speak or perform anywhere stronger. He is almost like a typical hero we find in usual ‘Amman’ movies, where the male protagonist would be dumb and silent, but the ladies would rule the show.

Sundar C has lifted the high profile sequences from various Hollywood movies and yes, this time, he has picked few from the horror tale pages of Twitter too… That’s a good development Sundar C! But we aren’t able to digest the same stereotypical stories repeated over and again.

There is nothing special to mention about the plot and yes it involves a family in ‘Aranmanai’ haunted by paranormal experiences with few mysterious deaths. Yes, we see a ghost behind this drama and it has a revenge to settle.

Sundar C has clearly understood the mentality of audiences who prefer watching his movies and has exactly gratified them. Lots of skin shows, comedy sequences and rarely seen horror sequences is sure to keep the rural audiences.

The open ending with the ‘The Doll’ walking into the Aranmanai is a prompt for ‘Aranmanai 3’. Yes, with such cohort of audiences who are still ready to keep themselves satisfied watching the oomph factors and silly horror elements, Sundar C and producers can even invest additional budget into such movies.

Verdict: Nothing different ‘Aranmanai’, but with some modifications.

Irudhi Suttru

Irudhi Suttru

Directed by : Sudha Kongara
Produced by : S. Sashikanth, C. V. Kumar (Tamil), R. Madhavan (Hindi), Rajkumar Hirani (Hindi)
Written by : Sudha Kongara Prasad, Sunanda Raghunathan, Arun Matheshwaran (Tamil dialogues)
Starring : R. Madhavan, Ritika Singh
Music by : Santhosh Narayanan
Cinematography : Sivakumar Vijayan
Edited by : Sathish Suriya
Production company : Y NOT Studios, UTV Motion Pictures, Thirukumaran Entertainment (Tamil)
Distributed by : Dream Factory (Tamil), Rajkumar Hirani Films, Tricolour Films (Hindi)
Release dates : 29 January 2016
Country : India
Language Tamil, Hindi

A coach and his protégé travelling through the hardships to conquer the dreams that world would look upon. A nitty-gritty tale that takes you through an emotional course of more dramatic episodes narrated with crispness and brilliant technical aspects. Filmmaker Sudha Kongra’s maiden debut ‘Drohi’ might have not been everyone’s favourite cup of coffee, but it had some efficiency in the making style. Taking a long phase, perhaps a pregnant pause for years, she bounces back with an impeccable tale of ‘Irudhi Suttru’ that offers inspiringly propelling encounters.

Madhavan plays a retired boxer, who is urged by situations to give up his dream career. Off the late, his venture as a coach too gets in risky stake. He moves down to Chennai and there comes across a compelling amateur boxer (Ritika Singh), who proves to be a worthy of becoming the Nation’s pride. Nevertheless, the duo has its own toast of affection and combats involved during this venture of turning the public glare on.

One thing that keeps you so much adhered to the film is its treatment of screenplay rendered by Sudha Kongra. The stark characterisations that aren’t confined to certain qualifications, but that can instantly make you laugh and bind you emotionally too…. For instance, we have the characters played by Nasser, Radharavi, Kaali Venkat and few others evoking the right humour in situational contexts rather than placing a namesake comedian. Madhavan extols with a flawless spell and it’s almost like he waited for this script for years and yes he delivers a compelling show. Watch out for the sequence, where he is humiliated by Ritika saying, “Manasula Enna Dhanush nu nenaipa?” (Do you think yourself Dhanush?). No actor would easily accept such lines and Maddy deserves huge appreciations for this factor. Ritika doesn’t look like a newcomer and she pulls forth a magnetizing performance. She easily delivers so much of naturalistic approach towards her characterisation. The last 30 minutes of the film, the duo Madhavan-Ritika just sweep us off the feet. Radha Ravi and Nasser on their portions deliver more realistic show. There are many sequences, where the raw rustic profane lines are used, but they look apt for the situations.

On the technical front, the musical score by Santosh Narayanan offers the sumptuous treat with transfixing background score and songs. He is indeed one of the strong pillars for making the film look more enhanced. Cinematography and editing are the backbones perhaps, especially during the last 15 minutes.

Overall, Irudhi Suttru deserves a must watch cadre and yes, it has everything that will inspire you, engage you and moreover offer a great message of honouring and encouraging women to achieve best things to bring pride in our country.

Verdict: A persuasive drama of inspirations and emotions

Tharai Thappattai

Tharai Thappattai

Bala is definitely a genius filmmaker and criticizing his films could perhaps land the analysts into a zone of ‘Not matured enough to mark verdicts’. But to make a precise mark, the film Thaara Thappattai lacks a proper storyline and doesn’t hold us intact anywhere. The filmmaker usually gives a depth exploration of whatever he handles in concept, but this time, things go vague and directionless by the first few minutes of this film. It all starts with a promising note, where we find the documentary filmmakers capturing the best folk arts group performance. That’s a fantabulous dimension, where we find Varalaxmi boozing up before performance and giving the best spell out there. The scenarios persist with good dimension, but lose the way out by the middle of this film. It’s so disappointing to see, the story losing the impact and brilliant performances of actors going in vain.

Say for instances, the sequences we find about the dancers in Andaman Island is remarkable and especially not to miss the spellbinding performance of Varalaxmi Sarathkumar. Yes, as she says in the trailer, ‘Naan Hero, Mama Heroine’ with a hilarious touch, she proves to be the main protagonist in this film, where she spells the best brownie points and Sasikumar not getting much to perform until the climax, where he apes the usual style of protagonists in Bala movie. Studio 9 producer Sasikumar deliberately makes an impressive performance towards the show and he is simply casual in terrorizing with his acting.

Ilayaraja offers the best support to this film, where his background score is prodigious and beyond his usual paradigms. His orchestral works in the background score is matchless and he yet again proves his wizardry in 1000th film.

Getting on with the narrative analysis, the screenplay goes feeble, but there is no connectivity between one scene to the other. There is so much discontinuity, where Bala blindly throws up lot of harsh sounds through slaps, beatings and combat. It looks like Bala had felt that he could grab the audiences’ attention by these tactics.

Overall, Thaara Thappattai belongs to Varalaxmi Sarathkumar, where she can easily walk away with lots of awards, but when it comes to Bala, it’s a mere disappointment as the film doesn’t completely deal with the essence of Thaara Thappattai folk art. What is supposed to be a musical genre, fails to survive because of poor screenplay and unbearable violence.


Verdict: Powerful performance but heavy loaded with gory sequence

Rating: 3/5

Rajini Murugan

Rajini Murugan

Sivakarthikeyan’s Pongal release ‘Rajini Murugan’ to make it a precise mark is a sangfroid entertainer that stands out to be a neat stress buster. The film comes from the team that offered ‘Varuthapadatha Valibar Sangam’ and yes this time; they manage to offers something more as a wholesome entertainer. Rajini Murugan is directed by Ponram and is produced by Lingusamy and Subash Chandra Bose of Thirrupathi Brothers with Sivakarthikeyan, Raj Kiran and Keerthi Suresh in lead roles with D Imman composing music.

The film has a simple yet engrossing plot of Rajini Murugan (Sivakarthikeyan) a jolly guy with no worries. He has a special affinity with his grandfather (Raj Kiran) who pampers him unconditionally. When he wants to sell the ancestral property so that he could bring his children and grandchildren united for this reason, a notorious land grabber (Samuthirakani) tries to create problem by claiming him to be step brother of Rajini Murugan.

What makes the film is director Ponram giving his best with his team of writers with an engaging screenplay. In spite of the lengthy duration, the film nowhere leaves you bored and that’s a tougher job to keep the audiences engrossed nearly for 2hrs 45 minutes. Sivakarthikeyan has tried to keep his performance decorous in places, where he never tries to overact. He has carefully tried to eclipse the mistakes he committed in Kaaki Sattai. Keerthi Suresh looks cute and beautiful with a commendable performance. She gives the best what is required for the role… Raj Kiran is incredible, where he not only emotes perpetually but in places tickles our funny bones as well. After a long time, Soori gets to offer wholesome entertainment with his non-stop laughter. His combination with Sivakarthikeyan works out again. Samuthirakani is a baddie though his role is tingled with hilarious touch as Sathyaraj was surprising in VPVS.

Musical score by D Imman is enjoyable and although the second half has too many songs, it doesn’t look like hampering the narration. The initial moments of this film are little dragging and so much stereotypical, but sooner it gains momentum of humour. Likely, the climax portions are not so much appealing though Sivakarthikeyan fans might have some surprise.

Overall, Rajini Murugan is a carefree entertainer that doesn’t test your patience anywhere, but offers a decent neat family entertainer sans any vulgarity, double meaning, etc. Yes, the film deserves special mention for this very reason.

Verdict: A decent family entertainer of all seasons

Rating: 3.5/5

 

Maalai Nerathu Mayakkam

Maalai Nerathu Mayakkam

Movie : Maalai Nerathu Mayakkam
Directed by : Gitanjali Selvaraghavan
Written by : Selvaraghavan
Starring : Balakrishna Kola, Wamiqa Gabbi, Parvathy Nair, Azhagam Perumal, Kalyani Natarajan
Produced by : Beepstone Studios, Kancharla Pardha Saradhi
Music by : Amrit
Cinematography : Sridhar
Edited by : Rukesh
Release date : 01 January 2016
Country : India
Language : Tamil

 

An intense theme that really a million ton guts to deliver it in celluloid and filmmaker Geetha Selvaraghavan brings up an emoting tale of relationship between a newlywed couple that goes through hampering hurdles that drifts them apart. The reason nevertheless is perhaps, gruesome, though emotionally not a crime. A fantabulous effort by Selvaraghavan who has penned the story with so much of reality blended with emotional realms. Naturally, it’s hard for any filmmaker to drop an idea over such a complicated theme and it is almost like revisiting the Golden days of K Balachandar, where almost all his movies were based on adult themes. This one albeit being such a theme holds a sense of reality, where it touches the basic element of misunderstandings between the newlywed couple…

Maalai Nerathu Mayakkam is about a newlywed couple (Balakrishna Kola and Wamiqa Gabbi), who are completely in contrast to each other. They have no likeliness in aspects of lifestyle, emotions and favourites.. The film traverses through the emotional journey of the ups and downs and separations until they start missing each other.

Unlike the writings in erstwhile movies of Selvaraghavan, Maalai Nerathu Mayakkam hardly has characters involved in verbal conversations. It’s the writing and project of visuals through editing and background that delivers the emotions of characters. Be it the initial stages of marriage life, where the girl can’t bear her hubby’s annoying snore and how it later becomes her sedation. The changeover is very well beautiful and Geethanjali’s brilliant way of narrating it is great.

Wamiqa Gabbi steals the show with a naturalistic performance and she keeps us in complete wow much alike other heroines in Selvaraghavan movies. Her final breakout with her ex-husband and on revealing what made her opt for divorce and the emotional bang is a punch. We aren’t able to bring out other aspects of this film including performance and technical aspects, because it’s Selvaraghavan’s writing that dominates throughout the film.

Maalai Nerathu Mayakkam might offer some shock to the film viewers of contemporary cinema, where usual breezy romantic entertainers and crime thrillers have dominated the markets in addition to horror. Watching this movie is like getting back to the phase of K Balachandar, Sridhar and other versatile filmmakers, who offered bold themes but with elegance.

Verdict: A raw-realism drama of emotional punch

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