Geo’s Talkies – OK Kanmani

‪#‎OKKanmani‬ is vintage Mani Ratnam, even if it sounds like a cliche. The GodFather of modern romance at various points of time right from Mouna Raagam right up to Alaipayuthey has written a story that involves a man and woman of today, wonderfully played by Nithya Menen as Tara Kalingarayan and nicely portrayed by Dulquer Salman as Aditya Varadharajan.

Conversations over cell phones, professional aspirations and goals, values (some would say the lack of it) all have been woven into the story. He layers these troupes with those of an ageing couple faced with their own problems in day to day life. Its almost like a plant blossoming under a giant tree the two couples separated by age. The movie is also about Prakash's Raj's Ganapathy, in one of his finest roles ever, and Leela Samson's Bhavani though the trailers focus on Adhi-Tara.

The hip upper class crowd, for a change isn't portrayed as scheming and lacking in moral and ethical values. After a series of botched up female acting calls, the ace auteur nails it this time with his cast. Ramya Subramanian gets a good role to play in her first full scale movie outing almost like Swarnamalya and Medha got in Alaipayuthey. Buses, trains, rain, sea front, telephone calls, bikes all get a fresh take in this story. Though Mani's characters are mostly upper-middle class / upper class they always travel by public transport.

The story is light weight, entertaining and lacks serious drama or tension building moments. AR Rahman's re-recording (an Indianism for background score) has a higher amount of piano this time and the BGM is co-credited to Qutub-e-Kripa (KMMC composers). PC Sreeram's camera is inventive in it's angles, particularly featuring Adhi and Tara. The first series of conversations between the couple is beautifully staged and immaculately captured. Another Madras Talkies' regular Sreekar Prasad has edited the movie.

This movie is Mani Ratnam giving his fans a re-arrangement of his troupes, to people who felt he strayed away from his strengths as a story teller. [Asides: The movies didn't have to be rated U/A. "Pollachi Mahalingam", "Kalingarayar", the "TN-66 J" registered Audi and the name itself makes up a lot of references to Kovai aka Coimbatore. For some of us there is no other place like Cbe].

Geo’s Talkies – Onayum Aatukuttiyum

Tamil Cinema has been going through a wonderful period recently where anyone who has a good story – even decent story -  to narrate is getting the avenue to make his or her movie. The audience is surprisingly receptive to these movies from rank newcomers in an industry that is dominated by stars, big production houses and larger than life premises. Cinema was always supposed to be the common man’s escape from his daily grind, which is true to a large extent but should cinema be slotted within or constrained by such platitudes ?"

In a year where even a Mani Ratnam’s movie had to bite dust at the theatres came Mysskin’s “Onayum Aatukuttiyum”. Mysskin is an intelligent filmmaker, too intelligent some would say. In this movie he brings the story of a medical college student whose life gets intermeshed in a vicious web of crime and deceit. On his way back home after a night of studies at his friend’s house, Chandru finds a man lying on the road with bullet-shot wounds. Earlier a lot of people pass by the hapless man, the usual apathy we exhibit at this situation is portrayed starkly. People who stop to see if the man has life and leave when they see he has. People who shoot pictures for social media. People who don’t want to do anything about a wounded man on the road.

The system is the next on Mysskin’s list. Chandru isn’t able to get medical attention to the wounded man in a hospital, neither is he able to get the law enforcement’s attention. One of the police men even steal the wounded man’s watch right behind Chandru’s back. Sheer desperation forces Chandru to take the man home and treat his wound with help from his Professor, who himself is bereaved that night, an event that seems to play a role in the Professor deciding to help Chandru perform the medical procedures after initially rebuking him sharply for acting irresponsibly.

The Crime Branch lands on Chandru’s house the next day because the wounded man was Wolf, who was fleeing after being shot by the police in an “encounter”. Wolf, according to the Police, is a most wanted criminal with over 14 murders to his name which includes a blind teenager. A lot of these facts help us join the dots together in the third act of the movie. Chandru and his elder Brother are taken into Police custody, unofficially, while Chandru’s sister in law is kept under house arrest.

The Police characters have been sketched well. We are used to templates of either too good or too bad cops in uniform in Cinema. Here you have a mix of policemen. The corrupt officer who is hand in glove with another dreaded criminals. Tons of policemen on night beats, manning check points, who are scared as we’d be at such times. High ranking officer who want to help Chandru but hesitates due to passive pressure from his juniors and yet when circumstances change has no qualms in calling a hit to rid the society of an alleged dreaded criminal.

The best writing comes in the form of a CB-CID duo who read between the lines all through the movie to pursue their own course of finding Wolf. One of these two has a brilliant dialogue explaining to his superior officer why he won’t let Chandru escape Police custody, despite the custody being unlawful. When the Wolf wants to meet Chandru the Police hatch a plan to eliminate him. Is the Wolf stupid enough to walk into a trap laid out by the Police ? Why does the Wolf want to meet Chandru ? The rest of the movie is about how Chandru is used by the police as a lamb to lure the wolf and how Wolf navigates the quagmire.

This movie has been shot entirely in the night, not the usual DI work of turning a day shot into night. Ilaiyaraja’s foreground score, as the titles put it, support the movie ably. Mysskin’s martial arts background set the stage for some brilliant action choreography, complete with two samurai’s nailed to each other in the end. Mysskin even stretches the Onaay trait by showing Wolf with a tail. God is an underlying character all through the movie showing up on the wall Chandru runs past, as screams from Policemen who get shot, in the cemetery etc. “Onaayum Aatukuttiyum” is a brilliant attempt from a filmmaker who is completely in control of his form and technique, a Tamil movie that can rival any other good thriller from anywhere else in the world.

Geo’s Talkies – Vinnaithaandi Varuvaya

Almost a decade after “Minnale”, Gautam Menon’s debut movie as a director in Tamil cinema comes another love story. The movies Gautam directed after the first weren’t out and out romantic movies though romance played a nice part in the overall narrative.

Initially reported by the media as “Chennaiyil oru mazhaikaalam”, the movie took the title of “Vinnaithaandi Varuvaya” when it was confirmed that Silambarasan was being cast to play the male lead. “Vinnaithaandi Varuvaya” is a nice warm love story, it’s takes you through the life of Karthik and Jessie. The former is a Mechanical Engineer by education who aspires to become a filmmaker, the parallels one can draw to Gautam’s education and profession are just too obvious.

Karthik also plays cricket and practices boxing as a hobby, which really turns out to be an excuse to a superbly set action sequence in the middle of the movie. Jessie is a young IT professional in Chennai, loves mathematics and we don’t get to know anything more about her.  Karthik is instantly smitten by her right from the first time he sees her. Of course, the fact that Karthik and his family live in the ground floor of Jessie’s house gives him ample opportunities to ogle at her every now and then.

So here’s the first act play out on screen, you have a premise and two smart, charming and beautiful people who inevitably have to fall for each other. What’s going to be different with this movie is that this is Gautam Menon’s story, someone who has fascinating attention for detail and can write at least some characters in 3 dimensions. So conflict comes in the form of 1) religion: Jessie is Syrian Catholic Malayali Christian and Karthik is Hindu, Vellalar; 2) age: Jessie’s a year older than Karthik; 3) will: Karthik is completely enamoured by Jessie while Jessie is slightly more of a realist.

Karthik get’s introduced to KS Ravikumar through Cinematographer Ganesh and get a shot at interning under him. How does Karthik convince Jessie about his love? Does Karthik break into the big league with his film making? These are core plot points whose resolution can’t be spelled out in a blog and spoil the experience for you.

Silambarasan as Karthik has tried his best to portray on screen his characters sans histrionics. He’s done a good job at emoting, however I still have bones to pick at his dialogue delivery. Trisha Krishnan as Jessie is a pretty sight, she emotes slightly better but has a long way to go in that department. I thought she looked awful in at least two close up shots.

Full credits should go to the director and the dress designer for dressing up Trisha in immaculate drapes of saris, superbly cut and fit salwars and some very elegant western attire. Babu Antony plays Jessie’s Father and Kittu plays Karthik’s Father.

The opening title sequences are innovative and appear to have been filmed on the Vembanad Lake, the same place where the Rajiv Gandhi snake boat race is held with much fanfare every year. Manoj Parahamsa has canned the backwaters of Kuttanad in all it’s splendour wonderfully for this movie, it can easily pass off as advertisement for God’s own country’s tourism department.

AR Rahman’s songs have already been a rage, this movie has one of his most complete background scores for Indian movies. I’m still not able to recollect a melody from the score however I remember enjoying their richness. They didn’t distract me from the narrative and they probably helped take the narrative forward. I got to mention about the 5.1 mix which wasn’t distractive even once, that’s rare for a Tamil movie and full credit for that should go to KJ Singh.

Finally kudos to Gautam Vasudev Menon on writing a nice warm love story which isn’t all sugary and fluffy and keeping it’s decent enough without the usual trappings of masala cinema like a parallel comedy track and an item number. “Vinnaithaandi Varuvaya” is an honest effort, worth watching in the halls for it’s clean content, decent performances and a nice love story.

Trivia:

1) Clever references to Rahman’s hit music pieces from the past, “Mustafa Mustafa” plays on when a reference to friendship is made between the lead pair and “Pa sa ni sa” (sung by Shankar Mahadevan) from Bombay is talked about in a similar scene where lead pairs eyes meet.
2) The church that is featured in this movie is St Mary’s Forane Church, Pulinkunnu, Alapuzha district. One has to drive down the Alapuzha to Changanasserry road to reach this place, probably 20 or so kms away.
3) For a change “Amazing grace” is played when Jessie is ushered into the Church for her wedding, usually it’s Wagner’s wedding march. Mendelssohn’s wedding march features in the song “Anbil Avan” though.
4) In Syrian Catholic Churches the engagement or manasuchodhyam is mandatory before a wedding. In the movie Jessie directly get’s ready to be married which can be considered a cinematic liberty.
5) Gautam Menon himself has dubbed for Jerry, Jessie’s brother. Chinmayi Sripada has dubbed for Trisha. Chinmayi’s tamil is spot on, but Malayalam leaves a lot to be desired. Case in point: First time when Jessie talks Malayalam on screen and then the lines she says at her Granny’s place when Karthik is in police custody.
6) Silambarasan continue his Ajith reverance with a reference to the Thalai and Billa in a conversation with Ganesh.
7) I’m wondering if the difference in age thing in this movie is yet another attempt at portraying Silambarasan’s own dalliance with the superstar’s elder daughter in the past.
8) KS Ravikumar steals the show in every scene he is featured in. Also nice self deprecating humour when Ganesh says to Karthik that Gautam Menon makes movies over a long time and with English dialogues.
9) St Alphonsa is seen in the frame in the dining room of Jessie’s house and at a bus stop in Pulinkunnu. Is this an attempt to hint the time this scene is set in? In 2009 Blessed Alphonsa was declared a Saint and could be seen at every nook and corner in Central Kerala.
10) Naga Chaithanya & Samantha play the lead roles in Telugu version of this movie, they also play a cameo in Karthik’s movie in the Tamil version.

Geo's Talkies - Kaminey

This is going to a little difficult, trying to write about a movie I enjoyed completely without spelling out it's plot. 'Kaminey', the newest Vishal Bharadwaj movie comes with a lot of baggage. The man at the helm of affairs doesn't treat the audience with kid gloves and is adept at making movies for kids and adults with such aplomb that you wonder if he suffers from multiple personality disorder, and I'm not even talking about the fact that he writes his own music.

'Kaminey' is Vishal's take on the time tested hindi movie 'twin brother' plot. The movie is a roller coaster with lots of thrills, it's twisted and take off into various directions, however the grand finale comes across as fitting. Charlie and Guddu are identical twins who are opposites. The former has a speech impairment which makes him pronounce 's' as 'f' and the latter stammers. Charlie works for a group of Bengali Brothers who fix horse races while Guddu is associated with an NGO. Guddu is caught in a situation when he impregnates Sweety during an outing, the irony here is that the song just before this revelation is about protection, condoms and AIDS. Sweety is the sister of a linguistic chauvinist who mouths 'jai maharashtra', whose name is Bhope Bhau. Bhope cannot fathom the fact that his sister has fallen for a guy who is an outsider, another lovely piece of screenplay where Guddu's real name Sanjay Kumar Sharma (hails from UP) is portrayed on screen.

Any more of the story would really be a farce, the movie is best enjoyed on screen. It takes about half hour in which about ten or so characters are introduced on screen and you might end up wondering what's going on. But you got to let the movie play out and by the time it's interval you are almost familiar with everyone. This movie is infested with 'kamineys' in the form of drug lords, cops, politicians and what not.

This movie also is so grounded in today's world, the world where a guy from UP is perceived as an outsider in Maharashtra, a world where Trivandrum has become Thiruvananathapuram, Bombay, Mumbai, Calcutta, Kolkata and so on. There's a lovely scene between Sweety and Shahid on screen where she proclaims her love for him using the city names (read politically correct), Vishal can combine love and politics so subtly into the screen play. Charlie and Guddu's Father who hails from UP works for the Railways, the anti-narcotic squad cops who are hand in glove with the drug trafficking mafia are some examples.

Trains play an understated role in this movie, some of the sweeping moment in this movie are framed on screen with a train passing by or still which almost plays conscience or mirrors the flow of thought in the head of the character on screen at that particular time. Colours in the movie are muted to give it a noir feel I suppose. Most of the filming is done using the steadicam which transports you right into the action.

The writing is probably the star of 'Kaminey', every character get's his/her own time on screen and it takes a while to get used to this kind of exposition. Shahid has done a superb job of portraying Charlie & Guddu and almost makes us believe that they are two different people, Priyanka finally has done very good acting. I believe they've used sync sound in which case the work done capturing sounds and dialogues are amazing. Amole Gupte (hint: Taara Zameen Par) excels in the role of Bhope Bhau. There are many more people who have played their part to perfection. 

Tassadaq Hussain's camera work is exquisite. Vishal's music is as much a star as the writing of this movie. The background score complements the narrative without screaming for attention, a quality that is rare. This is one of those movies where you have someone in charge who is sure of the direction he wants to go and comes out with flying colours in his effort. Vishal's fascination for Shakespeare is well known, he's done a brilliant job of adapting Shakespeare to the Indian milieu in two of his previous outings. On this one he's tried to incorporate some plot elements of the Bard along with screenplay elements of Robert Rodriguez, Quentin Tarantino, Guy Ritchie and the like. A nice song plays in the background during the gangster show down in the very end almost like the title song in 'Omkara' which was filmed with scenes of action and violence.

I'm not going to talk about the laconic black humour that is lined up in almost every scene, they keep the laughs coming. The result is an excellent movie which keeps the viewer enthralled during it's playing time and doesn't indulge in insulting the viewer's intelligence by playing out long drawn flashback sequences for every plot twist. Bravo Vishal, can't wait for the next movie which would complete his Shakespeare trilogy.

Roberto Benigni's next

After the super good 'Life is Beautiful' and 'Pinnochio', Roberto Benigni is back with 'The Tiger and the snow'. This movie appears to be another romance set in the times of the Iraq war. Trust Roberto to treat the story sensitively and in an incredibly humorous manner. I can't wait to see this movie, but I doubt if it would be ever released in my country. That reminds me of something, time to visit Burma Bazaar.