PENGUIN movie review: Flightless!

Tamil, 2020

 Cast :  Keerthy Suresh, Lingaa, Master Advaith, Madhampatty Rangaraja, Mathi, Nithya Kirupa

Written and Directed by Eashvar Karthic

Music by Santosh Narayanan

 

Another week, and yet another disappointing fare that makes it to the OTT platform as an exclusive prime release. And what you learn from these movies, which follows the earlier tamil release PONMAGAL VANDHAL is that hill stations are no good for children.  Here again, while the setting shifts from Ooty to Kodaikanal, the situation remains the same. Kids are being kidnapped from their mothers.

In the movie oddly titled PENGUIN, Keerthy Suresh plays a mother in search of her child.  Sticking to the trend of odd naming, she is named Rhythm, that gets sweetly shortened to Ritu on occasions. When we are introduced to Rhythm aka Ritu, she is an expecting mother, seven months pregnant. But she is also one suffering from the trauma of losing her child six years ago. All she has is the crumbles of the past…. the kidnapping of her little son supposedly by a man with a Charlie Chaplin mask and an umbrella. The images keep haunting her to this day.

However, one night, the ghosts of her past reappear. Not only she sees the mystery man, but also out of nowhere, her long-lost son mysteriously reappears.

Where had he been all these years? Who was behind the kidnapping and why?  Rhythm finds only more questions as she tries to puzzle it all together, but answers come none whatsoever.

penguinmovie02

Like all serial killer flicks, the central plot is about the mystery figure behind the scenes of the crime and the clueless protagonist furiously trying to unearth and solve the puzzle. And in such movies, the mood is critical.  Technically, debutant director Eeshvar Karthic realizes this and has his finger on that pulse creating the atmosphere fitting for the thriller ride. Skillfully supporting him in this task is music composer Santosh Narayanan and cinematography by Palani Karthik.

But therein ends the good things. Because the writing on this again by Eeshvar is painfully a letdown. I am still not sure exactly what about the writing impressed a filmmaker like Karthik Subbaraj to back a project like this.  In fact, I wonder how the writer in Eeshvar was able to convince himself that the ridiculous climax and the motives were good enough to fuel this story.

Even if you leave the final climax aside, the preceding screenplay comes with its share of problems. It seems unsure what it wants to be for most of its running time. Does it want to be an out and out serial killer movie. Or does it seek to be an emotional tale of a mother. Or does it want to be spookier and chiller than it all.  The film seems to be eternally stuck in this confusion.

For starters Rhythm ends up losing the things she is to take care of, quite easily. Almost like a habit. You see the scenes play out and you can predict how exactly the scene is going to play out. And again, the screenplay is not exactly rooted in logic. Cops are literally useless. A pregnant woman is left to do all the sleuth work with a trusted dog as partner. The guys are always missing. Too many expositions, chunky dialogues, and cringeworthy acting from the rest of the cast makes this hardly the tense thriller that it seeks to be.

Also, couldn’t help but notice the heavy influence of the Nolan-Batman movies in the way certain things are treated. Like the fear of buzzing insects, or the climax where the lead protagonist must choose between two options on which to save. Or coming to think of it, even the interrogation scene. Not that any of them is pulled off effectively.

penguinmovie03b

Keerthy Suresh surprisingly does well.  After spending an eternity being just a prop in most superstar vehicles, and getting that award-winning turn in Mahanati, she certainly seems determined to make the best of her new stature. In Penguin, she does a solid grounded act. The abysmal show from the rest of the cast helps, because it makes her indeed look the Award-winning actress. The cast was so disappointing that literally a dog outshines the rest of the cast here, in both characterization and performance. When you have a dog showing more brains than the humans, you know something is off.

Penguin plods and waddles before falling face down. Barring a sincere Keerthy and a few technical notches as mentioned above, the rest of the film fails to do what it sets out to. Instead the movie is at the receiving end of the cruelest cut of them all – some ridiculous writing.  Certainly avoidable!

  Joxily John

 

 

 

Petta Movie Review: The Stars Are Out Tonight

There’s something to be said about the excitement in the air, as one walks into the theatre for a Rajinikanth movie. The old cliché about a Rajinikanth movie being an event didn’t ring true for a while, what with the critically reviled Kochadaiyaan and Lingaa and mixed feelings with regard to Kabali, but with Kaala, it seemed like the star for a change made way for the actor, and 2.0 was for the fans and fans alone.Continue reading “Petta Movie Review: The Stars Are Out Tonight”

The Best of Tamil Cinema in 2016

2016 was an interesting year for Tamil Cinema with a variety of topics being explored. Some big films didn’t do well, while some small films made impact. Certain stars did well,while some of them didn’t really do well. Here are the films in my opinion which stood a little apart from the rest of the pack and made an impact this year.The movies aren’t sorted in any order of merit. Sorting is done based on release dates.

Continue reading “The Best of Tamil Cinema in 2016”

Vijay, We Are Waiting!

Over the last couple of decades, Vijay has successfully worked with quite some filmmakers giving us glimpses of his potential in films like Priyamudan, Thulladha Manamum Thullum, Ghilli and Thuppaki. As the actor turns 41 today,why not a fantasy ride, reflecting on the kind of awesomeness that could be unleashed on us, if the actor collaborates with some of the best creative minds of our industry!

Continue reading “Vijay, We Are Waiting!”

The Best of Indian Cinema in 2014: A Perspective

At the very outset I wish to express that I personally felt that 2014 was overall an ordinary year for Indian Cinema. It was largely devoid of truly path breaking content and Hindi Cinema in particular was very disappointing, especially the second half of the year. This is even more alarming considering that the 1st quarter of the year saw some decent films like Dedh Ishqiya, Hasee Toh Phasee, Highway, Queen and true blue indie films like Ashim Ahluwalia’s Miss Lovely, the long pending Om-Dar-B-Dar of Kamal Swaroop and Rajat Kapoor’s Ankhon Dekhi. The last among the films mentioned (Ankhon Dekhi) in particular was a delight, more on that later. But with subsequent weeks throwing up disappointment after disappointment, I had almost given up on the year but thank goodness for the last 2 Fridays of the year which brought in some relief. 19th December saw Raj Kumar Hirani’s Aamir Khan spectacle PK release, one of the most awaited films  of the year while 26th December saw Anurag Kashyap’s long pending Ugly release. PK for me is Raj Kumar Hirani’s weakest film, but it is still an earnest film and Aamir thankfully is good in the film. So while I have no problem with the film’s spectacular success, I do oppose the way the so called moral and religious police are dragging it into an unnecessary controversy.Continue reading “The Best of Indian Cinema in 2014: A Perspective”

The 2014 Tamil Cinema Awards and Hall of Fame: Year in Review

It’s that time of the year when we usually reflect back upon the past twelve months and figure out how things have been for Tamil Cinema. This is also the time when we tend to look out for the films that impressed, the actors, directors and other technicians who’ve been in top form and also reflect upon how the future would turn out for them. Film as an art form though universal in appeal, still has the element of personal choice/ preferences playing upon us when it comes to forming an opinion. While it’s very rare to find a near universal acceptance of an opinion, when it comes to films especially these days, the finest contributions really deserve our awards and accolades.

Here is my list of the very best, Tamil cinema had to offer in 2014.

1. Best Actor in Lead Role – Male:

The nominees are

best actor1. Dinesh for his stunning portrayal of the nonchalant, confident and happy-go-lucky sightless youth in ‘Cuckoo

2. Aari for his natural act as violent and rustic highway burglar in ‘Nedunchaalai

3. Vishal for his authentic depiction of a narcoleptic in ‘Naan Sigappu Manithan

4. Siddarth for his feisty acts as the self centered, yet persevering filmmaker in ‘Jigarthanda’ and the emotionally torn stage artist in ‘Kaaviya Thalaivan

5. Karthi for his neat portrayal of the North Madras middle-class youngster in ‘Madras

And, the winner is Dinesh for ‘Cuckoo’.


2. Best Actor in a Lead Role – Female: 

The nominees are

best actress1. Nayanthara for her flawless portrayal of the woman seeking justice in ‘Nee Enge En Anbe’

2. Salony Ruthra for her bold and boisterous act as the mysterious twins in ‘Sarabham

3. Pia Bajpai for her act as the misunderstood rebel in ‘Nerungi Vaa Muthamidathey

4. Vedhika for her sincere portrayal of the lovelorn singer cum dancer in ‘Kaaviya Thalaivan’

5. Ananthi for her terrific peformance as the orphaned girl who falls blindly in love in ‘Kayal

And, the winner is Salony Ruthra for Sarabham


3Best Actor – In a Negative role: 

The nominees are

FotorCreated1. Vamsi Krishna for his intense act as the covetous cricketer in ‘Vallinam’

2. Bobby Simha for his no-holds-barred performance as the ruthless gangster in ‘Jigarthanda

3. Prithviraj Sukumaran for his portrayal of the scheming and jealous stage artist in ‘Kaaviya Thalaivan

4. Ashutosh Rana for his unbeleivably subtle act as the invisible mafia don in ‘Meaghamann

5. Natraj Subramaniam for his portrayal of a man of brains, who lives by certain principles. albeit crooked in ‘Sathurangavettai’

And, the winner is Bobby Simha for Jigarthanda.


4. Best Debutante Actor in a Lead Role – Male:  

The nominees are

FotorCreated1. Abhinav Vaddi for his near-perfect depiction of the maths wizard in the biographical ‘Ramanujan’

2. Shabeer for his performance as the honest lorry driver in ‘Nerungi Vaa Muthamithade

3. Ashraf for his act as the psychologically traumatised husband in ‘Ra’

4. Naga for his understated performance as the man caught between rationality and paranormality in ‘Pisaasu

5. Chandran for his raw, natural act as the lovable vagabond in ‘Kayal

6. Dulquer Salmaan for his breezy role in ‘Vaayai Moodi Pesavum’

And, the winner is Chandran for Kayal


5. Best Debutante Actor in a Lead Role – Female:   

The nominees are

FotorCreated1. Malavika Nair for her splendid performance as as the visually impaired girl who yearns for love in ‘Cuckoo

2. Sugandha Garg for beautifully portraying the pains of love and war in ‘Inam

3. Shivada Nair for her role as the loud, aggressive and righteous dhabba owner in ‘Nedunchaalai

4. Akhila Kishore for her alluring portrayal of a sensitive woman in ‘Kathai Thiraikadhai Vasanam Iyakkam’

5. Mia George for her natural act as the innocent school girl in ‘Amara Kaaviyam

6. Catherine Tresa for representing the true North Madras girl in ‘Madras

7. Prayaga Rose Martin for her physically draining performance as the ghost in ‘Pisaasu’

And, the winner is Malavika Nair for Cuckoo


6Best Actor in a Supporting Role- Male:

The nominees are

FotorCreated1. Jayaprakash for his simple yet stylish portrayal of the naive Pannaiyaar in ‘Pannaiyarum Padminiyum

2. S. Karan for playing himself as the mentally handicapped war victim in ‘Inam’

3. Nasser for his portrayal of the strict family head in ‘Saivam‘ and the experienced guru in ‘Kaaviyathalaivan’

4. MS. Baskar for his contribution to spicing up the drama in ‘Arima Nambi’

5.  Radharavi for his poignant portrayal of the bereaved father in ‘Pisaasu‘.

6. Kalaiyarasan for his impactful performance as the budding politician in ‘Madras’

And, the award is shared between Nasser for Saivam and Kaaviyathalaivan  and Kalaiyarasan for Madras


7Best Actor in a Supporting Role – Female :

The nominees are

FotorCreated1. Thulasi for her grounded act as the wife of the village head in ‘Pannaiyarum Padminiyum

2. Sujatha Sivakumar for her portrayal of the loving and protective Aachi in ‘Goli Soda’

3. Saritha for her touching depiction of the mother figure to war victims in ‘Inam’

4. Saranya Ponvannan for her spontaneous performance as a loving mom in ‘VIP’

5. Ritwika for her sensuous and appealing character sketch of a loving wife in ‘Madras’.

And, the winner is Ritwika for Madras


8. Best Actor in a Comical Role:

The nominees are

FotorCreated1. Bhagavathi Perumal for entertaining us with his looks and lines in ‘Oru Kanniyum Moondru Kalavaanikalum’

2. Pandiarajan for sending us into raptures of laughter as the minister in ‘Vaayai Moodi Pesavum

3. Karunakaran for his brilliant act as the friend in ‘Jigarthanda’ and ‘Yamirukka Bayamey’

4. Kaali Venkat for his sparkling sense of humor in ‘Mundasupatti

5. Bala Saravanan for superbly complimenting Dinesh in bringing the roof down in ‘Thirudan Police

And, the winner is Karunakaran for Jigarthanda and Yamirukka Bayamey


9. Best Child Artist:

FotorCreatedThe nominees are

1. Sara Arjun and 2. Master Ray Paul for their delightful performances in ‘Saivam

3. Vasanth, 4. Gaurav Kalai and 5. Praveen Kishore for their acting escapades in ‘Poovarasam Pee Pee’

And, the winners are Sara Arjun and Master Ray Paul for Saivam


10Best Original Screenplay:

The nominees are

FotorCreated1. Vijay Milton for his skill at telling a revenge story in a refreshingly innovative way in ‘Goli Soda

2. P. Ramesh for his efforts in writing a novel and compelling conflict targetting the thriller genre in ‘Thegidi’

3. H. Vinoth for his sarcastic and painfully real depiction of the ugly truths in ‘Sathuranga Vettai

4. Karthik Subbaraj for his pure magic on screen in ‘Jigarthanda’

5. Parthiban Rathakrishnan for challenging the rules of ‘Syd Field’ in ‘Kathai Thiraikadhai Vasanam Iyakkam

6. Pa. Ranjith for weaving a ‘slice of life’ drama in ‘Madras’

And, the winner is Karthik Subbaraj for Jigarthanda


11. Best dialogues:

The nominees were

1. H. Vinoth for ‘Sathurangavettai’. “Unnai oruthan emaathunaa avanai edhiriyaa nenaikaadha! Oru vagaila avan unaku Guru!”

2. Karthik Subbaraj for ‘Jigarthanda’. “Enga area la ponnunga irukaanga. Aana unga area la aambalainga illaiyaame?”

3. Parthiban Rathakrishnan for ‘Kathai Thiraikadhai Vasanam Iyakkam’. “Neenga edukra cinema va neenga paathutu daan theatreku anupveengala, illa apdiye straighta theatre ku anupiduveengala?”

4. Raju Murugan for ‘Cuckoo’. “Ovvovurthiyum Saami da! Pombalaingala thittradaiye oru fashiona vechitu alaiyireengalada?”

5. Suseenthiran for ‘Jeeva’. “Pinnaadi Tatti kuduthaarnu nenachen, aana thadavi paathaarunu apuram daan therinjidhu!”

And, the winner is H. Vinoth for Sathurangavettai


12. Best Cinematographer:

The nominees are

FotorCreated1. Santosh Sivan for providing a realistic and unsympathetic feel of war in ‘Inam’

2. Jeeva Shankar for capturing the lush green rustic essence of Ooty in ‘Amara Kaaviyam’

3. Gavemic U Ary for showing the alluring beauty of the temple city in all its grandeur in ‘Jigarthanda’

4. Ravi Roy for his unconventional frames and lighting in ‘Pisaasu’

5. Vetrivel Mahendran for recording the pristine beauty of Ladakh and Kanyakumari in ‘Kayal’

And, the winner is Ravi Roy for Pisaasu.


13. Best Editor:

The nominees are

FotorCreated1. Leo John Paul for spicing up the tempo big time in ‘Thegidi

2. M.V. Rajesh Kumar for the slick cuts in ‘Velaiyilla Pattathari’

3. Vivek Harshan for his unique style of intercutting sequences in ‘Jigarthanda’

4. Praveen K.L for the seamlessly flowing narrative in ‘Madras’

5. Gopinath for maintaining the sinister atmosphere and eerie feel in ‘Pisaasu’

And, the winner is Leo John Paul for Thegidi.


14Best Director:

This category considers the making skills of the artist in question, and the way the script is translated to the screen.

The nominees are

FotorCreated1. Vijay Milton for his confidence and trust in the audience for ‘masala’ cinema in ‘Goli Soda’

2. Balaji Mohan for his courage to experiment in ‘Vaayai Moodi Pesavum

3. Karthik Subbaraj for his flair for genre defying cinema in ‘Jigarthanda’

4. Pa. Ranjith for his gritty take on caste politics in ‘Madras

5. Suseenthiran for his guts and responsibility to address a sensitive social issue in ‘Jeeva

6. Mysskin for his inspiring style in redefining the horror genre in ‘Pisaasu

And, the winner is Mysskin for Pisaasu.


15. Best Debutante Director:

The nominees are

FotorCreated1. S.U. Arun Kumar for taking us on an emotional journey in ‘Pannaiyarum Padminiyum

2. P. Ramesh for thrilling us with a riveting script in ‘Thegidi

3. Raju Murugan for showing us new dimensions of love in ‘Cuckoo

4. Ram for taking us on a hilarious trip in ‘Mundasupatti

5. Vinoth for amusing and shocking us simultaneously in ‘Sathuranga Vettai

6. Dharanidaran for his jazz and style in crafting a heist thriller in ‘Burma

7. Caarthick Raju for his comical take on a drama in ‘Thirudan Police

And, the award is shared by P.Ramesh for Thegidi and Vinoth for Sathurangavettai.


16. Best Original Background Score:

The nominees are

FotorCreated1. Nivas. K. Prasanna for ‘Thegidi’

2. Vishal Chandrasekar for ‘Inam’

3. Santhosh Narayanan for ‘Cuckoo’, ‘Jigarthanda’ and ‘Madras’

4. AR. Rahman for ‘Kochadaiiyaan’ and ‘Kaaviya Thalaivan’

5. Arrel Corelli for ‘Pisaasu’

And, the winner is Arrel Corelli for Pisaasu.


17Best Music Director:

 The nominees are

FotorCreated1. Anirudh Ravichander for ‘Maan Karate‘ and ‘Vellaiyilla Pattathari’

2. Ghibran for ‘Thirumanam Enum Nikkah’

3. Santhosh Narayanan for ‘Cuckoo’, ‘Jigarthanda’ and ‘Madras’

4. AR. Rahman for ‘Kochadaiiyaan’ and ‘Kaaviya Thalaivan

5. D. Imman for ‘Kayal

And, the winner is Santhosh Narayanan for ‘Cuckoo’, ‘Jigarthanda’ and ‘Madras’.


18Best Art Director:  

 The nominees are

FotorCreated1. Sunil Babu for recreating the war field and atmosphere in ‘Inam’

2. CR. Velu for his mammoth efforts for achieving the period feel in ‘Kochadaiiyaan’

3. Gopi Anand for recording the bygone era with perfection in ‘Mundaasupatti’

4. Santhanam for authentically recreating the stage drama in ‘Kaaviya Thalaivan’

5. T. Ramalingam for attempting the North Madras feel with lots of conviction in ‘Madras’

And, the winner is Sunil Babu for Inam.


 19Best Lyricist:

 The nominees are

FotorCreated1. Vaali for “Onakaaga Poranthaenae” (Pannaiyarum Padminiyum) and the ‘Alli Arjuna’ series (Kaaviyathalaivan)

2. Kabilan for “Vinmeen Vithaiyil” (Thegidi)

3. Yugabharathi for “Aagasatha” (Cuckoo)

4. Vairamuthu for “Maattram Ondrudhaan Maaraadhadhu” and “Manappenin Sathiyam” (Kochadaaiyaan)

5. Karthik Netha for “Enthara Enthara” (Thirumanam Enum Nikkah)

And, the winner is Vairamuthu for the tracks “Maattram Ondrudhaan Maaraadhadhu” and “Manappenin Sathiyam” from Kochadaaiyaan 


20Best Male playback singer:

 The nominees are

FotorCreated1. RR for “Potta Pulla” and “Manasula Surakatre” (Cuckoo)

2. SP. Balasubrahmanyam for “Engae Pogudho Vaanam” and “Meduvaagathaan” (Kochadaiiyaan)

3. Arun Raja for “Ding Dong” (Jigarthanda)

4. Shadab Faridi for “Enthaara” (Thirumanam Enum NIkkah)

5. Haricharan for “Alli Arjuna” ,“Sandhi Kuthirai” (Kaaviyathalaivan) and “Paravaiyai Parakirom” (Kayal)

6. Gana Bala for “Kakidha Kappal” (Madras)

And, the winner is Haricharan for the tracks “Alli Arjuna” ,“Sandhi Kuthirai” (Kaaviyathalaivan) and “Paravaiyai Parakirom” (Kayal)


21Best Female Playback Singer:

 The nominees are

FotorCreated1. Saindhavi for “Vinmeen Vithaiyil” (Thegidi)

2. Kalyani Nair for “Agasatha” (Cuckoo)

3. Shruthi Haasan for “Un Vizhigalil” (Maan Karate)

4. Chinmayee for “Idhayam” (Kochadaiiyaan) and “Enthaara” (Thirumanam Enum Nikkah)

5. Rita for “Kannamma” (Jigarthanda)

6. Shaktishree Gopalan for “Naan Nee” (Madras)

7. Kaushiki Desikan for “Chillendra Chillendra” (Thirumanam Enum Nikkah)

8. Sweta Mohan for “Yaarumillaa” (Kaaviyathalaivan)

9. Shreya Goshal for “Yengirindhu Vandhaayo” (Kayal)

10. Uthara Unnikrishnan for “Nadhi Pogum Koozhangal” (Pisaasu) and “Azhagu” (Saivam)

And, this award is shared by Shaktishree Gopalan for “Naan Nee” (Madras) and Uthara Unnikrishnan for “Nadhi Pogum Koozhangal” (Pisaasu) and “Azhagu” (Saivam)


22. Best Dance Choreographer:

 The nominees are

dance1. Baskar for  “What a Karvaad” (Vellaiyilla Pattathari)  and “Paandinaattu Kodi”  (Jigarthanda)

2. Shobi Paulraj for “Pakkam Vanthu” (Kaththi)

3. Raghuram Master for “Thirupugazh” (Kaaviyathalaivan)

4. Satish for “Kakidha Kappal” (Madras)

5. Yuvraaj Jayakumar for the Rudhratandavam dance  (Kochadaiiyaan)

6. Gururaj for “Petromax Lightaedaan Venumaa” (Aranmanai)

And, the winner is Baskar for  “What a Karvaad” (Vellaiyilla Pattathari)  and “Paandinaattu Kodi”  (Jigarthanda).


23Best Costume Designer:

The nominees are

costumes1. Sathya NJ and Vasukhi Bhaskar for ‘Maan Karate’

2. Khushbu Doshi  and Eka Lakhani for ‘Inam

3. Neeta Lulla for ‘Kochadaiiyaan’

4. Jegathesan for ‘Mundasupatti’

5. Perumal Selvam and Niranjani Agathiyan for ‘Kaaviyathalaivan’.

And, the winner is Neeta Lulla for ‘Kochadaiiyaan’


24. Best Make-up Consultant:

 makeupppThe nominees are

1. Ranjith Ambady for ‘Inam

2. Lalitha for ‘Yaamirukka Bayamey’ and ‘Pisaasu’

3. Niranjani Agathiyan for ‘Kaaviyathalaivan’

And, the winner is Niranjani Agathiyan for ‘Kaaviyathalaivan’


25. Best Stunt Director :

 stuntsThe nominees are

1. Peter Hein for ‘Kochadaiiyaan’

2. Anal Arasu for ‘Meaghamann’

3. Tony for ‘Pisaasu’

4. Mahesh for ‘Burma’

5. Supreme Sundar for ‘Golisoda’

And the winner is Supreme Sundar for Golisoda


 

26Best Crew: For the film Jigarthanda


 

27. Best film of 2014: Jigarthanda.

Breaking Down Jigarthanda’s Recipe For Awesomeness: Final Part Of The Trilogy

What makes Jigarthanda so special? Here are my thoughts about the recipe for the movie, penned down in chronological order as per the running structure of the film. (Contains Spoilers)

Here is the link to Part-1 and link to Part-2 of this article.

PART-3

Plot point 2:  shock it up!

As I stressed earlier, the director is not about half measures. If you want to shoot a scene in a bus, better make it engaging. If you want to record an interview, have it brimming with nervous energy. If you want to stage a spirited folk song, better put it inside a goddamned empty well! Simha taps the raw performer inside him as he gyrates wildly to the delightful beats of “Puzhudi Parakadhu”, clad in a dhoti! The tempo rises slowly and we are literally on our feet. This to me, is a perfect example of intelligent film making – having only one full track in your script right at the 100 minute mark. Myshkin did it in style in his ‘Yudham Sei’ and here Karthik repeats the trick. At a moment of heightened spirits, Karthik brings in plot point two through Lakshmi Menon, who is hungry for revenge against Sid for having used her just for gathering information about Sethu. In a fit of contempt, she suggests Sethu to play himself in the movie based on him. And that’s it! We laugh with Sid. But after a minute, we smile. Wow, here is a leading lady who doesn’t behave like one! When Simha gets obsessed about it, we know all hell is about to break loose. The mood is further intensified by Simha’s ‘maranakuthu’ right after his revelation – something I would cherish for long! Watch out for a follow-up scene where Sethu proceeds to give a taste of fear to Sid, where the proceedings are intelligently interwoven with the screening of ‘Thalapathi’ on television. The whole of this segment truly belongs to Simha, who has a field day with his punny punches and dialogue delivery, keeping us right at the edge of our seats.

Jigarthanda Poster 5

All is lost. Or is it?

The moment a battered Sid is joined by shop vendor Palani in the streets, we know we are in to witness an epic scene. Karthik weaves some pure emotional magic as Palani starts recounting his early days as an assistant director, with dialogues like “The thing about opportunity is that it mostly strikes only once. A lot depends on how you choose to treat it!” Piloerection stuff, again. And as the scene progressed, I was wondering at the screen writer’s skill at inciting his protagonist and the audience using the power of words. Here was a scene, where a character spoke a few lines, but conveyed a lot of unspoken emotions. Karthik has managed to charge us up for the last act.

The knight rises

In what pans out as a separate film altogether, Sethu and his henchmen are directed to take acting classes for the film by Sid. But I also had a feeling that this transition in mood was intentional. This segment of the movie has perhaps the best moments of the film humour-wise, but it’s also true that the character arc of Sethu doesn’t sync with this kind of a drastic transformation. True that Sethu has seen the potential for fame, and will go to any lengths for the sake of it. But the kind of abuse he withstands from his acting teacher, though hilarious, kind of undermines the character. But Karthik knows this and hits gold with casting Simha as Sethu. Simha’s ease at both ruthlessness and comedy comes to his rescue, as he along with Karan and his gang take us through an insanely funny ride, so intense that our stomachs hurt. Karan in fact tries to steal the thunder right under the nose of Simha with his Silambattam practise, while Simha hits back by bringing the roof down with his attempts at romance.

Jigarthanda Still 4

Lights. Camera. Laughter!

Jigarthanda-Simha 2Enter ‘Aaranya Kandam’ fame Guru Somasundaram as the acting guru, and what had already been a laugh riot, just turns totally explosive. Still trying to make sense of the bizarre con-job that had been played on us, we laugh our guts out at Simha and Karan explaining parotta and mutton sukka in ‘gibberish’. In an extremely manipulative move, Sid returns the favour to Lakshmi by hooking her to Sethu, and the dialogues here like ‘Ivaru periya Virgin Rowdy!’ at unexpected times work really well. Karunakaran’s emotive brilliance shadows all others in an extremely well executed scene, where Guru shortlists the actors. We are still caught between getting lured into this and asking “Why the hell then did Karthik build up Sethu’s character so much in the first half?” But before we start looking for answers, the atrociously hilarious ‘shooting sequence’ starts in the background of Santhosh’s inventive ‘Baby’ soundtrack. Despite the characterisation going for a toss, Karthik Subbaraj does sell off his deception pretty well, mainly because of some smart writing and non-stop black comedy sketches. Take Simha off from the equation, and this part of the film might fall flat. Every movie will have a line which defines it. You would know when you hear it! Here, it comes from Simha in a moment of mismatched sentiments. The way he mouths the “Acting the part of a gangster is tougher than being one!” line is enough to identify the real protagonist of the movie. Though the director is able to extract what he wants for his storyline, it’s also true that some of the sequences feel like a stage drama. But we don’t care. We have been sucked into the con-labyrinthine with a confidence and freshness that couldn’t be debated.

The reveal

As the film featuring Sethu is completed, curiosity about the consequences starts getting the best of us. Karthik deftly builds up the suspense here by including some tongue-in-cheek scenes, showing Sethu’s ‘heights of power’ techniques to bring in the audience to the theatres. As Sid waits outside and the first show is screened, Karthik takes the final plunge. I found the reveal perfectly timed (literally, with a countdown!), logically quite well-explained and skilfully orchestrated. Though it reminded me of quite a few earlier films, I found Karthik’s version different. My greater concern was in fact the way he was going to plot Sethu’s character arc and take the story forward from here. Sethu had been royally transformed from an arrogant fearsome gangster to something very polar, without his knowledge. Would that mean something?  We can’t take our eyes from the screen. We are glued waiting for answers.

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The final showdown

The beauty of the final showdown is that it is shown as repeating jump cuts of events occurring in three contrasting places – A beautiful landscape, a house with an ongoing funeral and a theatre. That’s certainly a award-deserving, phenomenal show by the editor Vivek Harshan, who silently proves his brilliance with every opportunity he gets.  Cinematographer Gavemic brings in frames which seem straight out of a big budget Hollywood movie. The final confrontation in the open fields in particular is so well conceived and crafted that along with Santhosh Narayanan’s soulful background score, it becomes an instant classic! There is a particular long shot where Sethu opens the tall doors of the theater and walks in, the sole window lighting casting a long shadow behind him,  which slowly reduces in length as he walks into the theater until it becomes the same as the man. Talk about similes! Having wondered about the significance of Sethu’s mother in this story, I was literally moved to tears when the scene involving her unfolded. Sethu realizing the fact that spreading happiness is much tougher and more rewarding than demanding fear has been brought out exceptionally well by Karthik by staging some well-planned and written sequences. We have been just treated to a stunner!

Stunning closing images

In arguably the best resolving sequence in recent Indian cinema, we cross-cut between the first scene we were introduced to at the beginning and another scene involving Sid narrating the story of his next film to Vijay Sethupathi. The first scene is played from the front this time, and Santosh again grabs the opportunity to show why he is such a talented musician. The scene involving Sid and Vijay Sethupathi amused me to the core, especially for the subtext in it. Does Karthik Subbaraj convey a subtle message, to be picked up only by the discerning eye? Was it an indirect reference to the plight of directors who want to stay true to their script? Is this the only way, a filmmaker today can pursue the film of his dreams today? As Sethu started falling off the chair in slow motion, and Sid began walking back from Vijay’s office, I was smiling uncontrollably. And as the screen turned black, the theater rose for a standing ovation. I had just witnessed a beautiful work of art, which was perhaps one of the best genre defying efforts in contemporary Indian cinema. Hats off, Karthik Subburaj for giving us an entertaining film, where art and commerce make a cheerful pact!

The end.

Breaking Down Jigarthanda’s Recipe For Awesomeness: Part Two Of The Trilogy

What makes Jigarthanda so special? Here are my thoughts about the recipe for the movie, penned down in chronological order as per the running structure of the film. (Contains Spoilers)

Here is the link to Part-1 of this article

PART-2

The nerve-wracking ‘Game of Thrones’

You have been warned. “When you play the GOT, you win or you die” 

Karthik Subbaraj’s dazzling writing prowess blends with some top-notch technical assistance from cinematographer Gavemic and editor Vivek (akin to milk, china-grass and nannaari syrup in Jigarthanda) to make this segment of the movie delicious, yet brimming with raw gritty nervous energy. Karthik stages a couple of convincing incidents to get Sethu suspicious of a clandestine spy shadowing on him. Lo and behold, the game of thrones swings into motion and the tension is gradually mounted as Karthik Subbaraj makes an attack on Sethu seem imminent. In this tense atmosphere, he again brilliantly sneaks in a ridiculously funny segment where Sid and Karan get caught spying on Sethu’s house. Karunakaran in particular is at his hilarious best in this scene, completely overshadowing Sid with his impeccable timing in slapstick. This segment results in a young enthusiastic chap (Soundar) from the gangster gang being called upon to have an eye on Sid and Karan. While this prospect has us expecting some hard-core action, Subbaraj utilizes it initially for extracting some nervous chuckles. Intelligent! Somewhere in between these riotous scenes, when we are least expecting it, Karthik once again unleashes the trickster in him, in style.

Jigathanda-Siddharth and Simha

The chef-d’oevre sequence

In probably Karthik’s master-scene, Gavemic’s camera shows the gangster gang sharing a loud joke in a theater canteen, while Sethu gets up with a bhajji in hand and starts walking. The camera follows him as he makes small-talk with a cook and proceeds to take a plate to protect himself from the rains as he crosses over to the adjacent theater premises. The tense unease keeps scaling as the camera still follows him through the hall’s passage to the toilet, where he meets the cleaner. Still nothing. We wait in bated breath for the scene to explode. But not yet! Where is Karthik leading us to? A vomiting alcoholic is about to get thrashed. Is it? No. Then it happens. We stare astonished at the pomposity of the scene, and the way the scriptwriter in Karthik has staged it in the background of the “Ennadi Meenaatchi” track from ‘Ninaithalae Inikum’. And after a minute of mixed emotions, when Sethu nonchalantly proceeds to do the ‘thing’ he came for, we just can’t help but clap at the brilliance we have just witnessed. Simha makes it look so easy and believable, and it has grandly served its purpose. We are hooked, surrendering ourselves to the mastery.

Deception’ – Level: Awesome

The master of deception in Karthik starts to take over slowly. On befriending ‘Soundar’ from the gang, Sid hides a spy mike inside his MP3 player after coming to know that the chap has been called upon for accompanying Sethu for an ‘event’. Here again, the detailing is top-notch as the ‘shadow-trail’ is triggered into action. The sketch to murder Sethu’s rival Sekar is so convincingly pitched that even with our now heightened cop instincts, we fail to doubt it. Now, Sekar has to make an escape! But Karthik doesn’t want an inch of lazy film-making in his frames and hence what we get is a hint of a bizarre half-orgy, which has us pondering over the countless possibilities it opens up for the next scene. But then, in a moment of sudden reveal, the tables are turned and we gape at our glorious deception. Having been royally cheated, we turn our attention to the plight of Sid and Karan, who have been eavesdropping on these events through the spy-mike. But the awesomeness of that sequence is not over yet. In another esoteric and superbly offbeat moment, Sethu wearing a Leonardo mask himself, returns the favour to Sekar. Now if that’s not genius, what is?

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The electrifying mid-point

Karthik wants to heighten the tension a notch higher and raise the stakes of the protagonist. What better way to do it than have Simha (playing Sethu) converse directly over the microphone to Sid. Sparks fly and incessant claps mask the words, as Simha in a tight close-up once again proves why he is such a versatile actor. His eyes speak volumes and his tainted teeth grit in anger, as he figures out the people behind the spy job. And the inevitable happens within minutes. Santhosh Narayanan and Gavemic make this sequence stirringly ‘Tarantinoesque’ with an outré background score and awe-inspiring visuals. As Sid and Karan trying to make an escape, are greeted at the door by Sethu’s gang, our pulses go racing to one twenty beats per minute. And as the letters ‘Intermission’ pops out of the gun with a whistle, Karthik Subbaraj can take pride in making our hearts pop out to our mouths.

The ‘real’ con-job begins

In a unique demonstration of one of the best con-jobs ever done on a cinematic audience, Karthik Subbaraj pulls off an extreme sort of irreverent hilarity on us, the unsuspecting spectators, especially after a nail-biting interval segment. Personally, when Sid and Karan lure Sethu into being excited at the prospect of a feature film based on him, I found it quite convincing (at least at this moment, especially with the ‘Thalapathi’ reference and all). Karthik uses this platform to create an uproarious interview segment with the gang facing a mounted DSLR. This did offend the rationalist in me for a while, but the explanation that Sethu was blinded by a strong yearning for fame sounded quite persuasive. Here again, the unapologetic tone with which Karthik Subbaraj continues to portray his protagonist surprised me. Sid wants real crime events for his script and he doesn’t give two hoots about the appalling nature of the offences, narrated to him by Sethu and his gang. He even breaks into a broad smile as he fixes Vijay Sethupathy as Sethu in his mind, and lets the events narrated by Sethu play out in his mind as an organised screenplay.

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Irreverent humour, brilliantly unleashed!

The character delineation of Sethu is set up from an interesting incident in his school days, which later comes across as an extremely smart move by the director. The writing is exquisite in these Sid’s script-writing sequences, with some spine-chilling dialogues delivered in a comic tone. Simha as Sethu lives up to his part and Santhosh provides the necessary mood with his quirky ‘Thanda’ soundtrack. Two absolute gems in ‘black comedy’ in this segment, one involving Sid asking Sethu to infuse some real action into a Panchayat scene while filming it for his reference and the other involving a charge-drained camera, delve deep into the character of Sid, in addition to bringing down the roof with laughter. Karthik writes arguably the best hilarity of all, when he doesn’t spare even the Russian roulette in his spoof. In yet another side-splitting scene, Karunakaran and Simha are at their rocking best when the former gets his throat almost split. Writing comedy is no mean task, and the element of surprise is what makes it click. Surprise, yes! Both the scriptwriter and the con-man in Karthik are in their elements as he slowly steers the story away from our imagination.

To be continued…

Breaking Down Jigarthanda’s Recipe For Awesomeness: Part One Of The Trilogy

What makes Jigarthanda so special? Here are my thoughts about the recipe for the movie, penned down in chronological order as per the running structure of the film. (Contains Spoilers)

PART- 1 

The magical intrigue

In one of the most enigmatic opening sequences ever in Indian cinema, Karthik Subbaraj gives us an audacious blend of contrasting antithetical emotions, when the camera follows a character into a make-shift bar in a closed warehouse setup, who eventually gets a ‘gift’ from someone called ‘Karthik’. The song ‘Malarndhum Malaradha’ from Paasamalar is being projected on a huge screen when the ‘act’ happens, and subsequently the camera lingers on the screen for a minute in a ‘divine moment of introspection’, as we see Sivaji on-screen epitomising ‘tender care’. The ‘unserene’ act of brutality has been rendered in an atmosphere of serenity. The character has been taken care of. Karthik Subbaraj’s magic of juxtaposition has started. The audience have been irreversibly intrigued.

 

The grand thematic premiseJigarthanda Poster 3

Karthik Subbaraj and his able cinematographer Gavemic with the help of sound engineers Vishnu and Sree, take us through an exceptional audio-visual journey, as Siddarth is followed from the back-stage through dark alleys to emerge on the dais for the decisive judgement of a short-film competition. We get a brief, yet aesthetic glimpse of the film’s theme in an exceptional single shot. An ugly spat unfolds between an award-winning director and a pragmatic producer over the protagonist’s rejection, which is taken to the next level by Karthik’s clever injection of the film’s undertones into it. While Nasser, the director snubs the film as garbage, the producer sees it as a crowd-pleaser. When you scratch the surface, what you see is a heated argument, cut in stylish shots. Dig deeper and the subtext catches you grinning. The conflict has been established in style in probably the best thematic scene in recent years. The protagonist is not named ‘Karthik’ by routine or accident. Karthik Subbaraj wants us to take a cue from his protagonist on his burning desire to bridge art-house and mainstream cinema, even if it amounts to resorting to the extremes. Boy, are we in for the ride!

Setting up the catalyst

The protagonist’s dramatic need and the ensuing drama are delightfully set up by Karthik, when the producer throws up an exciting challenge on stage. He then proceeds to troll himself and the industry amusingly with a scene, where the producer asks Sid to just remake ‘The Godfather’ or ‘Pulp Fiction’. What follows is a witty tracing of the protagonist’s character arc, with Sid on the lookout for a blood-curdling gangster to base his film on. Sid’s meeting with the police officer Ajay Ratnam through his journalist uncle turns out to be the perfect catalyst scene, which teases us with disjointed horrific facts and vivid imagery about Sethu (Bobby Simha). The magician in Santhosh Narayanan (Background score) and the sorcerer in Gavemic (camera) together with the performer in Simha bring alive Karthik’s visualization of Sethu’s menacing ‘intro’ scene happening in a barren landscape. That’s some bewitching stuff! We are hooked and we are dazed. So, very much unlike Siddarth who is more vocal about it, we break into a silent whisper “Bring it on, man! Talk about effectual catalytic set-ups. We have just witnessed a live demo.

Jigarthanda Banner

The hilarious debate

Karthik Subbaraj is not happy with anything that rhymes with the word ‘routine’. So even in an otherwise ordinary scene, he makes an attempt to escape the constraints of lazy screenwriting. So when he writes a scene where Sid has to land in Madurai in a bus, he gets us tensed and curious by having an auto driver nearly man-handling Sid to his auto, which has the poster of Sethu on its rear end. And the moment of reveal is staged in style, with the slowly emerging Bermuda pyjamas. Karunakaran as Oorani starts his riotous antics and smirk reactions without a moment’s delay. His initial interactions with Sid are cheery, but truly he brings the roof down with his brilliant overnight transformation. Karthik Subbaraj is spot on with his lively and witty dialogues in this segment, which travel seamlessly from grumbles to self-doubt to excitement and finally to inappropriate heroism. Gavery’s to and fro shots from Sid’s point of view on the wooden swing make this scene a memorable one.

Plot point – 1: The journey starts

In arguably the best character developments in recent Tamil cinema, we get to witness a multi-dimensional protagonist who goes about his goal of researching the life of Sethu, with the conviction of a real spy for his ‘based on a true story’ gangster movie.  It takes a lot for a young actor to accept a role with grey shades all over, but you have to give it to Sid for his courage and vision. Sid plays the self-centred Karthik, who is ready to fake friendship, false-hopes and even love, in return for any reliable information about Sethu. Each of the three characters, Sid singles out to milk details about Sethu has been detailed to perfection by Karthik; while among them Sangili Murugan playing the unsuccessful director – turned shopkeeper impresses with veteran ease, narrating his hilarious ‘Sivanesan and Kuruvamma’ stories non-stop. The ‘hallucinating’ scene of Sid and Karan is definitely one of the better thought-out comic sketches in recent times. The adult film episode and the bar sequence have also been cleverly tapped for some worthy chuckles. And in the midst of all these light-hearted mayhem, Sethu (Simha) struts around in his red Mercedes with the air of a cold-blooded murderer. Santhosh Narayanan chips in brilliantly yet again here with his ‘Ding Dong’ rap number, which lifts the character establishment scenes of Sethu to a totally new level. That ‘gethu’ moment when Simha goes into the Mercedes wounded and comes out through the other end after one hell of a shoot-out, with the scorching sun and the lines “Villaadhi Villanendru Perudutha… Seiyaadha Paavam Ellam Serthu Veika!” in the background… Goosebumps! Karthik’s writing has no dull moments as he cleverly uses the backdrop of some genuine laughs to build up on the gruesome Sethu. Brilliant!

Jigarthanda-Simha and Siddharth

The B story

Karthik Subbaraj brings in the ‘B’ story or the love angle in yet another departure from the etched ‘hero’ standards. Having failed in all three attempts in getting to know Sethu’s journey, Sid targets the daughter of Sethu’s chief cook for source material (played by Lakshmi Menon). Lakshmi’s introduction is innovatively staged, and her subsequent encounters with Sid are tastefully done. But the love which Lakshmi seems to develop for Sid never gets justified. Lakshmi Menon also comes across as somewhat bland and one-dimensional in these episodes, though quite a lot is salvaged by some skillful cuts by Vivek Harshan (editor) who makes the transitions between the infiltration attempts and the romance smooth and offbeat. Karthik does away with dedicating a full song sequence to the couple at this time, and in good sense too, as he cuts the proceedings back to the gangster drama within a minute of the ‘Kannamma’ track. We second guess that the plot B might serve to bring in a pivotal twist at a later stage and keep watching in curiosity. Despite Lakshmi’s weak character sketch, Karthik Subbaraj does manage to hold on to our attention in probably the weakest segment of the film. And that’s a feat for sure.

To be continued…