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Thagararu - Standing up for friendship
IndiaGlitz  [Friday, December 06, 2013] 1 Comments

 It is amidst a lot of controversy that Ganesh Vinayak makes his mark in Kollywood. 'Thagaraaru' is all about friendship, love, revenge and the survival of the fittest. Fresh from his 'Mouna Guru' success, Arulnithi is back again on a gripping story threaded with emotions, sentiments and the raw force of youthful zeal.

Sarvanan and his three buddies are small time thieves under scanner. On a fine morning, Sarvanan stumbles upon Meenakshi and falls in love with her right away. Following her down, the hero manages to woo her after a few days and a little scuffle with her father's men. The team gets an offer to support one of the feared rowdies of Madurai, on his mission to establish supremacy over others. Owing to disagreement over payment for the favour, earning his enmity too. Meanwhile the gang also gets itself into trouble pulling the new commissioner's leg, rubbing him the wrong way. Struggling between love and friendship, but choosing the latter nonetheless, Sarvanan gets himself into choice trouble which turns fatal.

When Sarvanan gets beaten up and warned by Meenakshi's father's men, his friends Palani, Senthil and Aarumugam turn apprehensive about the love affair and express discontent over the relationship, as a turn out of caring friendship. Though she initially retorts, Meenakshi eventually understands the care that her boyfriend receives from his mates, who are also orphans like the hero himself. All goes well in the lives of the thick friends, until one fine day when the inspector hunts down the gang and Palani's throat is slit by a mysterious man in the dark. Sarvanan and his three buddies are small time thieves under scanner. On a fine morning, Sarvanan stumbles upon Meenakshi and falls in love with her right away. Following her down, the hero manages to woo her after a few days and a little scuffle with her father's men. The team gets an offer to support one of the feared rowdies of Madurai, on his mission to establish supremacy over others. Owing to disagreement over payment for the favour, earning his enmity too. Meanwhile the gang also gets itself into trouble pulling the new commissioner's leg, rubbing him the wrong way. Struggling between love and friendship, but choosing the latter nonetheless, Sarvanan gets himself into choice trouble which turns fatal. As they are followed by three different groups, the second half is a whodunit.

From an innocent lad to an enraged youth chasing the rivals down and defeating them, Arulnithi does it again as Sarvanan. Known for his expertise in choosing gripping stories, Arulnithi has essayed the role of a sincere friend and honest lover. Tarun comes around as the friend Arul melts over. As the understanding daughter and the bold girl that she is, Poorna is a complete surprise package in an attractive frame. Set in Madurai, the city known for outrageous courage and dedicated honesty, the film is full of sincerity, complete with action packed second half. Sarvanan and his three buddies are small time thieves under scanner. On a fine morning, Sarvanan stumbles upon Meenakshi and falls in love with her right away. Following her down, the hero manages to woo her after a few days and a little scuffle with her father's men. The team gets an offer to support one of the feared rowdies of Madurai, on his mission to establish supremacy over others. Owing to disagreement over payment for the favour, earning his enmity too. Meanwhile the gang also gets itself into trouble pulling the new commissioner's leg, rubbing him the wrong way. Struggling between love and friendship, but choosing the latter nonetheless, Sarvanan gets himself into choice trouble which turns fatal. And there's a shocking surprise in the climax!

There is never a dull moment in the taut story, there are certain portions where dialogues seem repetitive. However, that really don't seem to be a problem in the screenplay that is highly supportive of friendship. Dillraj has put his heart to canning all shots, with exceptional perfection, especially in the underwater chase sequence and the fight on narrow lanes in the dark. While Dharan's music is an interesting aid, Praveen Sathya's background score is exceptionally good and very unique. From melting love and compelling friendship to unparalleled revenge, 'Thagaraaru' is a complete entertainer with an unbelievable surprise.

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There's more to August 15th than just freedom from alien clutches and Mohan Sharma has stepped forward to throw light on one of the shaking injustices - a portion of which still, sadly, prevails in the country. Taking on the helms of producer, director and a primary character in the film, Mohan Sharma brings to us a story that ends in India's independence, with 'Namma Gramam'. For those who thought historic is boring and passe, this is the film that you were probably waiting for, to change your prejudiced ideology. Taking a rustic story in an as colourful and lively screenplay as possible, Mohan Sharma has come out with a clean, involving and thought provoking entertainer.

Mohan Sharma is a well respected man from a traditional Brahminic family, in the story which is predominantly set in an Iyer Agraharam near Palghat. Sharma sticks to values and traditions to the word, and believes in a devoted lifestyle; but by nightfall, it is the same respectable man who sneaks out to share his night with another lady. Sharma's wife who in cognisance of this is still in acceptance of the atrocity under the emotional fancy terminology of 'thaali baagyam' - the boon of being a 'sumangali' or having a live and healthy husband. Sharma is in eternal disappointment of his son Kannan's dismal performance at school, and periodically takes out his anger on the little boy. The main story spins off when Sharma's sister daughter Shamvrudha is married off at a very young age to a little boy from the neighbouring village - in effect, child marriage, which was a prevalent custom back in the pre-independence times. As fate would have it, the little groom succumbs to snake bite on his return journey just after the wedding, widowing the little girl, who is barely the age to understand marriage or death.

As was the tradition, the girl is virtually house-arrested; she is not to venture out on the streets, removed from the school, not to dress up like other girls, should not go out to play, and is put in the inner darkness of the house - the 'rendam kattu' of the olden day houses. Only one rule is relaxed for her; considering her tenderly young age, the Shamvrudha's head is not tonsured, against the regulations set for a widow of a Brahmin family. Shamvrudha grows up jailed inside the house, listening to music that seeps in through the neighbourhood. Kannan also grows up to a young man, fit to be put in the marriage market. Sharma grows increasingly worried over the delay of the lad's marriage, and decides to consent an astrologer, who points out his not adhering to the custom or 'aacharam'. Realising his mistake, Sharma decides to shave Shamvrudha's hair on August 15th. Displaying her protest, the young lady's grandmother sets herself on fire to death. Kannan rises up to the occasion; compelled by the situation to relieve Shamvrudha of her suffering, the lad decides to give her a new life by marrying her. And thus is born independence to a young widow in a humble Agraharam, on August 15th, as the entire nation rejoices the very day in 1947.

'Namma Gramam' is lauded for a lot many dimensions and respects. To begin with, the story is narrated from the year 1938 - practically every reason for boredom. But there is not a moment of dullness in the gripping story line, until it ends in the independence celebration. Every character stands out in its own regard, with the all the members of the cast putting in their best for a realistic and appealing movie experience. The scenes where the seasoned actress Sukumari pleads as the affectionate grandmother, not to shave Shamvrudha's hair and when she arranges her own death pyre and sets herself on fire are moving beyond words. Dr. Radhika on the other hand plays the underestimated mentally ill lady, who is practically wise in her own way, registering a lasting mark with her carefully worded dialogues. Directing the story on a highly captivating screenplay, Mohan Sharma has set a standard for himself with 'Namma Gramam' as a bout of creativity. Thanks to Madhu Ambat for not boring the screenplay with out-of-the-way dull tones to simulate pre-independence, and for making the movie experience enjoyable. PN Sundaram has ensured to deliver a beholding story by backing it with the music just right as the mood demands. In all, 'Namma Gramam' is the latest outlook, in the very austere manner, on a woman's unduly suffering and her endurance and eventual independence. Well done team!

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It is a thala Diwali of posts for Vishal, as his first film as a producer hits the screens today. Mammoth expectations were vested on director Suseenthiran, especially after the grand success of an off-beat story in 'Aadhalaal Kadhal Seiveer', and the 'Pandianadu' team has managed to live up to the expectations quite well.Battling in the stiff competition this Diwali, 'Pandianadu' has its own unique set of positives to make its mark.Set in the backdrop of the beautiful tensile town, the film has a lot of action, a lot of emotion, many light moments, a little bit of love and lots of fun on a thread of entertaining story. Hot Movie photography.

First to enter the screen is not the hero or heroine, but bereavement over a death. Going further, the story unfolds not one or two, but many big shot bad guys who are in mutual disagreement with one another. The scene simplifies a little when the rowdy who runs quarries against the government norms, Simmakal Ravi, hacks down the others for monopoly. Meanwhile, Sivakumar (Vishal) is a simpleton to highest levels of non violence, who falls in love with Malar (Lakshmi Menon) who is a teacher. The scenes that Vishal and Lakshmi share are cute and lighthearted. However, it is not love story that forms the main thread of this film. When the lives of the innocent Sivakumar and rowdy Ravi get inevitably intertwined with one another's, due to the death of the former's brother, that is where the real story begins.

Soori has lightened up the mood at even the most taxing and tense situations. Vikrant's cameo as Sethu in the film is a comeback for the actor. He plays the close buddy to Vishal and the scenes where they work hand in hand to impress Lakshmi is yet another entertaining sequence with lighthearted comedy. Loss of such a good ally and his beloved brother transforms the innocent introvert Vishal into a hero seeking revenge, which forms the crux of 'Pandianadu'. Director Bharathiraja, who plays Vishal's father has added considerable twist to the story, to set the tale of revenge blowing in track. Begging in seeking justice and ending in delivering justice, the film is yet another provoking yet off-beat story from the promising director, Suseenthiran.

All the actors have been cast with care, who have done justice to their roles almost all through the movie. However, there are places where the emotions seem fake on some of the faces. Imman's music backs the emotional roller coaster effectively. Though it sounds repetitive at places, it does not hamper with the overall experience. While there is a lot of crude information in the first half, it takes the hour after the intermission to put the pieces together and explain the story in detail. In a couple of emotionally demanding scenes, cinematography is strikingly different, to make the mood linger and hit the right notes, giving an edge to Mathi's creativity.

Fight sequence in the climax is one to watch out for. Unlike the traditional hit and bleed gruesome scenes, the fight this time is realistic and carries the pent up emotions in right measure. Camera angles, capturing and editing in this particular action sequence is par excellence. On the whole, Antony has done a great job, as he always has, to add the apt effects at the right places to make this movie an experience rather than a mere story. Mostly predictable, but with slight little twists here and there, the story has been put to a racy screenplay, which is worth the time you invest in entertainment.

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EGO is a romantic comedy film directed by S.Sakthivel and produced by V.P.Stillz. This film revolves around Eswar (Velu), Gomathi (Anaswara), Bala (Balasarvanan) and the hate, love, lies that bring them together in a comical and twisted journey. Eswar and Bala are thieves who are stuck in a train trying to escape from two gangsters they stole from.  Gomathi is a young girl next door from Aanamala who is running away from home to see her boyfriend and make him convince her parents by showing them an ancestral ring that their family has a soft corner towards. This train journey changes their life in unexpected ways. Gomathi loses her ring and blames it on Eswar and Bala who are already stuck in a rut. Once these two prove to her that they are innocent they land up in even more trouble. They get down to get some fresh air in the next station asking Gomathi and her friend to take care of their bag of money and on noticing a passenger stealing Gomathi's ring he chases after the crook to retrieve the ring on that process they successfully manage to get the ring but they lose the train and their bag of money as well. Things take a turn for the worse after that when Eswar and Bala decide to go to Aanamala to meet Gomathi in the hope of getting back their back and giving her the lost ring. On reaching her house they realize that she ran away from home but on seeing the ring her entire family believe that Eswar is the guy Gomathi ran away to see. Do they ever find out the truth? Does Eswar get his money back? Does Gomathi get married to the love of her life? What does destiny have planned for them? Watch this film to find out.

Director S.Sakthivel has clearly tried to make these unexpected events stand out in a comical way. He has given us a few typical mainstream scenes presented in a way that tries hard to suit the current trend of comedy. His character introductions are good but though the film claims to have unexpected events they are not one of a kind as you can easily predict the order of these events. The screenplay seemed to drag a little towards the end of the first half. Though the film gets you laughing here and there on the whole the film turns out to be very average. Cable Sankar has written the dialogues for the film. The Pollachi slang and their exchanges are very clich?d. The title song by Kash Villanz is very catchy and the background score by Dhina suits the theme of the film.  The dubbing is out of sync in a lot of scenes and the cinematography though passable is overexposed in a few shots.

Performances of the lead actors needed more depth and their timing could have been better. Their performances seem staged. Balasaravanan's sense of humour stands out and he cracks you up constantly. Velu as Eswar needs to work a bit more on his dialogue delivery and Anaswara as Gomathi could have expressed more. All the actors seemed to emote in a very artificial manner and their performances lacked intensity and hence the audiences fail to relate to the characterizations.

The title song by Kash Villanz is very catchy and the background score by Dhina suits the theme of the film.  The dubbing is out of sync in a lot of scenes and the cinematography though passable is overexposed in a few shots.

The title song by Kash Villanz is very catchy and the background score by Dhina suits the theme of the film.  The dubbing is out of sync in a lot of scenes and the cinematography though passable is overexposed in a few shots. Over all this film will crack you up in a few parts but as a whole it fails to entertain masses. If you find yourself with a lot of time to spare and nothing better to do this film would be passable.

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Ambikapathy - should be seen and savored
IndiaGlitz  [Friday, June 21, 2013] 20 Comments=

What is it all about?
Bollywood and its love stories.. here is a new definition of love.. 'Ambikapathy' this Eros International feature which launches the south sensation Dhanush in Bollywood is a brilliantly written, marvelously performed and soulfully sung desi capricious love guide beautifully realized by director Aanand Rai..

We are used to feel good romancers with added dose of bromance thrown in regularly by the tinsel town filmmakers.. 'Ambikapathy' is an unsuspecting welcome surprise which turns from poetic to politics taking the viewers on a journey which witnesses adolescent, obsession, jealously, friendship, ignorance, innocence, faith, love, loss, sacrifice, anger, revenge, guilt all one after the another and hold its 'heart' right at the centre for its recognition as a wonderfully told different love story of Bollywood..

The Story..

Himanshu Sharma as the writer does a marvelous job here.. the story is set on the holy ghats of Ganges Banaras where Kundan (Dhanush) sees Joya (Sonam Kapoor) much before his adolescent and falls in love with her head over heels... Circumstances force Zoya to go to Delhi for further education. A wannabe politician (Abhay Deol) steals her heart... but be aware this is not a run of the mill triangle and just when you expect that now the feel good regular bollywood romancer will take charge.. the writer shocks you with a  twist which can be anything from a political conspiracy to a joke on the so called paper revolutionaries (social media) revolutionaries who jump in the protest without understanding the root cause of the issue.. and the writer manages this difficult task of twining the poetry of love in Banaras to the politics of the so called 'waken' up young souls in the capital Delhi in this new found 'touchy' adage of love which is also blended with attitude..

What to look out for

Aanand Rai and his writer Himanshu Sharma are in song when they take us to Banaras.. the settings, the mood, the atmosphere, the lingo everything is bang on.. Tanu Weds Manu proved that Aanand Rai is a good director... The banaras episodes in 'Ambikapathy' crosses the career bridge for Aanand and brings him to the point where his substantial talent becomes vividly clear.. Anand's narration backed by Himanshu's writing powers gives an utter assurance of a profoundly moving picture in store for us when the love story in Banaras grows and continue to grow.. the moments are highly entertaining, humorous, poetic and yet so simplistic.. Excellent.. as said earlier Himanshu Sharma's dialogues are sheer brilliant piece of writing but those silent moments in the film where everything gets shared with the viewers just by expressions is just magic..

The confidence by which Aanand Rai takes the movie to an unconventional route deserves high praise..Himanshu again supports the cause of his director and we get a pulsating climax which knocks you out of the blue and Vow!! What a way to end.. real Ashiqui.. must say..

Propelled by A.R.Rahman's soulfully soothing scores.. 'Ambikapathy' gets an inspiring lift.. Tu Mun Shudi, Tum Tak, Piya Milenge are highly addictive enhancing the movie watching experience..

Vishal Sinha and Nataraja Subramanian do a beautiful job with their camera which captures the beauty of Banaras and the chaos in Delhi to great effect.. Hemal Kothari editing is crisp..

Production Design by Wasiq Khan and Art Direction by Tariq Umar Khan is up to mark..

Coming to performances Dhanush debut in Bollywood is terrific.. he is a stealer.. those who has seen him are worthy of his talents and 'Ambikapathy' is all set to widen his fan base all over.. this actor is so simple and yet magical.. his comic timings is excellent.. while his emotional rendering on screen is touchy moving.. capturing the viewer right from the first frame till the end.. Dhanush with his brilliance makes us believe that this role was tailored made for him..

Sonam Kapoor is a revelation.. this is her finest performance till date.. Abhay Deol is fantastic..

From the supporting cast Mohammed Zeeshan Ayyub as the side kick Dhanush friend is the best. He gets some goods lines also.. he is sheer fun.. Swara Bhaskar gets a meaty role and she proves her versatility..

What not

The transformation of Ranjhanaa from poetic to politics is somewhat sudden and looks hurried.. though the sequences prove a point but it takes some extra time of the viewers to digest this sudden revolution in this love story..

Conclusion: 'Ambikapathy' this 140 minutes film strikes a rather unconventional notes of love ordered by Anand, orchestrated by A.R.Rahman's soulful tunes and powered by amazing performances by Dhanush and Sonam.. traveling between love, faith  and loss taking the viewer on a journey that ends with a beautiful final image we rarely see in cinema.

'Ambikapathy' is a movie that should be seen, savored and thoughtfully appreciated

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