Naan Rajavaga Pogiren

Naan Rajavaga Pogiren marks the directorial debut of yet another assistant of Vetrimaaran, Prithvi Rajkumar. Produced by Udhayam VLS Cine Media, the film stars Nakul, Chandini and Avani Modi in the lead roles and Manivannan, Kasthuri, Suresh, Gaurav, A Venkatesh and Seetha in supporting roles. Vetrimaaran has penned the dialogues.

Raja (Nakul) is a boxing champion based in Chennai and Jeeva (Nakul), his look alike, is an innocent man living in Himachal Pradesh. A mutual friend of both educates Jeeva about Raja. Eagerness forces Jeeva to go in pursuit of his look alike. Naan Rajavaga Pogiren is a chronicle of Jeeva's journey and what he discovers about Raja. Avani Modi plays Reema, Raja's best friend and Chandini plays Valli, a Law student, an activist and Raja's girl friend. In a nutshell, Naan Rajavaga Pogiren is a tale of love, friendship and awareness.

Nakul has done some solid work for the film and it is evident. He shows enthusiasm and intent in his performance. He has particularly done well in the action sequences and the entire credit goes to Dilip Subbarayan. Among the two lead ladies, Chandini scores better and has been awarded more screen space. Avani Modi, on the other hand, appears juvenile in parts and her dubbing (by Chinmayee) is far too expressive to match her performance.

Other senior actors, Manivannan, Kasthuri, Seetha, A.Venkatesh and Suresh, have done their small parts with perfection. Particularly, Manivannan’s gruff voice suits his role of an activist. A.Venkatesh plays the template Tamil Villain and his role has supposedly been inspired from Saamy’s Perumal Pichai, as one of the characters in the movie says. Another notable performance was Nishanth’s, who plays the friend of Nakul.

The story is the strongest element of Naan Rajavaga Pogiren. On paper, it looks excellent but what spoils it is the screenplay. Prithvi Rajkumar has attempted to do a Vetrimaaran’s style of screenplay, but hasn’t done it quite well. Too many flashbacks leave the audience befuddled at places. Another let down in the film is its poor pace.

On the other hand, Vetrimaaran’s regulars don’t fail his assistant. Cinematographer Velraj has no problem crafting each frame with impeccability and freshness. GV Prakash’s background score does very well to add to the tension prevalent in the film. But his songs don’t create the same magic. Songs are wrongly placed and one might get a feeling that there are too many of those.

On the whole, Naan Rajavaga Pogiren is an ambitious effort, by a promising new comer, but with a less gripping screenplay.

Yaaruda Mahesh

Yaaruda Mahesh made by a relatively new team shot to centre space with a mischievously done trailer which became the talk of the town when it was released. The film directed by newcomer Madhan Kumar and cleared by the censor board with an U/A, targets youth audience.

The film is the story of a young man Shiva who suspects that his wife’s paramour is Mahesh and his search of this man. Sundeep Kishan who was last seen in Marandhen Mannithen is the male lead and is supported by a huge ensemble that includes Livingston, Uma Padmanabhan, Singamuthu and many others.

Madhan Kumar has attempted to make a movie with humor as its mainstay but it is unfortunate that this humor comes across as episodic. While the individual elements are successful in bringing out the laughs, the ingredient that strings all these into a cohesive product is missing. Till the interval block, the audience is kept wondering about the purpose of the film and post interval, when it is known, it becomes quite predictable. And the climax is one big downer.

The film in the first half literally hops with a search of direction and also gives the feeling of watching a television serial. There are so many characters affected by verbal diarrhea. It appears that the purpose of all college students is only to find their mates. And the women bashing continues in YM too where the character says not to trust any woman! It’s definitely time for a change!

In the second half, the search for Mahesh starts and each episode of Mahesh truly brings laughs although they may not appear logical or sensible. Examples are the episodes of transgender and ‘gopppal’, the drum Mahesh, the slum dog Mahesh and the gay Mahesh. Madhan Kumar should have used a powerful thread to string all these episodes which would have resulted in a wholesome laugh riot. 

Jagan shoulders the film and it’s his performance, body language and dialogue delivery that carries Yaaruda Mahesh. The best pick would be when he proudly brags to Sundeep that he is going to become a dad and that he has ensured that it is only his kid! Sundeep Kishan is average and does not do much. Heroine Dimple Chopade is another glam doll for Tamil.

An interesting aspect that is notice worthy of YM is the way the director has etched the character of Sundeep Kishan as a stay at home dad with wife Dimple as the sole bread winner. There is also a dialogue from Dimple that gives instructions to Sundeep to take care of the baby and household when she starts for work. However while you are relishing this approach change of Tamil films, there comes a tight slap (literally and metaphorically) to Dimple from Sundeep bringing down such novelty factor quickly and assuring that the director had taken the detour only slightly and temporarily.

The tracks scored by Gopi Sundar are pedestrian but the picturization of the songs is stylish. The different tone adapted in Yaaruda Mahesh number stands out. That aside, other technical departments are just about adequate.

To sum it up, Yaaruda Mahesh is a unidirectional product that targets youth with liberal does of adult humor but is not powerful enough to sustain the interests through the entire length of the film. Yaaruda Mahesh certainly has not lived up to the expectations generated by the trailer.

Gouravam

Radha Mohan is back in the fray with Gouravam after the successful Payanam in 2011. Prior to the release, there was a buzz around the film as it was seemingly about honor killings, a controversial subject particularly considering the recent Dharmapuri incident which happened in November 2012.

Allu Sirish makes his debut with Gouravam, which also releases in Telugu along with its Tamil version. Yami Gautam who wowed audiences with her presence in Vicky Donor is another debutante who enters the South with this Prakash Raj production.

The script of the movie has some purpose as Arjun (Allu Sirish) decides to uncover the mystery around the disappearance of his college friend Shanmugam, after he happens to pass by Shanmugam’s native village T.Vennur. This is one village where the caste system still reigns and a section of people are kept aside as ‘untouchables’ by those with a superior sense of prestige and self-worth.

What begins as an inquisitive search carried out by Arjun and his friend Venky soon booms into something huge involving like-minded students and the media. We also have Yazhini, a qualified lawyer, who joins this youth crusade which ruffles quite a few feathers in the village.

Radha Mohan has to be appreciated for centering his script on a topical and relevant issue. But, his execution is what lets the movie down as melodrama scores high in most of the scenes. The utopian motives of the youngsters in the movie also come out as being contrived due to the screenplay. That said, the segment towards the end surrounding the investigation scenes gives the movie some momentum.

And the humor that you generally expect out of Radha Mohan movies is missing here and all those attempts at making us smile fall flat.

Allu Sirish makes an earnest effort in his debut and he needs to put in more work on his expressions and other requirements that are expected out of a hero in the South. Yami Gautam is really pretty and she performs decently as well, particularly in the courtroom scenes..

A Radha Mohan constant, Kumaravel, comes up with a typically praise-worthy show in a role which gives him scope for myriad emotions. Veterans, Nassar and Prakash Raj, are adequate in the few scenes they appear in. Sricharan is the other actor who occupies some screen-time and he is spontaneous. Telugu actor Brahmaji proves his experience in the emotional scenes. There is a typically loud villain here and that is something you didn’t expect from Radha Mohan, a man known for subtlety.

The lip-sync is perfect and the team must be appreciated for living up to the spirit of the term ‘bilingual’, rather than opt for dubbing in a few scenes here and there.

Thaman’s background score goes with the movie’s flow and his songs are also likable. The ‘anthemic’ Ondraai Ondraai, the moving Oru Graamam and the lively Mannadacha stand out, though not spectacular.

Cinematographer Preetha’s work is par for the course with the climax shot of the windmill’s shadow being vivid.

In all, fans of Radha Mohan’s previous stellar works will feel sort of let down by Gouravam which is not a bad film on the surface but pales in comparison to his other movies.

Udhayam

National Highway 4 in India is an important highway that passes through Karnataka, Andhra, Tamil Nadu and Maharashtra and connects main cities. For his debut directorial venture, director Manimaran has chosen this highway as the title and unfolds his tale on the road which plays a crucial role in the film.

The story of NH4 is nothing unusual as it has the normal ingredients of Tamil cinema viz, love, friendship and the exaltation of the trials and tribulations that lead to fructification of the sensation called love. However what makes this debut work of Manimaran stand out is its presentation and the taut screenplay. Credit also be given to this first timer as he has also kept the audience in his grasp to a large extent.

NH 4 is about a young couple in love who are on a running mission to their destination that is seemingly bereft of troubles and how a highway plays a pivotal role in this journey of theirs. It is a road film that juxtaposes many emotions, the prime one being love.

The story and dialogues owe their credit to Vetri Maaran who has also co-written the screen play with Manimaran. When there is well tuned screenplay and effective narration, rest falls into place quite naturally.  And when there is adequate backing from the artists and technical team, the drive proves to be bump-free.

There are quite a number of intelligently crafted scenes and dialogues in NH4. Kay Kay Menon while talking to his wife from the railway station, ends the conversation with a mechanical ‘I love you’ which is the perfect antithesis of the emotion that the words pledge. Here he is on an important mission chasing the lovers but at the same time, has a familial responsibility of being at his son’s birthday. The scene is a fine example of practicality and realism.

Manimaran also crafts some genuinely heart-warming moments like the scene towards the climax when the alarm rings at 12 midnight that ushers in Ashrita Shetty’s 18^th birthday. For all those chronic romantics, the climax turns out to be an endearing one that is played out in a very poetic manner against the backdrop of practicalities of life from Kay Kay Menon, which seems to say love is the only feeling that matters.

The statutory warning against nicotine, alcohol and drugs flashing boldly across the song Vaa Iravugal is an interesting idea and it sure does appeal. On the other hand, the gana song does not justify its presence and impedes the flow. As the characters belong to states other than Tamil Nadu, their accented speech sounds quite natural and fits in. Minister Avinash spurting out in Kannada and Kay Kay Menon in Malayalam are fine examples. 

It is an author backed role for the smart Kay Kay Menon who has more of screen time than others and it’s a sterling performance from this talented artist. The arrogance and the intelligence of a police officer appear to coarse through his veins. The ruthlessness of a cop is well brought out in the interrogation scenes. Although his wife does not make a visual appearance, voice of Deepa Venkat plays through the entire film and is almost a significant character.

Siddharth essays the character of Prabhu with ease. Ashrita Shetty’s face fits the role of an innocent college going girl who has delivered what is needed for her character. Levity comes out through Siddharth’s friends and it happens in the most unexpected moments.

Technical team has done their work well enough to lift the film up. G V Prakash’s RR revs up the moods where needed and his much popular ‘Yaaro Ivan’ has also been picturized well. NH 4 exemplifies the editing prowess of T E Kishore. Velraj’s cinematography lends itself the necessary feel and is surely a value addition to NH4.

To sum it all, Udhayam NH 4 comes across as a well packaged product that has many things going in its favor and is sure to have patrons from the youth along with other sections of the audience too.

Nautanki Saala

After Vicky Donor swept many awards and took the box-office by storm, Ayushmann Khurrana has slowly become a name to reckon with. Something different is expected out of this young talent and his next release, Nautanki Saala, has come out with hit music for company. The makers have also acknowledged the French movie Après Vous in the credits.

The movie’s premise revolves around an Indian theater group staging a successful play called Raavan Leela with Ayushmann playing Ram Parmar, who is the director as well as the Raavan of the play. The workings of a theater group are something interesting for the normal Indian viewer who hasn’t seen this before in other Indian movies.

Though Ram is a reel life Raavan he is a real life Good Samaritan who helps others unconditionally. He plays the ‘guardian angel’ to one such hopeless soul, Mandar, who has extreme suicidal tendencies due to his failed love life. Ram helps him find his feet, but when he attempts to play the matchmaker between Mandar and his ex, Nandini, things take a turn towards the South for Ram.

Ram hopelessly falls in love with Nandini and as a result, his relationship with his girlfriend Chitra and the unsuspecting Mandar is heavily impacted.

The film lives up to its Ramayan core in the climax when the characters / roles are tweaked a bit and the film is brought to a fitting closure.

We have healthy doses of nautanki (antics, drama) as the title says and the comedy in the film is also a breeze. Ayushmann and Kunaal Roy Kapur make a fine pair as the latter continues to indulge in his self-destructing buffoonery while the former manages to provide some respite each time. Both the actors are natural and it’s a good follow up for both, after Vicky Donor and Delhi Belly respectively. Kunaal’s audition scenes and the moments when he goofs up in the play are among the film’s most lively. The actor who plays the producer of the play and also doubles up as Shoorpanakha (Raavan’s sister) is another comic show stealer.

The movie also has some passionate romance interspersed with comedy, between Ayushmann and Pooja Salvi and we get to see scenes rated among the longest lip-locks in Indian cinema history. Pooja is a hot new face and she isn’t required to emote much. She sure is a work in progress. Evelyn Sharma and Gaelyn Mendonca are the other female faces in the movie and they acquit themselves well.

Watch out for Abhishek Bachchan in a cameo, just for the sake of it as he is a good friend to the director Rohan Sippy, who had worked on Dum Maaro Dum and Bluffmaster with the actor.

The songs by Mikey McCleary and a group of other composers are big highlights of the movie with Mera Mann, Saadi Galli and the yesteryear remixes leading the way. Do yourself a favor and get your hands on the music of this movie. 

The grand production design of the movie befits the theatrical setting of the movie and each frame is colorful. The few outdoor shots we get to see are also pleasing on the eye.

On the whole, this one is definitely a memorable watch despite its leisurely pace and a few dragging moments. The multiplex crowd will dig into it big time.

Commando

This is one of those rare movies where the title says it all, Commando – A One Man Army. Pre-release, the movie garnered a lot of eyeballs due to the fact that its lead Vidyut Jamwal had performed all the stunts on his own and without the aid of ropes and computer imagery.

The movie does have some incredibly choreographed stunt sequences which would please the action junkie to no end. Vidyut is such a well-built athlete and he can spin, turn, dive and kick with the ease of a pro. Real-life wrestlers and other professional fighters would definitely be impressed with Vidyut’s level and range.

The movie’s storyline is typically simple and just complements the action packed motives of the team. Director Dilip Ghosh and writer Ritesh Shah helm the project with Reliance Entertainment and Sunshine Pictures producing it.

A highly proficient commando, Karan, is out to settle scores with the corrupt government after getting a raw deal from them. He believes that cleaning the scums from a neighborhood is the first small step towards his lofty motive. And that scum happens to be AK 74 Singh, a typical thug in Dalerpet who uses fear as his big weapon and has an ‘eagle eye’ on Simrath, a beautiful girl in the locality.

What follows is along predictable lines as Karan acts as Simrath’s savior and takes on AK and his gang of goons singlehandedly in the midst of forests, rivers and mountains. Whether he also gets back his credibility as an army commando is among the other points of interest in the climax.

The movie owes whatever it is to Vidyut Jamwal as detailed before. It also has an imaginative performance from Jaideep Ahlawat as the main villain, AK 74, who has the scariest pair of eyes around. He keeps enjoying ‘Santa Banta’ jokes with his gang members and is ready to go to any lengths to get Simrath. Pooja Chopra, the debut heroine, is bubbly and is seen throughout the movie as she is involved in all those physical chases. The romance between Vidyut and Pooja is inevitable considering our cinema’s structure but it is pretty enjoyable.

Commando could have done without its songs as they act as definite pause buttons in an otherwise engaging narrative. Two songs feature the villain and need we say more. The romantic and melodious ‘Saavan’ though has been beautifully shot in exotic locations and in ultra-slow motion.

The cinematography by Sejal Shah, the locations and the stunt choreography are all A-Grade and give the movie a ‘solid action movie’ stamp. The BGM score by Prasad Sasthe has to be racy and pulsating and it manages to pass muster.

Arnold Schwarzenegger acted in the English ‘Commando’ decades back and that was a nice showcase of Arnold’s physique and mindboggling energy in the stunts. Our Indian namesake manages to be the same from Vidyut Jamwal’s perspective. As the villain says in the climax, the movie is actually like an action packed game where Vidyut has to keep clearing various levels before the closure.

Chashme Baddoor

David Dhawan, the legendary master of slapstick comedy, is back after a small hiatus with the remake of Chashme Buddoor, released in 1981. The latest version is spelt as Chashme Baddoor and introduces Taapsee Pannu to Bollywood along with a solid cast comprising Siddharth, Divyendu Sharma, Rishi Kapoor, Ali Zafar, Anupam Kher and Lilette Dubey. The writer of this review hasn’t seen the original, it must be noted.

The remake is set in Goa and showcases the lives of three friends where two of them (Omi and Jai) are over-the-top, dramatic, flirty and literally create a riot in whatever they do. The third one (Sid) is a simpleton in stark comparison. When a pretty girl (Seema) enters their lives, the two flirts make all efforts to woo her but fall flat on their nose. But as fate would have it, she falls for the sweet and simple Sid and their love quickly blooms.

Do the two snubbed friends take this sportingly or do they come up with their typical pranks and try playing the spoilsport, before the inevitable happy ending? Watch the flick to find out.

The movie is a pretty enjoyable comedy all the way with Divyendu Sharma and Siddharth hogging all the limelight. While Divyendu as Omi, is always up to poems and PJs in a nonchalant style, Siddharth as Jai is filmy and plays it up all the time. Watch out for Divyendu, (earlier seen in Pyaar Ka Punchnama) a star in the making.

Rishi Kapoor as a middle-aged but single restaurateur looks pretty mean and cool with lot of tattoos and body art on him. He is seen riding a killer bike too, with fine accessories. The sunset love that blooms between him and Lilette Dubey is perked up by the boys who try to hitch them together for their own benefits. Anupam Kher has contrasting dual roles as twins and the ace actor is an expert at buffoonery as we all know.

Taapsee Pannu is typically chirpy and comes out unscathed in her debut. Ali Zafar has a casual and sometimes girly style and it goes well with the straightforward character that he plays.

The dialogues by Sajid –Farhad are the lifeline of the movie and the way Divyendu and the other actors deliver them makes it even more enjoyable. Plenty of ‘LOL’ moments for sure in this one.

The music by Sajid – Wajid offers some foot-tapping numbers like Har Ek Friend, Dhichkyaaon Doom Doom and Early Morning, and they are already popular on the tube. The cinematography and other technical aspects are par for the course.

On the whole, the movie is a nice entertainer for the summer and is worth a shot for a relieving time at the theaters with family and friends. But, the climax is flat and could have been better as more fun was expected. Anyway fans that are used to David Dhawan’s movies won’t be disappointed.

Settai

Delhi Belly, the Hinglish film that created quite a heavy flutter few years back for its bold adult comedy, comes to Tamil with director Kannan helming the state of affairs. To suit the Tamil palette, Kannan has apparently toned down the original that justifies its U status.

Settai is about three roomies who get embroiled in an almost ‘shit’ situation, totally unaware and oblivious of what’s happening around till roof falls down on them. And how they get away from this ‘shitty’ mess forms the basic oneliner.

When the cast list features Santhanam, it is a clear indication of what to expect and when he has been accompanied by Arya and Premji, the anticipation levels are bound to soar. But sadly, the humor is not in adequate doses in Settai but happens in sporadic bouts. And when it happens it does bring the smile but not laughter.

The flavor and the main essence of the original was its heavy adult content which worked for the film big time. But it is evident that Kannan’s intentions are to present the film with Tamil sensibilities in a much diluted form which works against Settai. Toilet humor is one segment that has not been tried in Tamil cinema and hence the director has treaded the path with a lot of caution, resulting in it becoming a spoke in the wheel. The humor component is there in Settai but not a rollicking one.

The first half moves a bit slowly. It is in the second half that the film picks up some kind of momentum, majorly due to Santhanam. Although his jokes evoke laughter, he is getting to be repetitive these days.

Arya looks much too serious for his role. Surprisingly Premji comes across as quite different from his earlier roles and appears somber throughout. Of the lady cast, Hansika delivers quite well and suits her role. There are not much of opportunities for any cast member to showcase their histrionics and all of them have delivered just about right.

Thaman’s tracks are fairly decent and well picturized by cinematographer Muthiah. However in the second half, the Agalathe number although good in looks and presentation, impedes the proceedings. The song on Premji ‘Edhai than kandute’ comes across as neat. Costumes of Deepali Noor are chic and colorful and bring a rich tone to the film.

The core scene of the smuggler, played by Nasser, where he spreads the velvet cloth with the precision of a perfectionist, only to receive a piece of shit, is well done and delivers the necessary effect. The pre-climax scene of the trio trying to frisk the diamonds from the jeweler in their burquas and Santhanam’s trip to a toilet in an unknown house with their dumbfounded looks is a laugh riot. And the dialogue that Santhanam says at that instance is the best one in the film.

There is quite a big ensemble in Settai like Nasser, Sayaji Shinde, Subbu Panchu, Ali, Mano Bala, Suja Varunee and also Neetu Chandra for an introductory item number.

In Settai, even though John Mahendran is in charge of the dialogues, Santhanam has doubled up as the writer for comedy portions and they are as usual filled with his characteristic oneliners.

To sum it up, for all those who have watched the original, Settai is a fizz free product and for the rest, the film may work in parts.

Azhagan Azhagi

Director Nanda Periyasami isn’t a newcomer to the industry. Prior to Azhagan Azhagi he had two films under his belt, one of which – ‘Oru Kallooriyin Kadhai’ starring Arya and Sonia Agarwal, was warmly received by the audience. He returns after a hiatus to deliver ‘Azhagan Azhagi’ with the hope that he can cement his craftsmanship’s identity within the industry and with the masses.

Azhagan Azhagi opens with the heavily promoted ‘Terror Love Anthem’ featuring Power Star, not before he delivers a message saying that beauty lies within and cites himself as an example. His participation with the movie though ends right there! But the crux of his message is used to drive the plot in the first half.

A TV Channel unit sets out to audition unassuming villagers to become the next big act on primetime television. The unit undertaking the project involves the film's hero Jack Michael with the assistance of Aarthi and Chaams. Nanda Periyasami clocks too much of the first half with repetitive scenes of the auditions involving characters that don’t contribute anything to the plot. Most of these scenes are intended to be humorous but each one of the punchlines is dead on arrival and all the gags fall flat.

Even as the story begins with some promise to highlight the penetration of television into our daily lives and the aspirations of the townspeople, it soon embraces every possible movie cliché and piles up scenes that turn out exactly how you would have imagined. There is no real grip, neither is there any element of surprise. There is however a minor development to the story that comes in the form of the interval block. Then it’s back to chases, attempted comedy and an expected climax.

All the performances are hampered by creaky characterizations, not to mention the thin dialogues. Jack Michael has a role that encompasses all facets of a mainstream hero and he will be required to work harder in all departments. Aarushi plays a role that seems like a cross between Cinderella and Slumdog Millionaire, except that it focuses more on the distress rather than the character’s strength.

Apart from the wholly predictable plot, comedy is one of Azhagan Azhagi’s biggest let down as literally all the comic scenes are disinteresting. The technical department such as camerawork and stunts are all barely par for the course. When music director Kannan uses the ‘Terror Love Anthem’ during serious romantic scenes it tends to be unintentionally amusing.

In the end Azhagan Azhagi seemed like it had its moment of inspiration but then decided to borrow the rest from the existing volumes of Tamil cinema.