Inimey Ippadithaan

Laughter has a direct effect on the life span. The more you laugh and smile, the longer you live. But, what does that make Santhanam, an artiste who constantly works hard to make his fans laugh?
 
 With Muruganand’s Inimey Ippadithaan Santhanam is back again as a hero, this time with a bit more commercial varieties added to his comics. The comedian turned hero plays a character that takes marriage very seriously. He isn’t interested in getting hitched by his concerned parents. He wants romance and loads of it. During his pursuit for a romantic partner, he ends up in a coup that he hadn’t expected even in his weirdest of dreams and tales.
 
 Enough has already been said, reviewed about Santhanam’s comic side and an expert that he is in that field, he pulls the crowd for just that. But there’s more than just comedy in Inimey Ippadithaan. Santhanam tests the actor in him a tinge more than usual and takes the audiences with him during his emotional rides. The part where he meets Ashna Zaveri in her room after the whole drama is uncovered is a perfect illustration, proving his proficiency in acting.
 
 The actor has also offered a wide variety of comedy – there are his usual slapsticks and insult comedy, a few intelligent jokes and some very entertaining physical comedy. It’s like Santhanam’s re-adjusting to the rapidly changing tastes of the audiences. Although like in everything, the excessive comedy has its own con. One might feel Santhanam’s attempt to make a joke at almost everything, a bit redundant.
 
 Talking about redundancy, the typical over-exploited song sequences (One intro song, one for love pursuit, one love song each for the two heroines, one sad song, one bar song), stereotypical portrayal of ‘pasanga’ and ‘ponnunga’ have lost luster.
 
 As for the ‘ponnunga’, Ashna Zaveri looks like a doll and her chiseled frame is justification enough for all the fuss about size zero. She also has a strong part and does well. On the other hand, having proved to be a promising talent in her previous film, the beautiful Akhila Kishore gets to play a major character that acts as a game changer, but the scope for the character turns out to be very limited.
 
 Thambi Ramaiah is another pillar for the film and his comedies are few of the best in the film. VTV Ganesh, Aadukalam Naren and the rest of the supporting team add hue to the film.
 
 Moving on to the technical department, the songs crack smiles, but the background scores are a tad underwhelming. Gopi Jagadheeshwaran’s cinematography and Ruben’s editing, understandably merely functional, have given the film gloss. Special mention to the costume designer, the leads’ choice of clothes is a major attraction.
 

Romeo Juliet

First-timer Lakshman turns director with Romeo Juliet, the Shakespearean characters that are immortalized and remembered whenever there is mention of love. The Tamil film Romeo Juliet is also about love but refreshingly, a very practical and a realistic take (for most parts) on this ubiquitous feeling.
 
 Lakshman’s Romeo Juliet played by Jayam Ravi and Hansika is about two contrasting characters, Karthik and Aishwarya, and their journey. The theme and premise are not anything new or unusual but Hansika’s characterization emerges as different and real which you don’t expect to see in a rom-com such as this.
 
 Aishwarya of Romeo Juliet is a never-before-done role for the beautiful Hansika in her career and she has essayed it with a flourish. She fits the role perfectly and brings to table the advantages of her innocent and cute looks to give her character the right dimension. It is also appreciable that she is accepting such characters with a difference and yet playing to her strengths.
 
 Lakshman’s practical take on love and life is mention-worthy when the reel world always paints romance with only one particular hue. Instead of just glorifying the feel, the director points his spotlight on the lesser highlighted region of this emotion as well.
 
 Jayam Ravi is always earnest and sincere to whatever character he takes on and Karthik of Romeo Juliet is no exception either. He traverses the ranges in emoting and delivers with ease. As a gym trainer, Ravi is perfect with his toned body and dance movements. Humor comes naturally to him and the scene in Hansika’s flat where he is in an inebriated condition serves its purpose. His puzzled expression when he hears Hansika’s repartee at his gym is also another example of his good work.
 
 You sit up with the very first frame of Romeo Juliet that begins to pay its tribute to love right from Bhagavathar's films and goes on to Sivaji, MGR, Rajinikanth, Kamal, Karthik, Ajith, Vijay and to Dhanush’s times. An interesting idea indeed!
 
 Romeo Juliet majorly revolves around Ravi and Hansika with just a few supporting cast members. The character of VTV Ganesh as VTV Ganesh himself gives a déjà vu but the artist is effective. Poonam Bajwa is seen in the second half while Vamsi Krishna’s characterization is a clichéd one. Friends of Hansika are a neat bunch and the girl who plays Tina is noticeable. For most parts, the film travels in a uniform speed but towards the end, near the climax, it becomes a little prolonged. The predictable ending also does not help much.
 
 Sounder Rajan’s camera work is functional and adhering to the script. Imman’s tracks are utilitarian and the picturization of the number ‘Idharku Thaanae’ is novel while the same thing cannot be said of the ‘Dandanakka’ number. An already very popular track such as this could have been shot with a lot more zing.
 
 

Kaaka Muttai

Kaakka Muttai directed by debutant Manikandan and produced by Dhanush and Vetri Maaran has recorded much acclaim in many international film festivals. When such a film has its theatrical release, it comes with an age old tag of being slow, off-beat, non-entertaining and gloomy.
 
 But Manikandan’s Kaakka Muttai is a non-conformist in its own way and comes across as a cute, beautiful, feel-good, original product that leaves a smile on your face when you exit the theatre and renders a delightful feel even while chewing the cud later on.
 
 The oneline of the story is the pursuit of pizza by two young brothers from the slums. An idea or a theme such as this might appear vague on paper but Manikandan has masterfully translated this into a well-scripted visual tale that runs at a crisp duration of one hundred and seven minutes.
 
 The biggest plus of the film is its casting. The boys, Ramesh and Vignesh are terrific and natural justifying their National Awards. Kudos to Manikandan for spotting them! You never get the feel of watching someone act in front of the camera. The younger one, the cutest and cuddliest of them, rocks with his performance especially with his retort in front of City Centre, Chennai and laps up all the applause with his innocent antics and expressions.
 
 Their grandma is a gem. Where did Manikandan find her? When she says that only spoiled food will give out threads, you can’t help but smile. With her characteristic dialogue delivery and body language, she is every bit the neighborhood old lady that you see quite often. Joe Malloori as Pazharasam establishes what a fine actor he is.  Ramesh Thilak and his buddy are effective too. Aishwarya Rajesh makes an appreciable move to come in a totally de-glam avatar much early in her career.
 
 Dialogues of Anand Kumaresan and Anand Annamalai are enjoyable, spot-on, laden with intelligence and humor. G V Prakash is a huge strength to this pleasant tale, be it the songs or the background score. Late Kishore conveys the hope, disappointment and joy of the characters through his cuts. Manikandan himself has handled camera. The DoP in him, has worked in tandem with the director Manikandan.  
 
 Kaakka Muttai is appealing in many ways. The primary factor is its non-judgmental tone. In a film like this which is basically about the have-nots, there are many possibilities to paint the 'have's in a villainous color like how it is generally done. But, Manikandan not having resorted to this, has very skillfully revealed the economic divide without being in-your face types, conveying his ideas on the way.
 
 There is no melodrama, artificiality or high flung emotional scenes and the film rolls on smoothly. But there are sub-texts which when viewed with a different lens, will surface.
 
 Humor is the warp and weft of Kaakka Muttai that begins right from the very first anti-tobacco note when the kids fight among themselves to read it. The shenanigans of the children are charming, innocent and endearing. Some of their ideas to earn quick money like attempting to transport the sloshed men in a toy car, selling a roadside mongrel for an exorbitant price, distributing erectile dysfunction notices to a man with a girl friend and so on bring on huge rounds of applause.  
 
 An interesting fact about the film is that we never get to know the names of the characters till the end and they remain China Kaakka Muttai and Periya Kaakka Muttai for all practical purposes.
 
 The director has also softly jibed the role of media in current times and the society in general. But he never goes overboard or out-of-sync.
 
 Simplicity is the soul of Kaakka Muttai which helps it earn its brownie points. When this is combined with noble intentions and good execution, it is little wonder that the film has earned all its accolades.
 
 In all, the beautifully made Kaakka Muttai will easily be one of the gems of Tamil cinema that will please all types of audience. Go for it!

Massu Engira Masilamani

With the summer at its peak, we have Suriya and Venkat Prabhu coming out with their Masss (Massu Engira Maasilamani) in an attempt to cool it down for the masses a bit, with a breezy entertainer. When we have a star like Suriya on board, directors may sometimes go overboard in trying to play to the actor's strengths, diluting their core competencies in the process. But VP has stood his ground and his satirical touches, cheeky & funny elements are all over Masss. Of course there are a few twists in the tale as it plays along and the supernatural element to add more spice. So, to address the genre of the film, it isn't the typical horror comedy along the lines of Yaamirukka Bayamey or Kanchana 2, but a spirits-driven commercial cocktail with some purpose, motive and solid emotions too.
 
 Suriya carries the movie on his strong shoulders and the kind of energy and youthful charm that he exudes is incredible. He plays a street smart con-man and even after the entry of the supernatural elements, a consistency is maintained in his character graph and the director deserves a pat on his back. Masss is definitely an addition to his list of engaging films as he performs, emotes, dances, fights and romances with the ease of the pro, that he is. Venkat Prabhu seems to have gelled well with Suriya, and it shows on screen. To experience more on what Suriya has done in the film, just head to a theater nearby. We aren't writing anything more about his role!
 
 Since the film has some fantasy and paranormal elements, we have to suspend disbelief and just soak it in. There are a plethora of other actors such as Riyaz Khan, Parthiban, Samuthirakani, Sreeman, Karunaas, Sanjay Bharathi etc, and VP has given each of them well-defined little parts. Premgi is seen in a completely different dimension, but of course with his trademark quirks, lines and 'dry comedy'. Nayanthara and Pranitha look graceful and get a few key, pivotal scenes in the overall picture.
 
 Yuvan Shankar Raja is another heavyweight in the film along with Suriya, and his background score does all that is required - elevate, emotionally move and resonate. The Masss theme is used at the apt moments to aid the screen presence of the lead man. Among the songs, Poochandi is an enjoyable little sequence despite being dark and grungy. It is a tribute to Michael Jackson and Suriya's dance moves are exemplary. Piravi comes at a beautiful moment and quite a lot happens during its course. The film's EQ (emotional quotient) is at a peak during Piravi and it is easily the best song. The good thing is, both these songs aren't just 'song sequences' but are integrated with interesting scenes.
 
 The film's run time is a fairly crisp 2 hours 30 minutes and it is a packed affair with just a few blips along the way. Editor Praveen knows how VP's films work and being his 50th film, the experienced professional has definitely been watchful. Kudos to DoP R.D.Rajasekhar too for his 25th film, and he must have been required to keep the VFX part too, in mind, while canning many scenes. The VFX and CG works are a major factor in the film, and all the technicians who have worked on this aspect must be lauded. Given all the deadlines that the team must have faced, the overall VFX work definitely isn't tacky.
 
 Watch out for the end-credits bloopers like always, and leave the hall with a smile as Masss ought to be a satisfying experience. It has the expected Venkat Prabhu elements, the crowd-pleasing supernatural factors treated in a slightly different way and of course Suriya in all his glory.