Holy Cow

Being a fan of violence on screen, I’ve seen ‘n’ number of violent films and some not so violent films too having violent opening sequences. But the way the opening scene of Cow sets you aback by its cruelty couldn’t be matched to any of the violences in films. The closes that comes is ‘Wild Bunch’, but with Wild Bunch I was able to enjoy the sequence. Here I was completely taken aback.

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Cow is not the film that you generally associate with Iranian cinema. It doesn’t get you teary eyed like how a Children of Heaven or a White Balloon does but the shock it gives leaves you with a profound impact. Of course it’s a sad movie but the sadness is not immediate as half the time you’d be left wondering how to react for a particular sequence.

There are movies which deals with specific characters. Here too the characterization happens but it happens to the entire village, the entire mankind. Let’s look at the first scene I talked about. There is a mentally retarded guy to whom the local mischievous kid and the other children tie to a tree and harass. As much as blinding his eyes with fire. All the while the villagers look at it and laugh but post that scene they complain about the mischievous kid and the nature of people who come from city. Being judgmental at its best.

The same folks would go to any lengths to protect Hassan and again finally laugh at it. Unfortunately we’re one of them too and nothing is going change. And just before the laughs, the best scene of the movie happens. “Move, you animal, move” Irony is Hassan is the only person who doesn’t laugh at the retarded person.

I loved the transition of Hassan from a person to cow. The best part about it is the angle where he loves Hassan by being a cow. I didn’t think of it. We should have seen it coming right from the first, with his dearness to cow. In the very first scene he bathes the cow, he bathes her first and only then pours water over his head. Followed by drying the cow first and using the same towel to wipe himself. Even in the cowshed he eats the grass, seeing cow eating the same. That’s where the doubt arises first and then as expected things happened.



For every South Park fan! But I’d have preferred it to be a non-musical. Too many songs were irritating. You can’t really complain though, they have their own way of making films. The film sets the tone within minutes, after a super absurd typical South Parkish song.

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As usual the boys land into some trouble because of their mischief and as usual Kenny dies, only this time he doesn’t really die but resides in hell. Don’t know whether to be happy or sad about it. Kenny dying is pure evil fun so it was when he died here too. Even though a bit sad that I would not able to see him again, it was fun. But when he appeared in hell along with Saddam Hussein and Gandhi and Satan I was disappointed. But the makers did a good use of this ‘Kenny dying’ template.

Being a big fan of Cartman, I expected a better show from him too. He wasn’t as evil as I thought and neither were his deeds. Almost every famous instance in the movie were made into a song including m’kay by professor Mackey. But my favorite was the first song in theatres by Terrance and Philip.

I don’t know why the makers wanted to get a MPAA rating for this one. South Park is known for its R rating. It’s as important as the title cards itself. Good that they didn’t get one.

I don’t have much to write about the movie. I’m not sure how non fans could watch this movie. For some reason I feel like rating this film. I’d give a 3.5/5 for this one.

Better than the Best

The greatest story ever told, War of the Worlds and numerous other headlines came to my mind, because all I could think of while writing about Mahabharatam is how much of adjectives I’m going to use. It’s been two days since I finished but the climax and how Mahabharatam is such an anti-war agenda still doesn’t go out of my mind. One can’t really write a review of Mahabharatam, none can.


Even though an abridged version, first time I feel the clichéd saying of ‘books better than movies’ to be cent percent true. And reading it in Tamil has its own advantage. All I saw in serials and all I knew about Mahabharatam was war and only war. May be a bit of drama too. But only after reading the book, I could understand that how much of life stories are in it. If you read Mahabharatam you’ve got the purpose of your life. It tells about various aspects of life, highs, lows, romance, lust, vengeance etc. etc. An art work can make you feel happy, sad or induce any type of emotions but Mahabharatam is one book which will make you come in acceptance with your life. That’s the most important aspect out of all.

The start of the book had various stories, before the actual Pandavas Vs Gowravars story started. Abridged version is not really the way to read the pre stories or the start of Mahabharatam because the characters don’t get etched in your mind, only the stories do. It was same for me too. I remember the stories more than who were involved in it.

The second phase, the war phase, when I started reading, I thought what could differently happen over eighteen days. It’s going to be the same flesh and blood story. In a way it was, but in lot many ways it was not. We all know about Krishna’s Leelai in the war but a lot many things too happen apart from it. For me the most depressing event was when Dharaman was made to lie about Ashwathaman’s death. One couldn’t get sadder than the moment one loses their passion. For Dharman, honesty is his trademark and he was asked to forgo it. What worse could happen?

Dharman’s character is what affected the most. When Pandava’s children die in the end and he laments about how needless the war was, how unnecessary the throne would look like etc. It really makes you understand how rotten everything is in the world and you are going to be disappointed no matter what.

Icing in the cake was when each of them go to heaven with Dharman being the last with a dog accompanying him. Karma telling how a ‘dharmam vellum’ through dog was epic. I’m not a pet person but that one sequence got me respect for dogs.

P.S: The re(view) was for Rajaji’s Mahabharatam


High on Life

“Choose Life. Choose a job. Choose a career. Choose a family. Choose a fucking big television, choose washing machines, cars, compact disc players and electrical tin openers. Choose good health, low cholesterol, and dental insurance. Choose fixed interest mortgage repayments. Choose a starter home. Choose your friends. Choose leisurewear and matching luggage. Choose a three-piece suit on hire purchase in a range of fucking fabrics. Choose DIY and wondering who the fuck you are on Sunday morning. Choose sitting on that couch watching mind-numbing, spirit-crushing game shows, stuffing fucking junk food into your mouth. Choose rotting away at the end of it all, pissing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked up brats you spawned to replace yourselves. Choose your future. Choose life… But why would I want to do a thing like that? I chose not to choose life. I chose somethin’ else. And the reasons? There are no reasons. Who needs reasons when you’ve got heroin?”

Trainspotting (1996)

There are movies and then there is Trainspotting. Anyone who has slightest amount of inclination towards anything illegal would love the movie to the core. And mind it, it’s not a cheap movie. There are a lot of other movies which guarantee fun. American Pie, Handover etc. They are epic in their own terms but this one is of different league all together. The purposelessness of trainspotting has to be rewritten only by God.

Like the initial quote I can keep on quoting the whole movie and publish it as review but my most favourite would be, “We took morphine, diamorphine, cyclizine, codeine, temazepam, nitrazepam, phenobarbitone, sodium amytal, dextropropoxyphene, methadone, nalbuphine, pethidine, pentazocine, buprenorphine, dextromoramide, chlormethiazole. The streets are awash with drugs you can have for unhappiness and pain, and we took them all. Fuck it, we would have injected vitamin C if only they’d made it illegal.”

The strength of the movie lies in its nonchalance. The pointlessness of the characters. You see a baby stoned to death in one scene. That’s the most horrific moment of the movie, may be one of the most horrific movie scenes ever made but they you see the Sick-Boy getting ready for his next shot and in turn shooting the child’s mom with another one. That’s how you think as a stoner. Generally the drugs do the thinking and coffee does the writing they say. Here both the thinking and writing were done by drugs it seems.

Like the say in poster ‘Hollywood come in… your time is up”. That’s one more added point to like the movie. It’s Brit and it’s awesome. Some of the shite dialogues they talk couldn’t be written by us even if we go for Veta English class for 10 years. That scene especially where they get off the train and prepare for walk. That ‘lowest of lowest’ dialogue. That’s where the movie stands apart. Anyone who had got high and got restless to get high the next time could identify with that scene.

Life isn’t a melody

Art has no limits. Look how all, movies could be made. When thinking whether a movie could be made within a van for the entire duration, it looks impossible. Even though it happens in a specific place, it’s much different than courtroom drama. Thanks to the familiarity, courtroom dramas are easily conceivable. We know the structure and format, so it could be designed accordingly but a film like Eshtebak isn’t like this. You need to have both firsthand information and reasonable level of artistry within you. That’s why it interests you right from the first frame.


The film starts with a couple of journalists being arrested during a procession. A sequence of events unfolds and we get to see what all happens within the circumstances.

Having not watched Egyptian movies much, this movie was both interesting and enlightening. What’s best is it would have worked for any other region as well, as it depicts human lives more than Egyptian lives. The way humans will be humans gets proved at every point.

When a foreigner is inside police van, they pelt stones. When a Muslim demonstrates outside, they curse. When a lady wants to go to loo, everyone units for her. When someone takes videos, they all protest. When they are in distress, they all laugh for a joke and also let the same people take video. And all end up being consumed by people who become zombies in the end. In this process, makes us to exhibit all type of emotions.

The film had a number of standout scenes. Everything I said above would be included in that. But if I had to point out one, it would be the scene where they all try to get some air. Even the most organized of groups wouldn’t do it this perfect. But a group which includes foreigners, brothers and others do it with such precision that you ought to take a bow. That bow is for execution. For the idea, let’s not even talk about it. Poocho math.

The film had a curious making. There was a reporting voice which was overlapping what was said in the movie. Don’t know whether it was a mistake or that’s how the movie was made. That voice over didn’t have any subs. That’s why the doubt. Anyways it was fun.


Spell Grandeur, Spell Baahubali

When was the last time the whole nation celebrated a movie without saying it’s yours, it’s ours or without any guilt. I don’t remember any. Baahubali was one such film, which spelt grandeur in each and every scene.

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Having watched Baahubali 1 out of compulsion but still to have liked it, its sequel, Baahubali 2’s trailers too didn’t impress me much. But in theatres there wasn’t a single moment of lag, the movie was lengthy, I could feel it but never for a second did I want to end it. I don’t think any director in recent time has got hold of people’s pulse like this. Also to how prolifically to use the canvas. If it was big, it was big for a reason.

Pseudo intellects want to of course read atomic physics side by side while watching the movie like how a thesis on space technology would be necessary to watch a Nolan film. I don’t know why people want answers when the questions are this interesting. The very first scene had a newborn being taken above water by a lady who was almost dead, with the music and tension, it gave me goose bumps, if it didn’t work for you, it’s never going to work for you post that, it’s even waste of time to watch the second part.

Rajamouli wins it with the title card itself, it’s clear how much effort he has put in that. It carries the whole story of first part. As soon as the title card ends and Sathyaraj’s voice start and you are instantly hooked, Ramya Krishnan’s feet adorned by flowers, showing the love of people, son coming to the rescue and like how. I don’t think any movie post MGR era had perfected the Amma sentiment like this. You call it perfection because it’s not cringe worthy, rather when Ramya Krishnan smiles at Prabhas, you actually like it.

Scene after scene, frame after frame, it was awe inspiring, from the chariot to elephant to bow to songs to Anushka to attitude to the interval block. Everything was awe inspiring. Interval block, of all, was the most fabulous scene in the entire movie. When the stones vibrate and the sound increases from people to soldier to elephant, it was nothing but brilliant. The whole theatre was shaking. It was like falling from the tip of the roller coaster where you understand the complete meaning of gravity. That’s how powerful Rajamouli has scripted Baahubali.

I didn’t remember any scene from part one, but it didn’t affect my movie watching experience even one bit. This movie would have worked wonders even for people who had not watched part one. But I don’t think there would have been anyone like that.

I didn’t like Prabhas in the first movie, he was trying so hard. When Rana got introduced taming a bull, that was screen presence, not Prabhas with Siva Linga, in fact, how in a country where we play national anthem and four videos for the ‘benefit’ of us before the movie and any small disagreement from the norm becomes an issue, I don’t know how people didn’t make an issue out of that where a hero breaks an idol and keeps somewhere else. Good for us.

But in the second half Prabhas has such command. You shout as if you should for your local hero. Anushka on the other hand gives one of her best performance, completely understanding the character and delivering it. Her attitude mixed with aggression was a treat to watch. Also satisfies feminists by walking over the shoulder of Prabhas.

Good that Tamannaah was spared of any antics in the film but I’d have really liked to have Rana some more role. See how effortlessly he shows his villainy, the scene where he asks his dad to stop talking in court, till the right moment. Every scene except for the shout in climax works brilliantly in favor of him.

Why Kattappa killed Baahulabi was the question in everyone’s mind, but even if that had been revealed, not even a single soul would have got disappointed while watching the movie.





Aval Oru Thodarkathai

I know that anyone who has seen ‘Aval Oru Thodarkathai’ is going to be reminded of it hugely while watching Meghe Dhaka Tara. It has a similar setting. Though Aval Oru Thodarkathai came a good fourteen years later this movie, as a Tamilian I’m more used to Aval Oru Thodarkathai, thus I wasn’t overwhelmed with Meghe Dhaka Tara.

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Here Neeta (Supriya Choudhury) is a self-sacrificing women as opposed to a relentless Kavitha in Aval Oru Thodarkathai. Kavitha sacrifices in her own way too but Neeta is the one who’d immediately evoke sympathy from us. Supriya’s face doesn’t go out of my mind still. Such a brilliant actor. Even the very few time she seem to be having fun you know within yourself that something bad is going to happen to her eventually.

Lets see how cruel her family members were to her. First we hear a person practicing along the river coast, her brother, Shankar (Anil Chattopadhyay). That was an extended scene, the first thing which happens in the movie is Neeta being asked for money. Till the end it’s the same. Curiously, this movie doesn’t start with Neeta but rather with his brother Shankar. Shankar is the first man whom we get introduced to, who asks Neeta, money to shave from four anna to eight anna to a rupee. Neeta doesn’t have any problem giving it to him, in fact she’s happy, every time she said that he’s going to become a big star, I was cringing.

Next comes her younger brother and sister. Typical young people who don’t study and wants money for sports and sister who wants yet another saree to look good. All at the cost of her sister who couldn’t even afford to stich her sandal.  Her mom who curses people for wasting Neeta’s money and dad is the only one who doesn’t talk about her money. But in the next chapter when she gives money to her mother and she gives back five rupees as pocket money, only then we get to know how villainous she could be. So it’s all rotten for Neetu.

Then there is this guy, Sanat (Niranjan Ray), who is called Sanu, I don’t know whether that’s the Bengali way of pronouncing it like Vikram to Bikram. Of all he’s the most wretched guy. When he gets to the younger sister Gita (Gita Ghatak). I could only remember the dialogue which Kavitha says, “Mudhir kanniya vida elam vidhavai better nu nenachitingala.” Perfect! Also Gita looks very similar to Neeta, those wide eyes and round face. I thought they both were real sisters but I guess it’s typical Bengal face which was the similarity.

I didn’t expect Shankar to become big in the end, I loved the phase where Neetu gets TB and resorts herself inside the room, the rain in the end where truly overwhelming. If not, if only I had not watched Aval Oru Thodarkadhai, this experience would have been brilliant.

Life isn’t simple

For people who have read, with a title like this you wouldn’t have expected the story to be like this right? It was the same with me too. We can’t be blamed for that. That’s the intention of Neela Padmanabhan. Such a prolific write. All through the novel I was thinking that in my review, I’d write it as a novel which I didn’t understand. But thanks to the intriguing last one hundred pages I don’t think I’ve to do so.


Pallikondapuram is nothing short of a marvel. It’d take some time to settle it. If you are religious you’ll start getting into the groove right away. For me it was a tough fifty pages at start. The book starts with detailed description of Sree Padmanabhaswamy Temple. I haven’t been there and I wasn’t really absorbing what was written. The description there painted me picture of Thanjai Periya Kovil rather. I felt like Ananthan Nayar was sitting there right beside the pond at the back of the temple and describing it. To be honest I wasn’t flabbergasted when I went to the temple. It was all weird procedures there. Felt very much like how I felt in Puri Jagannath Temple, not at home. But when I read this book I found an all new meaning for Thanjai Periya Kovil.

Ananthan Nayar is a torn and tortured middle class Brahmin. You’d never want to live a life like that. It was a sadder version of About Schmidt. I felt read bad for him. Initially I was of the opinion that he was the wrong guy, then it got confusing, then felt like he was the good guy and finally accepted that it’s not for me to decide. The book is very much Tarkovskian. Very much like Brothers Karamzov and Crime and Punishment. I might reread Crime and Punishment again next which might give me a clearer picture. It’s accepted universally that Russian literature is the one we connect to the most. The climax chapters of this book was similar to Brothers Karamzov and the confusions of Rashkolnikov was like that of Ananthan Nayar.

It’s actually a one man show. If I had to make a movie of it, I’d cast Poornam Vishwanathan in it. The Malayalam laced language in the book was tough to get onto it. When people said Ezam Ulagam Tamil would be tough to understand, it wasn’t really like it. Ezam Ulagam worked wonders for me but this one was very tough initially.

The book had detailing similar to Lord of the Rings, where the build ups go on and on and literature similar to Crime and Punishment.  What’s best is it’s Tamil and you can completely understand what’s going on.

The characters are not just another human being on the planet earth. Each one is so complex, undergoes such turmoil that it actually makes you fear life. Iranian movies have this capacity to put you into depression. Separation was the last thing which did to me.

If there are works which celebrates life, these are works which make us writhe life. Nevertheless we end up loving both. That’s how life is isn’t it. Not simple!

Trumping Victory

It’s not a review per se, well… nothing much I do is not that per se. While I was watching it and V was broadcasting his message from TV channel, dad was commenting ‘Anniyan Avatharithuvitan’. True. I feel that we are currently in revolution mode, we are on verge of something new, verge on breaking the shackles. I don’t know whether we are fed up with whatever happening or whether it’s because of boredom. People want to break free.

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Now that TASMACs in highways are being closed, people associated with it are trying out new means to open it like having a long barricade more than 500 meters, which would make it fall under the Supreme Court rules. I actually liked the clever thinking there but when I got to know that in my locality a local plot could be used as for opening TASMAC, that’s when I was agitated. My father highlighted few ladies who had broken a wall were TASMAC was supposed to be opened in a residential area. If it happens in my area I want to do that. So we revolt only if it happens to us right. So what should V for Vendetta be, R for Revenge or R for Revolution.  As it eventually happens for a larger cause I feel it should be R for Revolution.

Wachowski’s are such great writers. Don’t know how much of action sequences they were involved because it had a certain ‘Matrix’ effect to it. In spite of being folks from US their writing really worked for UK premise. Excellent English. Even though I didn’t like the all ‘v’ dialogue, the other dialogues were really good. The ‘v’ dialogues looked like a bit overdone.

The opening of the film when the Voice of London, Lewis Prothero (Roger Allam) reminded me very much of Trump. May be they could predict the future. I loved the intentional/unintentional references of Hitler through Sutler. Hitler, Sutler, does it ring a bill. The camera angles, the way Sutler is positioned on stage and the flag bore a lot of resemblance to the Nazi party.

Natalie Portman above all was an excellent choice. She has a very likeable face, a genuine smile where we’d feel that we should protect her. So when a girl with history gets affected we naturally would sympathize with her. That’s what happened here. We become ‘V’ for her.

I loved the scene where she goes as a little girl. I don’t know what was done to achieve that look, there was something different about the camera angles. She indeed looked like a little girl.

The symbol ‘V’ couldn’t have been more perfect, a man from cell five ‘V’, a story from Valerie and finally E’v’ey, a ‘V’ in making, all standing out for one ‘V’ – Victory.

In the TV station incident I felt that Hugo Weaving did pass through unmasked and another ‘V’ came – does that symbolize the quote “But who was he really? What was he like? We are told to remember the idea, not the man, because a man can fail. He can be caught, he can be killed and forgotten, but 400 years later, an idea can still change the world. I’ve witnessed first hand the power of ideas, I’ve seen people kill in the name of them, and die defending them… but you cannot kiss an idea, cannot touch it, or hold it… ideas do not bleed, they do not feel pain, they do not love…”And what about the climax, we see everyone alive. What does that mean.

In a film filled by a number of quotes, my favorite was “People shouldn’t be afraid of their government. Governments should be afraid of their people.” What was yours?

An uninteresting military diary

Post watching the movie, not even a single emotion had caught my attention. If feels very blank even now to think what was there in the film. This must have been the least impactful films I’ve seen in recent times. Even if there had been movies which I had not liked I would have at least hated it but this movie was as bland as Thukpa.

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I loved the title but it hardly made any sense. Yes of course VC (Karthi) is a super confident fighter pilot who says ‘to your left’ instead of just ‘left’ during crisis, his instincts work. Says Bharathiyar’s verse while coming out of hospital, an ode to the title but what post that. Karthi in this film is the exact problem I had with Suriya. A bad actor is better than an over rated one. Karthi is a limited actor, the boy next door looks suit him the best. He was probably trying too hard here, may be even desperate.

When he wears the Ray Ban ‘n’ number of times it doesn’t add to the style, when he shouts at his dad it doesn’t make us angry, when he says that he wants a single malt for getting Leela back it doesn’t show his villainy. Just imagine how beautiful all these scenes would have looked if it had had Prithviraj in it or even may be Mani’s pet Madhavan. And what’s worse, in many scenes he reminded me of Surya. When he said they’ve a terrific chemistry, it was a total disaster, I don’t know how the crowd could keep mum without howling. Are we forgiving all this just for Mani’s sake? Mani is said to be a director who doesn’t give each and every instruction to act. So would it not work for people who don’t have spontaneity. Classic example is the on-the-jeep song. It could easily have been the best moment if he had acted properly.

As you all know, the first choice heroine for the movie was Sai Pallavi. I’m not only saying this because I’m a fan of her but how lovely it’d have been to see her in Saree in Vaan Varuvan. I’m sure most of you would have noticed that jump into the hands of Karthi. Such beautiful scene. But ever since Dr. Leela Abraham (Aditi Rao Hydari) enters the frame by peeping through the window she disturbs our personal space. Most of her shots with Karthi were close ups and camera on top of her. One way of showing how Karthi dominates her. We see her giving ratish-poking-your-nose-out smile, in one way it’s cute with those pink noses but in another it’s annoying. She does it way too much time intruding into one’s body bubble. So you don’t really feel for her when she cries. The scene where she breaks up with Karthi and he goes for the fight should have shattered us but it hardly makes any impact. In a film with so many close ups she had done a sincere job by giving proper lip sync. But every time she talks you feel as if she’s fearing whether she’d lip sync it wrong in the next part. In fact, the only time she seemed to be herself was during Saratu Vandiyila song. Am I the only one who thought Rukmini would have been better choice for heroine than Aditi Rao. That’s some serious miscasting.

Miscasting doesn’t end there. RJ Balaji, I don’t know for what reason was put into the movie. Except for his last scene with Rukmini, nothing was good.

Music was jarring, the BGMs especially. Every time they escape, the same old guitar music. ARR should seriously start doing better BGMs. Even for songs I wasn’t interested much except for Saratu Vandiyila, that was the single brightest moment of the movie be it for music, performance, situation, colors, camera (oh how naughtily it lingers around Aditi’s waist during the start), the scene leading to it, the setting, the scene post it and more importantly lyrics. Only Mani could show marriages in so many different ways. I know everyone would have noticed that line in lyrics “Aanukko Paththu Nimisham, Ponnukko Anju Nimisham”. In Azhagiyae, “Thuli Kaalam Kaettaen, Thuli Kaathal Kaettaen, Thuli Kaamam Kaettaen” Some may call it provocative but this is the liberty only poets have and the way Mani and Vairamuthu so delicately deal with lust is beautiful. “Kaathal Konjam Kammi, Kaamam Konjam Thookal, Manjathin Mael Ennai Mannipaya”.

With respect to ARR I haven’t found any song to have similarity to other songs or older songs of his but here I found it way too many times. Saratu Vandiyila was like Chandiranai thotathu yar, Climax music was like Kadhal Ara Onnu Vizundhuchu, Azagiyae was like Mei Nigara in certain stanza.

Ok so auteurs repeat, that’s fine. But shouldn’t it bring joy to the film viewers. The picturisation of Vaan varuvan reminds of En Uyire from Uyire, Saratu Vandiyila reminds us of Yaro Yarodi, Karthi knowing about her pregnancy reminds us of the scene in Guru in front of the mirror (And how did she pregnant all of a sudden, give some clue Mani Sir), Aditi talks just like Tara, I don’t know whether it was the same person who dubbed. Even though her lip syncs there was absolutely no emotion. The movies structure is similar to Ravanan but at least shot better this time even though the jail parts were a total disaster. Heroes needless to say are clean shaven diplomats. Names are always in full Leela Thompson, Varun Chakrapani and most of the time you get to know about their cast too. Nadar, Thevar, Vanniyar etc.

The hospital scene post Saratu Vaniyila was well made, it came close to the parents talking scene in Alaipayuthey. Needless to say Mani’s eye for details is terrific. Look how Aditi Rao’s lipstick would be smudged in that scene. Lucky girl got superb costumes. Every girl would have loved to wear them. When she comes for the flight in that brown dress I was thinking why Karthi was taking so much time to give her his jacket. Some scenes can never get boring right. That was a good move to show him about her liking to him. Otherwise who wears a sleeveless dress in Leh. The thought process behind the shouting scene in flight was good. That was good acting. First she asks about shouting (typical Mani), then she opens her mouth, turns to his side, then shouts. Terrific. When the flight takes off it feels great. I’ve this fascination but I guess other too would have loved it.

VC is a proud guy who doesn’t want Leela to interfere. Even I didn’t like her wearing his pilot hat but he’s a bit more chauvinistic person. Even though the snowstorm scene didn’t work for me, the hand twisting scene was good, just forceful exhibition of power and he immediately changes into a romantic. Not to the liking of Leela but. When she gets her back and asks for Single Malt, again a scene showing his power was well made but he going to her house to woo her didn’t work. Leela singing and not answering Delhi Ganesh was good but imagining her as a singer didn’t work. More Piya was good but it didn’t look as natural as Malargal Kaettaen, she putting her hand down to tease Karthi in Saratu Vandiyila song was naughty but not as effortless as Shalini having her hand on her friend’s shoulder and saying ‘en mapila matikitan?’

In all, for every good scene there was a bad scene, every good scene reminded of a better scene same like it in some other movie of his. Thus making it as a totally un-impactful movie. Generally, we’d be curious to know someone else’s story, that’s why cinema thrives but here when we think that we’ve got a bumper prize by getting a Warrior’s diary. All we see is an uninteresting note about his self-obsessed take on life.

There is a general phrase saying a bad Mani film is better than many good films but a bad film is a bad film no matter who makes it, whether its Perarasu or Kubrick.