Posts Tagged ‘movie review’

A lovely fairy tale about Love

Sometimes the easiest of titles could provide the greatest of impact. The title ‘Your Name’ couldn’t have been simpler. That too coming after watching ‘Werckmeister Harmonies’ a couple of weeks back. Well that’s a different league. Enough said about that.

your name


It was a herculean task for me to watch ‘Your Name’ which was getting stuck in almost every single medium that I tried to watch. May be that’s the way to go about for this movie. It was as much struggle as for Mitsuha to meet Taki. As being a person bad with names and all this body swapping it was even more confusing to discuss it with friends. As one of them rightly pointed out that this title being ideal for me. I couldn’t help but agree with a laughter.

Still talking about the title. The fact that when you see a person of opposite sex and thinking that you’ve already known them is considered the most clichéd emotion but when the whole film evolves and gets to the climax for that specific teeth. Wow couldn’t the emotion have been more sacred than this. This works even better because it’s an anime, the barring teeth, and face shattering expression is one of the common templates of an anime movie. So when the climax happens with that expression. Oh boy, couldn’t it have been better than this.

It takes a good twenty minutes to know what is happening in the movie. First you think it’s a dream, then you think it’s someone thinking that they’re in dream, then you know its body swapping and the final topping in the timeline change. It couldn’t have gone more complex than this. With a complex storyline like this all you feel is to get up and hoot but here the emotional connect is brilliant. Especially when you know that they’re from different time periods, your heart sinks thinking that they eventually wouldn’t join together.

The opening scene of the movie is something spectacular but while watching that none could have imagined it to be an impending disaster. That’s the first success of the movie. Luring us into the beauty and then scaring us with disaster. In that way making the disaster look even scarier.

I thought this is going to end up being my most favourite movie. Even though it was almost there it just couldn’t beat ‘The Grave of the Fireflies’. Taking nothing away from ‘Your Name’, may be the complexity hampered the process to it becoming my all-time favourite.

When Mitsuha first dreams of going to Tokyo I thought it’s going to be a coming of age movie where she’d go to a metro and realize how peaceful village life is. I was relieved when that was not the case. But still I liked Mitsuha’s lifestyle, the setting, the way her sister comes to wake her up when she touches her boobs. The grandma. Etc. etc.

Every anime film would have a cute little sister character who’d run around smiling, not realizing what is happening around her and being carefree about the world. So when something bad happens to her it’s very tough to digest, maybe that’s why ‘The Grave of the fireflies’ had such an impact on me. Even when I write this, I couldn’t stop thinking about the scene where she eats those buttons. Sob. Sob. In a similar fashion, in this movie when Taki knows about the asteroid and warns Mitsuha’s sister about it, she doesn’t heed to it. That was the most heart breaking scene in the movie. I’d have felt really bad if something had happened to her.

One of the most interesting things about the movie from that of Miyazaki of Studio Ghibli ones are, the use of music. I like the way the pop music was handled. Also the jump cuts, angles looked like a live action film. Something which Studio Ghibli would never hurt its ego and do. I’m in fact liking this whole non Studio Ghibli movement.



New Age Harmonica

Great movies look greater while watching for the second time because you know what to expect and you are aware of the timelines. It was the same with this movie was well. Having planned a lot to watch it on a tired-less day with a clear frame of mind. It failed. It always does, it was a tiring day after weekend work in office and pressure cooker brain fry. To sit in a dark room with high contrast black and white frame itself was a tough as such.

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More than a thriller, the film draws you in its eeriness. Anyone who had watched Stalker would immediately notice the similarity of it with this movie’s first scene. The scene as such is a superb one, it feels like you’re in a ride. When Janos explains the Solar system, it’s actually funny as well. When the bar owner asks the people to get out, it was like, “orama poi vilayadunga da”. It was funny. When comparing it with the Stalker’s pub scene, this scene’s cinematography looks better and Stalker’s settings look better so can’t really single out a winner. The camera angles are lovely in this scene and so in the next scene. People who have read about the movie would know that the film contains only 39 cuts but it doesn’t really feel so because you see a lot of dimensions in each scene. Things appear even more beautiful when you watch it for the second time. It will look better and better with each time you watch.

For example, take the very first scene and now imagine where all the camera went, it’s very tough right. Next time you watch the movie, trace the camera, you’ll know that’s equally tough. And after a point you’ll lose track of it too. The success of the film is it makes you think all these crazy ideas, how a particular scene was created, where the camera moved, how the perspective changes etc. That thought wouldn’t come in every other movie. That’s an achievement.

Each shot can be taken and talked about separately like a short film and that’s the right way to do so. If I have a film running parallel to me in another screen, I could give a live commentary. If people own original DVD do watch the live commentary. It’s education.

Without wasting much time, if first scene was my favorite scene, I loved the second scene because of its beautiful pattern. The camera starts at door, consider it north, swerves to east, then to south, then to west. Thus making it a beautiful Rangoli. If you could watch the scene again after reading this review please do so. I’m sure you’ll enjoy it like a child.

And when it comes to perspective I loved the scene of a truck. May be this might not work for people who are watching for the first time. This scene might strike if people have good memory. I don’t have, so it didn’t strike on my first viewing. You start seeing a truck from long distance which closes on you and you see it at last from Janos’ point of view. At one point all you see is the body of the truck with that irritating noise of truck. You feel as if you can see it inside. Now I knew what was inside, first time I don’t know how it’d be. But the beauty here is it goes to a poster where they mention about The Whale, The Prince and Magic. What’s even more beautiful is how things change after a while, where the circle would get complete. After a chaos, the camera pans to Janos and then the same poster again. Such a beauty. The lovely thing was the circle.

The films standout scene would be the long walk, again a beautiful use of camera to capture emotions. I don’t know how everyone performs so well for a great film. May be they know beforehand that it’d be great. Because to have such a crowd walk with so much discipline with so much intent in face is not an easy task. Kudos to the director. And the way the scene unfolds in hospital and finishes off is another brilliance.

Everyone would have noted the music and shift in composition, be it the mob scene or in the whale scene but the thing that we fail to notice is the sound. The truck coming closer to us, the opening of Whale door, the footsteps of people. That’s the thing which brings eeriness to the movie. I’m not sure when was the last time I wrote such a passionate piece about an art film, I’m more an emotional movie fan but the fact that I was touched by this piece, like music, like a harmony shows how emotional the movie is.


Come…Fall in Love (with marriage)

It was my first Hindi film in theatre I guess. It was not the time where Hindi movies were on theatres. So I watched it in a B-grade theatre with mosquito bites.

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DDLJ when watched looks quite outdated because this looks more of a marriage story than love story. This being said with the ephemeral idea of how love in India means finding a person to get married. The things that we are debating now are why there couldn’t be live in relationships, why couldn’t love be there outside marriage, why should love be restricted to just one person and lot of other #mychoice problems. But let’s rewind to the past. It was a time when we were coming out of teachers telling us during Valentine’s Day on how love doesn’t mean having boyfriends and girlfriends but it could be loving your parents, friends etc.

So this was the time period which was sandwiched between these two when we and our parents both were in a stage that Love Marriage is wrong. Better than now because we don’t understand their point on why love marriage is wrong and they don’t understand why we’re rooting for love marriage. So DDLJ happened in a time where there was just plain rage where both are in sync and one wants to out power each other. Read clearly its Love marriage that we are talking about and not Love. That’s a whole different topic. I’ll get a chance to talk on it when the next GVM movie releases I think.

For this generation – in fact even I don’t belong to DDLJ generation, even though I celebrate it, it would have been better if I had been in my teens at least to completely appreciate it – it’d be better to take YJDH and compare it with DDLJ rather than telling how JYDH had taken so many inspirations from DDLJ.

Raj – a rich spoilt brat, who drives Porsche to college, whose dad celebrates his failure in college and drinks beer with him and Simran – Sanskari ladki, who sings Om Jai Jagadish Hari, I don’t know who still sings that out loudly in their home, meet each other when they are on Euro trip. You can’t get a better setting to start a love story. A road trip and two charming people. What else do you expect? The locales are as exciting to watch like that of Jeans where they showed seven wonders.

I even though like SRK post this movie, I could understand why it was celebrated back then. It was like how we celebrate Bunny now. I found SRK far more convincing in his later movies like KKHH, KKKG. I’ll leave it to you to expand all the abbreviations.

I found the first half to be insipid with romance being cheesy and scenes not really working out. If not for SRK and Kajol it’d have been a very tough watch. When I got to interval it felt as if I watched one whole movie. I was completely exhausted.

But the second half of the movie, something I hardly remember, something I wasn’t expecting anything out of it, is the reason behind the movies success. Only when watching now I could see almost every scene in the second half of the movie was taken in some other movie. And how many loose, tight remakes we have seen of DDLJ, need not mention about the inspirations. But of all the movies, even after so many years, this looked like an organic way of making parents understand children’s love. Rest all still looks like acting. Only that it ranges from best to worst.



This film is total dope. I’m finding it tough to concentrate to write but it’s like how when you are high and that’s when your senses are completely sharp. I’ve to write a review in present tense for this.

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What a day I chose to watch a film. It’s Sunday night and all I could think of is another horrible week at office. Its seven years and it doesn’t subside. In fact it’s getting to the worst, a peak where there is a sense that something is going to happen, again. It’s the third week of January, probably the time when all the New Year Resolutions break and make you feel naked. At least I’m not completely stripped. I’ve that much control. But yes even my resolutions are almost a failure. It’s almost not all. It’ll never be all. I’m not as confident as a layman to not take a resolution at all. To consider New Year and Birthday, just another day. I’ll continue to make list. I’ll fail. I’ll fail miserably. Still I’ll make list, I’ll make new list. I’ll tick it off too. Like how the grandma says she’d have convinced her parents. Probably the best character in the film.

After watching the movie, I was sitting down and staring, not thinking of anything. Now I’m staring at the screen not thinking of anything. Rarely does this feel happen in me. There were a lot of movies, coming of age movies where I get emotional. I watch it repeatedly to become sad like Premam or Tamasha. But Arjun Reddy can’t be watched again. It’s a single act magic. You watch it once and that’s all.

I’m amazed how the director could make a movie so dope and still make it work. I don’t know how so many liked it. Generally for movies like Tamasha when people didn’t like it, I loved it. I felt special that not everyone could connect with the movie but here I’m happy that people liked Arjun Reddy. It’s like accepting people who are different.

The film is organically dope. That’s some kind of writing. There were lot of scenes excellently conceived. Especially when you see the film as a character study it’s a great lesson. I loved the English lines Vijay spoke. Wow how good can it get. Probably only Matthew McConaughey could come close to it, in his True Detective. The dialogues were something you would heed to it only when you are high on dope, but when a general audience had seen it and liked it, it feels so good. It’s like touching that place in cerebral cortex to make it understand. There are so many scenes about objectifying women, about feeling blood in hands by being surgeon, about his girlfriend pulling the bed to make love, the way he says, “Y beedi is nice”, the dialogue to dean post football fight, the rush of adrenaline, eat and laugh after sex, the music behind it. Wow, just wow. I loved the scene where he talks about objectifying women and this comes in a film where there are lot of kissing and drug scenes. It’s like a slap in the face for people who have item numbers, objectifying women and talk morals about not smoking in cinema. I only wish that he had not said that, “we swear but we don’t objectify women”.

Of course Vijay rocks in the movie. He has a bit of Dulquer in him, in his looks but definitely a much better actor. There is a bit of Dev D in the story but it doesn’t romanticize it as much as Dev D. When knowing that Vikram’s son is going to act, this could be the best gift a dad could give to his son. Bala would love to make a first urban story in this concept. Even Dhruv looks a bit like him. Vijay in fact looks like many. He even look like Thegidi hero Ashok Selvan. But how the movie is going to suit Tamil audience and whether Vikram would overdo it by nurturing his kid too much is to be seen. If this had been an original movie, there couldn’t be anything better than making debut in this one.

The films immediate impact is wanting to smoke. Don’t know how right a feeling that is. It’s not a film where you’d root for Arjun. The premise is great. The fact that it happens in Medical College and he’s a doctor is a treat to watch. Of course he’s hot, like his friend says, he can woo any girl if he stands in the middle of the road with just his underwear. He’s rich and he’s talented. That makes this easy in third person’s perspective but that’s what the film is. If he’s poor and not talented the film would have been short film and ended in ten minutes.

His life is clumsy. Even Italy looks clumsy looking through him. Look how Corsica looked through Ranbir’s eyes. But the fact that all this is for love. It’s just again a bloody love story is hard to digest. I generally don’t like intervals. I don’t even like to go pee while watching a movie but the best thing I did while watching the movie is I took a dinner break 15 minutes before the climax, where Arjun comes back from Italy. It was gem till then but post that, he coming back, the kid being his, everyone uniting. It’s so convenient. It’s too great a film to deserve a happy ending like that damn it.

Generally post watching a movie there would be specific scene, specific instance or the overall mood that would linger in mind but with this movie it’s like that phase after you are drunk where you want to get back to normal but you don’t want to. All that runs on my mind is Dulquers face with Vijay’s confused look. It’s like a jigsaw. I hate that confused face of Dulquer. He’s such a limited actor. But I could pity him now. I could pity my mom who has to listen to my dad. I pity my dad whom I put into a pity state with my cynicism. I pity my family who have to see my like this time and again. I pity everyone.

Doesn’t etch in our memory. Still…

It’s always a pleasure to plan up for a Vikram movie, because it would be only me and my best friends. Ithellam Perumaya, kadamai. And on top of it, it was a festival weekend and we were striving so hard to get to theatres by 7 PM from all parts of Chennai. While all the way from office to theatre we were humming the theme music and entered the hall exactly at 7 AM for titles, we were so happy and got our money’s worth. If it could give this much happiness for a Vikram fan, which is like one in million, how would it be for a Vijay/Ajith fan which forms a majority and makes even a very meek movie a hit.


Sketch works because all you see is Vikram. There are hardly anyone who makes any impact. I think that’s been the problem post Anniyan where he wants to act big. And selects only big movies. He’s proud about it too. Don’t know how long it’s going to last. He’s able to pull off his part because of his confidence. No matter how bad the movie is he’d be doing his role sincerely because he believes in it. A trait which only Manorama has in my opinion.

I think this movie is another template movie where the director would have become his fan while seeing his acting and writes, directing only for him and without taking anything else into consideration. I think that’s been the story for the past ten years. Can’t really complain because even Mani fell into this trap. Ravanan looked like more of guilt ridden story to elevate Vikram’s status because of failing to cast him in his earlier movies. Suhasini still keeps saying about this in every interview. I think normal commercial directors who operate in a formula can anymore make films with him. Either they’ve to be classy, new gen or freaks. Look how brilliant Bejoy Nambiar made use of him in David. Of course it ended up being the biggest failure of his career but for critics this could be the best ever film a mainstream actor can make.

Sketch is an age old commercial film which rides solely on its hero, Vikram. He as usual carries the film on his shoulders, does an excellent job but ends up being egoistic about him being the only person to carry the film on his shoulders. It has a string of villains but you don’t really feel that anyone is going to be a threat for him even though how strong they are either physically or mentally. I don’t know whether Vikram would act even if he gets a role like Batman when there is scope for a villain like mentally strong Joker or a physically strong Bane.

So when the sidekicks die, it doesn’t really stay. Because you don’t feel for them. You can feel for them only through Vikram. Sreeman dying alone had at least some impact but it’s more due to Sethu and not due to Sketch. Excellent actor he’s. But the surprise package here is one of the sidekicks cracking timing jokes. He got a great response from the crowd. Good thing was he didn’t overdo it. But his end was predictable too.

The film falls so on usual masala film blue film, a hero introduction followed by introduction song, followed by fight, melody, a pre interval block, a song immediately post interval and climax twist. I hope the songs were concentrated better. Generally a must in a big hero commercial flick. I don’t remember when the last time Vikram got decent songs in his films when he’s not acting in a film by big director. But the consolation here is the BGM. A terrific one, needless to say he excels in those scenes along with fights. There is a scene where he gets back the bike and rides to the garage, an excellent one, if the same scene had been by Ajith/Vijay the applause would have been tremendous, even though he excels with his screen presence. In fact it’s the same with many other scenes as well.

Even though there was continuity, the films editing lacked a punch. But somehow the pre climax scene compensated for it by making a one truly swift scene. The climax got a bit of scare on everyone. It’s not like how you want your hero to comeback from grave but more of sympathy with a ‘oh no, please’ feeling. But that’s oh no it wasn’t again.



Tad too Worked Up but still… works.

Fresh out of the success of Thani Oruvan, Jayam Raja tries to prove a point from the very first scene. Fat people vs. Fisher men, people who come in car to exercise vs. people who go around doing their job, kids with candies vs. kids running with cricket bat. Typical rich vs. poor template. But trying to be smart, he ends up being desperate. Then there is SK (reminds me of a swear word we used in school) struggling with Chennai slang and forgetting every now and then about it and talking proper English and typical Tamil. In recent times only Karthi seems to have done the job perfectly with Chennai slang in Madras without overdoing. How a literate in North Madras would talk when within group and outside of it. Rest all ended up doing too much.


And everyone familiar with the album (Even though likeable, still kind of reminds you of some older songs). Which is almost everyone, would then be waiting for Karuthavelam Galijam. No surprise there, it’s the opening song but the situation could have definitely been better and song and choreography too could have been handled a lot better than setting up close up of SKs fake smile a million times.

There is almost a rushed introduction of Nayanthara who almost does nothing other than looking hot in pink shirt in climax. First time I was bored of Nayanthara post her comeback. Too many close up shots and her trademark smile wasted for not so funny sequence. Chemistry absolutely zero.

Yes you guessed it right. As third introduction there was Fahad Fasil scene. He made sure that all three had proper intro. Only that he made it evident to everyone but still Fahads opening scene ends up to be the best scene of the movie. His performance except for the scene where he shouts in angst out of car, was a treat to watch. Right from his name. In the opening scene he scores the moment he gets up. His dialogues makes us ensure we are on a high but the moment he gets up he steals the show. The best thing about him is he’s so subdued, Vikram could have done this scene and got a lot of claps too but to do this so subtly is the reward. Not only this, each and every scene, his expressions, and everything is minimal. Thus it works. Even in the last scene where the whole city lights up, including few in theatre. What was more awesome was to see Fahad breaking the light in his room. That’s Fahad taking on the whole world.

SK has to gain more confidence when it comes to acting. He was nowhere to be seen with Fahad around but that was acceptable. The chemistry with Nayan was more depressing. He generally is really good around heroines with his charm but here it was a total failure. The two scene he hugs and one scene where he has his hands around her waist, he was so not confident and looked like he was thinking what would Nayanthara think if he came a little too close. On the other hand look at Naanum Rowdy Thaan, Vijay Sethupathi was brilliant in combination scenes even though the film revolved around Nayanthara.

The film tries to get into serious mode little too quickly and little forcefully so the gear change doesn’t work without friction. But the director does a fairly decent job. It’s not as swift as Thani Oruvan but the film moves at a decent pace and engages every now and then. And Raja somehow does the climax decently rather than killing the villain in a clichéd warehouse.

Sneha does a beautiful job but it’s not as strong as the Jaya Seal’s one in Samurai. But that’s where Raja scores, it’s not so bad which will make you cringe but bad enough to make you feel bad and evoke sympathy. That’s good way to make commercial cinema. The first rule is to make it watchable.

He also took a commercially viable story which everyone can relate to, made it look like an intelligent film and thus making it a perfect commercial pot boiler. In the end all ends well that ends well.

Velaikaran is not really a movie which I could give a positive review but the fact that I took leave and watched it as a guilty pleasure shows how the movie could work for you. For me the timing worked perfectly, if it had not been on last week of December I would never have watched the movie. That week if I’m not travelling, I reserve it strictly for guilty pleasure and Velaikkaran was one such experience.

It Stings!

I think I’ve talked enough about Technicolor and 70’s films but I’ll do it again because the joy is limitless. During my semester holidays when I shared a small room without fan with God, I mean Pooja room, and had lime rice as food throughout the day so that I don’t have to waste time to go take sambar, rasam and pause the movie, its these kind of movies that I enjoyed the most, out of all the films I watched during my movie marathon. That’s why I like Hitchcock’s color films the most like Dial M for Murder, Rear Window etc. Sheer joy!

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I got the same feeling and relived the moments, and thanks to Karthigai Deepam I also got Lemon Rice to spice up the nostalgia. Icing on the cake here was that the film happens in 30s. That’s even classier.

The film sparks interest right from scene one with excellent framing, right out of a vintage portrait you can do for a Levi Strauss ad. And the camera pan and lowering with some shakes were beautiful to watch, especially the imperfections. And I’ve always like the Point of View changing from one person to another, one subject to another etc. That shift in focus is amazing.

The story is superbly written and it’s not just literal, it happens cinematically well too. The movie takes a good thirty minutes out of two hours to start with the story. Till then it’s only the back story. And every time till then, the hero focus shifts too, we think the first person who takes cab to be the hero, then it shifts to Hooker (Robert Redford), when we start thinking that he’s The Guy then we get to see that he’s also losing, at one point we think that he’s going to take revenge and going to be the master at that but again another person, now the hero, gets introduced, Henry “Shaw” Gondorff (Paul Newman), the wise man comes into picture. Only after he comes into the story we as well as Hooker himself gets to know how weak he’s.

Paul Newman is a Kickass guy, always. But largely goes unnoticed. He’s like Agni Natchathiram Karthik. At that moment people celebrate him but after that he gets forgotten. But no one could have done the role better than him in the movies that he did. That too with the ones with attitude, which attributes to most in the list. Here too he rocks. That wink he gives when he hears about ‘Poker’, that’s heroism.

Caper films are always awesome, especially the well-made ones with Suits and cast who look classy in them. One reason why Oceans would never get boring no matter what. Another thing is the juncture where a team is assembled. I remember one of the soaps that aired in DD Metro called as Hindustani, where they form a team, even that excited me at a very young age, on top of it they train, which is another awesome thing. Here in Sting the formation of team is not elaborate or classy like that of Oceans where Brad Pitt eats countless amount of burgers by the team he gets a team but The Sting’s recruitment was more organic, simple and profound.

Even though the climax is amazing the best part is the ‘Wire’ where you see Paul Newman in full flow and on top of it in the next chapter you see the Betting Parlor fully formed. In the ‘Wire’ chapter, the making of Betting Parlor comes as intercuts which you can’t appreciate as much as you want but in the next chapter it gets revealed in full glory.

There is deus ex machina in the form a man with leather gloves but it’s something you’d love to have, like the hero introduction moment. In fact it was handled so well here that you appreciate the cheater than being sad for getting cheated. Same with the climax as well. You can’t help but love. There was no pleasure than seeing Lonnegan getting cheated, that look on in face was so much fun. It was like taking revenge on a guy who bullied you in your childhood.

It doesn’t.

A super bad movie which spelled disaster in each and every frame. Pretentious and predictive. If not for the Sathyam popcorn I don’t know how I’d have been able to digest the movie. What’s worse is this is only one half and the second one is coming.



The movie has a proper horror film opening with kids, darkness, attic, sewer etc. In other words uses every horror film template in those initial few minutes. Anyways it was nice. When the elder brother says that he’s going to die soon, the unsympathetic attitude was good.

The Clown does a decent job in whatever time he gets. But this film works better as a teenage story than a horror one. Horror part were all jump cuts and only that. But the kids’ story was fabulous. Wish had made that as a movie.

The fact the second part is gonna have them as grown-ups is even more horrifying. Hoping to not see it.

For the love of marriage

Just out of the climax of ‘The Japanese Wife’. The movie got me really sad. It’s not a cinematic sadness and it’s not a realistic sadness either. But something in between which makes us forget that it’s a cinema which is making us sad and the same time knowing that it’s not reality. A huge ode to Aparna Sen for achieving that, without doing anything dramatic, without any music and hardly any dialogues. In the end it leaves a question on the future but we’re rest assured that it’s going to be good.

The Japanese Wife

The film had a really earthy feel to it. When I type it I’m getting remembered of ‘Manjadikuru’ all of a sudden. I wasn’t as impressed as ‘The Japanase Wife’ while watching because cinematically it wasn’t great. Here an array of interesting shots were present. Especially loved the scene where Snehamoy Chatterjee (Rahul Bose) talks in phone in the night for that ‘one clear call’. That whole episode was greatly shot.

This is the first film I thought I could call it ‘cute’. I’m not a typical ‘cute’ film watching guy. Because the typical ‘cute’ films like Hachiko looks all forced. But here their relationship was really cute. I loved the scene where Miyage (Chigusa Takaku) brushes off the hardships of Indian lavatory, when Snehamoy tells about how uncomfortable it’d be for her to be in his location.

The film had an interesting nonlinear screenplay but thanks to the small font subtitles I had to scrutinize my eyes to watch the movie. Still I couldn’t miss the beauty of the film which made me forget certain times to read and watch the movie.

Rahul Bose I felt was overacting, more than what was necessary. Raima Sen was a silent charmer and the real fun was watching Moushumi Chatterjee. She was terrific and reminded me a lot of my grandmother.

There were a lot of good scenes and superb editing. I loved the scene where Miyage gets angry when Snehamoy tells about the prostitutes and the scene next to it where he’d masturbate while writing a letter which in turn will lead to the push up scene. These three were opposite scenes but superbly constructed. Her craft doesn’t stop in editing alone. Almost the entire film has great lighting, when they come out of the ferry you feel the slipperiness of the floor and the smell of sand.

Out of all, the final call was the best, where the phone booth of Snehamoy would have been lighted red with lightening in background and post that Sandhya (Raima Sen) with a single lamp and the same lightening makes us see her along with Maashi. That was such a beautiful scene, made me look in awe. The telephony conversation or the voice over is even the more cute because of how they mispronounce each other’s name. Mild Japanese music in the background is soothing, like being in a massage parlor

What was a very good movie till then became an excellent movie due to the climax. I couldn’t swallow my saliva when I saw Miyage in white saree. Just thinking the fate of the household with three widows is depressing but I’m sure that they’re going to be happy together. Also I have a hint of doubt whether Maashi also has passed away because, in the climax Sandhya would be having the house key around her neck. I’d be happy if it’s wrong and Maashi gets to see Miyage.


Of Broken Branches and Fallen Leaves

This is one film which would come into spotlight anytime you discuss about the greatest Tamil Films ever made. It’s one of the films which had inspired many filmmakers and fraternities. Notably Mani Ratnam and Rajnikanth. Mahendran calls Rajnikanth his good friend. Mani almost mentions this film in every interview of his saying that’s why he came to film industry. That’s how much people are inspired by Mahendran and his work. In addition to being critically acclaimed, his films where huge hits. That’s what confounds me because I don’t know how so many people could understand the intricacies of Johny, my favorite film of his. Uthiripookal on the other hand didn’t work for me, which too was a huge hit.


If you ask me a reason to watch Uthiri Pookal. I’d right away tell Vijayan. You can watch the film just for him alone. I’ve never seen such a villain in life. He does exactly what needs to be done. In fact everyone in the movie acts perfectly.

You start hating him right from scene one where he does nothing. His wife is a typical village woman loyal to the husband. In spite of all the misfortunes she had, you can see how happy she gets when her husband takes her out for theatre. Of course it’s followed by one of the most horrific scenes of the film. That too after having had sex. You want her to rebel at some point of time. Want her to be happy at least once, at least in the end but that never happens.

Large part of the movie is unacceptable. Because we’ve undergone culture shift where woman are no longer a slave but this still happens in some places. Not that I have firsthand information but it does happen.

Vijayan in spite of being have showed rude, isn’t a person who can do everything. He has his limits too. For example she wants to marry Lakshmi’s (Ashwini) sister Shenbagam (Mathumalini) but he is not able to, in spite of being the most powerful man in the village. These are the nuances I liked.

Acting wise Lakshmi could be compared to Shelley Duvall from The Shining. Her expressions are very limited but the slightest of smiles by her induces so much emotions within us. That’s the success. You can’t help but feel pity for her. That looks like part of her dad Charudhasan’s trait. Look how he undergoes the threat caused by Vijayan. He’s incapable of fighting back but he does. On the other hand Shenbagam is such a charmer. Her expressions were a treat to watch. Only the songs were needless and dampens the flow.

This movie was considered for his eclectic screenplay due to the flow of events. Yes the flow of events was phenomenal but I didn’t find the screenplay interesting or anything new. The best part about the screenplay would be its coherence. Lakshmi says ‘Neram Varatum’ (let the right time come), whenever asked for her kids tonsuring. And that happens finally during her death. Similarly when the teacher swims, Vijayan’s sidekick warns him about Vadivelu’s (Vijayan) ire because he doesn’t know swimming. And in the end, you know what happens. Those were well written scenes.

Of all my favorite scene would be the one in terrace. It’s a typical KB scene but made in different style. When Vijayan asks her about marrying her sister she says, “what if I want to marry another person” then we hear her mind voice saying, “this is what all women want to ask but would never be able to” It was taken superbly.