Friday, October 15, 2010
Ajith’s much hyped 50th project titled ‘Mangatha’ had its movie launch in recent times. Latest news is that the film director Venkat Prabhu after conferring with a foremost numerologist has decided to change the spelling of the film from ‘Mangatha’ to ‘Mankatha’.
Cast: Rajnikanth, Aishwarya Rai, Santhanam, Karunas, Danny Dengzongpa;
Music Director: A.R. Rahman;
Producer: Sun Pictures;
Man makes a machine, but the machine wreaks havoc on mankind. The onus is on the creator to set things right. This is a done-to-death storyline in movies in the West. For Tamil audiences, Shankar has presented something similar in “Endhiran” in an interesting manner and Rajnikanth’s magic makes it worth a watch.
A technical milestone in the history of Indian cinema, “Endhiran” is one of a kind and will be talked about for months. It is one of those movies where the awe factor lives forever. The script has its highs and lows and it may appeal to everyone. But if we forget logic, it is a truly entertaining movie.
The story revolves around Vaseegaran (Rajnikanth), a robotics professor who creates an Android humanoid robot Chitty, which resembles him. The machine is programmed to be a master of all traits. Vaseegaran creates it with a sole aim of dedicating it to Indian Army to replace soldiers in the battle field.
Vaseegaran is assisted by Siva (Santhanam) and Ravi (Karunas). The robot wins the admiration of beautiful Sana (Aishwarya Rai), ladylove of Vaseegaran.
But trouble starts when Chitty is programmed to have emotions like any human being. As it happens, it instantly falls in love with Sana and leads to trouble for both Chitty and its creator.
Enters Bohra (Danny Dengzongpa), who was Vaseegaran’s mentor, with an evil motive. Cashing in on the opportunity, Bhora takes control of the machine after Vaseegaran dismantles it and throws it away in a fit of rage. Now the real war erupts between Vaseegaran and Chitty.
Chitty takes away Sana and creates its own army of robots. Their only motive is to end Vaseegaran. The robots are on killing spree and it is up to Vaseegaran to end the menace.
Rajnikanth oozes style throughout the narrative. He impresses both as Vaseegaran and Chitty. The typical Rajnikanth may be missing here. No punchlines or intro song, yet Rajni is impressive.
Unlike other heroines, who come and disappear in a wink of an eye, Aishwarya has a substantial role in the movie. Danny is a refreshing change from regular baddies that we see in Tamil cinema.
Known for his big-budget sci-fi films, Shankar has gone one step further in this. Nobody other than Stan Winston studios would have carried of the special effects. “Endhiran” was like watching “Iron Man”, “Transformers” and “Superman”.
The first half is a smooth and fun ride with cute Chitty taking centrestage. A couple of fights set the tone for the fans. A few lighter moments and two songs make it a light-hearted affair.
However, the second half drags a bit, making the narrative less interesting. There are portions which could have been edited well. A couple of songs follow each other in quick succession which dampens things a bit. But, the rest of the second half is racy, action-packed and intelligent.
Rahman’s music is a mix of east and west. Cinematography compliments the theme, thanks to Rathnavel. Peter Heinz’s stunts, especially the train sequence, is fast and interesting.
Overall “Endhiran” is an awesome experience thanks to technical brilliance, gripping screenplay and good performances.
Film: “Angaadi Theru”;
Starring: Mahesh, Anjali, A. Venkatesh, Sneha and others;
Director: Vasanthabalan; Music: GV Prakash Kumar, Vijay Antony; Producer: Ayngaran International Films (Pvt.) Ltd.;
Vasanthabalan, who has given a memorable film in “Veyil”, is back with his third venture in “Angaadi Theru”, a statement on the life of traders and workers in a marketplace as busy as Chennai’s Ranganathan Street. In fact, it won’t be out of place to mention that ‘Ranganathan Street’ is the actual hero of the film!
Jyothi Lingam – Lingu in short – (Mahesh) hails from a remote place off Tirunelveli and lands up in Chennai to work for a living after the sudden death of his father. He gets a job as a salesman in a famous shop on Ranganathan Street and falls in love with Kani (Anjali), who is already employed there. Their love affair secretly flourishes in the organization, which has strict rules for its employees and workers and stringent punishment for those who defy them.
The duo get badly shaken up by the management of the organization and quit their jobs in unison. They then meet up with a totally unexpected and tragic accident. The film finally ends up depicting the inseparable lovers facing upto the new challenge confidently and overcoming it with aplomb.
The pathetic living conditions of the employees and workers in such glittery show rooms are depicted in the most realistic manner by Vasanthabalan. The past lives of the lovers and the incident involving the sister of Anjali appear like short stories inside a novel. The decision of the love struck girl to commit suicide leaves the audience in a state of shock.
The director has the courage to depict the darker side of the glittery show rooms. The inhuman ways of treating the workers, the jail-like environment, and the brutal punishment are shown astonishingly. The life in the busy street is well portrayed with all its colours and shades. Vasanthabalan hasn’t missed the positive sides of their lives and he indeed ends the movie on a positive note. The liveliness of the workers despite the hardships they are subjected to is portrayed quite realistically.
Vasanthabalan succumbs to the demands of the film industry by showing some filmy situations that fail to fit into the otherwise realistic portrayal. At first, the employees/workers are shown to be given food by the employers in a beastly manner but surprisingly, in the subsequent sequences, everything appears to be normal as the same workers are shown to be casually having their food. This makes one wonder whether the initial sequence was ‘inserted’ just for the shock value.
The narrative drags due to the various sub-stories woven into it. As if it’s an unwritten rule, all the poor are depicted as good-natured and all the rich are shown as arrogant and unkind, which deviates from reality.
Debutant hero Mahesh gets into the skin of his character and delivers an awesome performance. Anjali, in a de-glamourised role, looks beautiful and emotes well in all the sequences including romance. Pandi, who shot to fame with a teleserial, keeps the viewers reasonably engaged with his brand of comedy. Sneha livens up the proceedings in her brief appearance.
Richard’s cinematography is top-notch. Jeyamohan’s dialogues are razor-sharp on most occasions. A couple of songs are hummable and the background score is good.
Despite its slow pace and a few narrative lapses, “Angaadi Theru” is watchable fare.
Vijay’s 50th film has turned out to be a big disappointment and the actor has added one more flop in the series of “Kuruvi”, “Villu” and “Vettaikkaran”.
In the film, Sura (Vijay) makes a very dramatic entry – he jumps out of the sea (what else you can expect after naming the film Suraa, which means shark) and the whole fishing hamlet was tensely waiting for the safe return of their favourite ’son-of-the-soil’ and ‘darling of the people’.
Since we are used to such dramatic entries of Tamil heroes, we ignore the gimmick and look forward to the film.
The story is nothing but Sura’s heroics to save the fishermen from the clutches of a money-hungry minister who wants to take the entire hamlet for his own good. Sura, who is on a mission to save his people, somehow finds time to sing and dance with Tamannaah in spectacular locations.
Tamannaah has no job in the film other than adding glamour. Vadivelu provides some comic relief.
We have no objections to seeing the old story of saving people from greedy and powerful politician. But director S.P. Raajkumar has failed to narrate the story in an interesting manner. If the plot is old, the treatment is older. He has made fruitless efforts to cash in on Vijay’s popularity.
The director and the hero must understand that stardom is useful in fetching the crowd on the opening day, but you need a good script to sustain the interest.
Vijay dances well and breathes fire in incredible fighting sequences. But he hasn’t improved on serious dialogue delivery – the so-called punchy dialogues sounds childish.
Dev Gill, the villain, is out of place in a poorly etched role. Mani Sharma’s numbers are foot-tapping, but they remind us of some Telugu hit songs. Cinematography is good.
“Sura” may just fail to swim through the tide.
She is now shooting with Vijay for Kaavalan in Ottapalam near Palakkad in Kerala. So for the pretty actress it is a comeback of sorts to her roots, where it started nearly a decade back. After black flags were shown at Metupalayam against Asin.
The film is directed by Siddiq and music is scoring by Vidya Sagar. And the shooting is almost over except one song is remaining and that will be shoot in foreign locations. This film is expected to be released in December.
The star lost his charm due to the letdown of Sura. Even though he lost his fame at domicile market but his global market is safe. His fans are waiting for the release of Kaavalan.
The movie is bagged by an overseas distributor Tantra films, at a greater price than regular. Kaavalan’s overseas right has been sold for Rs 6 Crore if the buzz is believed. The flick has brought the banner more than the usual price of the star’s craze. The local market at kerala it has been sold at a standard price of Vijay‘s film.
The most attractive aspects of Vijay’s Kaavalan are Vijay and Asin are pairing up for the fourth time, Vijay’s Return with Siddique after 9 Years, Vidyasagar as Music Director, Bodyguard Storyline And Special Climax, last but not the least the film has two heroines Asin And Mithra with Ilayathalapathy Vijay.
These attractive facets have fetched Kaavalan a record price in global markets.