Mandela

 

“Mandela”, a light-hearted but very well-thought story. It strongly yet in its own comical way captures the significance of ‘one-vote’. If today's world is on a quest for seeking its identity, this movie begins with the very notion of an identity-less situation. As much as I enjoyed the movie, I couldn't help but to realise most of the meanings that were embedded deeply. Set in a village in Tamil Nadu, the movie collects around a prominent family's personal rift to making it a caste issue overtly. The outright hatred that is deep seated in 'caste' is aptly picturised and at the same time, its hypocrisy comes upfront as a caution. The transition in the name caught my complete attention - 'Smile' to 'Mandela', more like an 'identity-less' (but still happy) to 'identity' (the root cause of all other problems) - I find it a clever play with the names. One could imagine all the significance a name like Mandela could hold. Our people need more movies like this.

Will Justice be Served?

 

Two movies that I wish to talk about: "Act-1978" [Kannada] and "Naandhi" [Telugu].

 

 

"Act-1978" is a yesteryear's release that made it to the theatre screens post the Covid-lockdown. Starring Yagna Shetty in the lead, this movie is a well-scripted diatribe against corruption that mirrors the chain-link consequences of every individual's negligence in executing their respective duties. While the storyline appears to have already been in the niche, it still provides an outlet for great experimentation. A justice seeking individual is forced to becoming an outlaw is nothing new to the Indian cinema, however, the suspense and the make of character-roles have a tinge of newness. The attention-arresting cinematography, much expanded suspense, and very minimal yet effective locations throughout are some of the elements that deserve appreciation. The actors too, some already established, some amateurs and some entrants, all have performed their roles in the most convincing manner.

 

If the former movie boarders on the protagonist becoming an outlaw, then the latter movie is an exact opposite of fighting for justice within the circles of law and order. "Naandhi" is this year's release starring Allari Naresh in the lead. A blend of lock-up atrocities and courtroom drama, this movie has presented a sort of a naked truth about the legal system. I have always seen Allari Naresh as a comic artist and even if he is in the lead, the scripts are often comical. This movie has reversed the perception of how Naresh is portrayed. As much as a thinker a script can be, it still must work to cater to the masses, and there is drama and action to tick these parameters. Though the storyline is not extremely unfamiliar, what is important to note is that the protagonist alone doesn’t take the limelight, and every character is equally highlighted (this is something that often becomes a wanting factor in many films.

 

Both the movies made me tear up a little, and they held my attention throughout. While these movies have drawn references from world cinema, they still stand as individual accomplishments. This was about the structure of the movies, I now like to press on the issue of the much emerging theme of the inability of the government and its various systems. The protagonists here are no extraordinary heroes, rather a result of a failed government system. It in a way makes me question the legitimacy of such system, and thereby its extending laws (which for some reason imposes thoroughly on the voiceless). I am not saying that my mind is befuddled with fiction and reality, instead what I emphasize is simply that our reality is no different than fiction. That these protagonists are not only an image of a modern man/woman but also a modern image of a man/woman.

 

OTT Platforms:

"Act-1978" - Amazon Prime

"Naandhi" - Aha

"Velu Nayakar"

The south of India has been a cultural laboratory for centuries, and there is no modern day history of this place without the entertainment industry. This industry has made a prominent impact in altering the reality of the masses, their perceptions and the likes of the common. In something that appealed to the logical and the emotional aspects of the viewers, the 1987 release ‘Nayakan’ raised the bar in constructing a complicated character through Sakthivel ('Velu Nayakar'). On many occasions, Mani Ratnam has denied any reference or influence of the 1972 release 'The Godfather' on this Tamizh movie. As a viewer, I found 'Nayakan' a little different from the plot of the Godfather franchise, although they can all be classified under gangster genre, the storylines are rather varied.

 

The construction of Nayakar's character has indeed become a roadmap that leads to the complex transformation, or if I may use the literary device - bildungsroman, of a young child to a leader who eventually runs a quasi government. In fact, this plot gets resonated in an elaborate fashion in "Thalapathi" (1991 release). What I really liked about "Nayakan" is the lead character himself! Of course, Kamal Hassan is always a treat to the mind to watch (not forgetting to mention that he is also a treat to the eyes.. whistles..). When the entire journey, from 'Sakthivel' to 'Velu' to 'Nayakar', is closely observed, we may find that the many situations add velocity to the character to behave or act in a particular manner. Look at the circumstances that get created and the lead has to not just respond to them but also has to embrace them.

 

There is a certain chaos that comes out (very well depicted by KH!), a chaos of helplessness and an indispensable inability to keep the family away from bloodshed. The complications extend outside, in understanding what is legitimate that can get the aid of the government, while the otherwise activities (though carried out in the larger good for the poor) make Nayakar an outlaw. Nayakar killing people or ordering men to kill is considered poetic justice, but the epitome of anarchy in the mind reaches the peak when the grandson questions him. It may appear lame, but the words hold so much depth that, yes, eventually, asked to our own selves, we are unable to answer.

Vitascope Viewing

 

The Covid19 lockdown has proved more like a productive base in terms of binge watching movies. The series from action to romance to drama to comedy to experimental, all the varieties have attracted our attention. Alongside exclusive releases on OTT platforms, sitcoms and to-be-watched movies, I spent some time watching some of the classic movies and some contemporary favourites again. In the list of selected revisited classic movies were Dead Poet’s Society (English, 1989), Iruvar (Tamil, 1997) , Naagarahaavu (Kannada, 1972), Krantiveer (Hindi, 1994), Anbe Sivam (Tamil, 2003), 12 Angry Men (English, 1957), Oru Yathramozhi (Malayalam, 1997), The Great Dictator (English, 1940), Modern Times (English, 1936) and, for some strange reason, Hum Saath Saath Hain (Hindi, 1999). The contemporary few are Ente Ummante Peru (Malayalam, 2018), King Arthur: Legend of the Sword (English, 2017), Manamantha (Telugu, 2016), Sarileru Neekevvaru (Telugu, 2020) and Jojo Rabbit (English, 2020).

 

However, there is an all-time favourite movie from that list and I have tried to write a synoptic view about the same. A classic Puttanna Kanagal directed piece, which also attained the cult status, is the 1972 release Naagarahaavu. This Kannada movie became a huge success and rapidly paved way for the then new faces like Vishnuvardhan, Ambareesh and Aarathi to venture further in the film industry. The story is based on T.R. Subba Rao’s trilogy novels, Nagarahavu, Ondu Gandu Eradu Hennu and Sarpa Mathsara. The story at large has every component - drama, action, comedy and romance. There is requited love but does not end in the fruition of marriage, and at the same time there is an ardent admiration that holds tight the master and the student. The ideological clashes beginning with an individual and spreading it as far as the entire community is the reality mirrored in the movie. The movie depicts a typical 1970s scenario of college students, the rouges around and the youngsters need to prove their worth. There is no exaggeration nor an underplay on how these characters are constructed. Perhaps, this direct depiction of characters of different ages and sexes is what made it more relatable.

 

The movie has claimed many accolades for its music and songs, with the melodic voices of P.B. Sreenivas, S. P. Balasubramanyam and P. Susheela. ‘Baare Baare’ is one of the soundtracks that I listen to and hum the most (lyrics by Vijaya Narasimha and sung by PBS). Apart from all the highlights, I tend to watch this movie quite often is simply because of the way the women characters are portrayed. Although all of them appear submissive, at varying degrees, in a patriarchal world, each woman (or character) has been a passive direction changer throughout. The leading women, Alamelu and Margaret, played by Aarathi and Shubha respectively, are not portrayed as binaries for good and bad nor are they picturised as having misogynistic undertones in their characterisation. Alamelu, who is seen as a docile character in the beginning, especially when she accepts to marry someone else, is suddenly seen as a woman who no longer requires an aid from anyone and we see her being affirmative in choosing not to be saved by Ramachari from her miseries. On the other hand, Margaret, comes across as an extrovert with a devil-may-care attitude, and soon we see this character adorning the strength to fight the tensions of an inter-religious love/marriage affair. The lead women’s roles are progressive in a manner and we don’t see either of them accepting defeat, rather they stand as individuals who have metamorphosed to living the reality without complaining.

 

Naagarahaavu is one such movie that I don’t mind watching again and again. The songs and the master-student duo has always arrested my attention and likes. Apart from the cult classic Naagarahaavu is, there is a lot that I tend to observe in this movie every time I watch it.

 

Let me know your thoughts on the same. Also, do drop in a few movie suggestions!

Beauty and the Beast

Beauty and the Beast, a Disney production, was very appealing and represented an old tale rather realistically. Belle not only rescues her father from his dreaded fate but also the Beast from an eternal damnation. It's a well-known story that needs no re-telling. The movie was indeed a good one, and stuck to the popular version of the tale. Emma Watson (Belle) and Dan Stevens (Beast) have played their roles well in the lead, and the other actors too have added flavour to the already delicious narrative. The technical aspects were dealt with great attention, and thus, every detail was looked into perfectly. Watching this movie rekindled the old fantasies, and I loved the experience. Overall, I would give this movie a rating of 4.65 on a scale of 5.0.

Idolle Ramayana

"Idolle Ramayana", a Prakash Raj production, is a family drama which entails moments of epiphany for the main character, Bhujangayya (Prakash Rai). His encounter with a sex worker, Bangara (Priyamani), changes his attitude towards his family, and he also recognizes his friends - who actually think good of him and otherwise. As a parallel narrative, there is the story of a struggling director who loses his script and with a turn of events becomes acquainted with Bhujangayya's plight through an auto-driver, Shiva (Aravind Kuplikar). The two stories converge on a common bridge and that is the climax which calls for greater thinking. Overall, the movie was an entertaining one, and I would give a rating of 4.75 on a scale of 5.0.

Pink

An emotionally involving, an immediate required movie at this hour of the day, and the colour to say "no" is "Pink". The movie is a court-room drama and involves women as accused. The women confront the society with courage and dignity, and in due course realize that their actions were not wrong. The movie is different in a way, for it does not come under the awkward stereotyped feminist wave, instead logically explains incidents and their causatives. Amitabh Bachchan hasn't lost his silver touch, and three leading roles played by Taapsee Pannu, Kirti Kulhari and Andrea Tariang are also commendable. The highlight of the movie was the poem (by Tanveer Ghazi) recited by Amitabh Bachchan which held prominently the strength of a woman. Overall the movie was a really good one and I would give it a rating of 4.85 on a scale of 5.0.

Magaizhchi

"Kabali", the much awaited "thalaiva's" movie, sadly didn't go too well with an ardent Rajni-fan like me. The movie has nothing new to offer, the story script is too familiar, and the twists are much too predictable. An aged Mafia Leader tries to make his life after his term of imprisonment, and the usual gang wars to build the havoc element - make the central theme. The movie seems flawed at the very basic levels, the dialogue script is too puerile, and apart from Rajni and a few others (the experienced oldies), there is not even a single soul to have pulled off their characters with ease. The songs too didn't hit the mark as expected, and the comic element is simply absent. If at all there is anything that has elevated this movie to a status above its estimate, then it's only because of Rajni's stardom. His acting is commendable, and is often seen through his mannerisms. The highlight of the whole movie is in the way Rajni tells "Magizhchi", and he has done it with great ease. Overall, I would personally give this movie a rating of 3.2 on a scale of 5.0.

Ice Age Collision Course - 5

The wired pack of mammals are back with their own set of differences and understanding. The over-protective Manny-dad and a daughter who is ready to live her life the way she wants. The threat to the mammal's survival is again caused (indirectly) by Scrat, when he accidentally lands into space while he clings on to the acorn. A turn of events happen as Scrat continues to meddle with the cosmic elements and the mammals on earth face meteor showers. There is a travel filled with comedy and adventure, where Buck and a new set of crew add to the witty comical elements. To let go of the love and to fall in love again is also seen in the backdrop. Overall, the movie did adhere to the previous serious, and did not deviate much. I would personally give this movie a rating of 4.0 on a scale of 5.0.

Money Monster

"Money Monster", apt to the title befits a story that revolves around the bulls and bears of the commerce stock trades. Lee (George Clooney) is a TV host, works particularly on picking up hot stocks as a TV show. In one of Lee's live broadcast, Kyle (Jack O'Connell) attacks the studio and takes hostage of Lee. Kyle happens to be one of the aggrieved investors. He only needs answers, to know how there was a bear market and a stoop down of $800,000,000 occurred. The story takes an interesting turn when Lee begins to learn facts, the real facts, and with the help of his longtime producer, Patty (Julia Roberts), he gets control of the situation. Eventually, they try to figure out a way to defuse the situation and 'find answers'. The movie serves as a nice breakthrough in bringing out the politics of money-making-world, a.k.a. the business-world. Overall, I would personally give the movie a rating of 4.25 on a scale of 5.0.

The Jungle Book

Yet another movie on my watch-list is ticked! "The Jungle Book", a movie which reminds us of a childhood story, and of childhood memories. Jon Favreau, the director, has done a nice job in bringing this fiction alive. It is a story of a boy, Mowgli, who is brought up by the wolf pack in the jungle. However, the movie didn't stand close enough to the grandeur of Kipling's creativity. The screen script is fair but some characters don't get their due importance as one would find in the book, this though was quite unappealing. There were of course many little stories that were in the book but not in the script. The book version became a popular hit for the verses it had, and which the movie makers could have used them to make the narration more effective. Some animals were not true to their actual being, which was quite unacceptable. But otherwise, the movie is worth watching, effective even more if one hasn't read the book. Overall, I would personally give this movie a rating of 3.15 on a scale of 5.0.

Ki & Ka

The much awaited movie in my 'watch-list', "Ki & Ka", is finally ticked. It's a Balki creation starring Kareena Kapoor as Kia and Arjun Kapoor as Kabir. The story is appealing, sort of a breakthrough in the conventional ways of looking at 'just' ambitious people. The main focus is on how Kabir wants to be like his mother, who was just a housewife, and Kia wants to be a successful woman. The two characters unite for they complete each other. I, however, had a different perspective in liking this movie. I saw it as a story of an unambitious person (not that home-making is very easy), and how Kabir, irrespective of the gender, makes a loud point that it's alright to be unambitious. There is not much comedy and the movie has a smooth flow appearing to be realistic. It was a nice watch, and I would personally give this movie a rating of 4.2 on a scale of 5.0.

Shandaar

"Shandaar" - An entertainer movie at a mediocre level. Shahid Kapoor's and Pankaj Kapoor's appearances were quite appealing, while the rest of the crew make the movie simply boring. The plot, however, was highly predictable. But the movie can make do on a lighter tone, and the comedy backs up to the fallen story-line, and for the many poor acting. On a lighter note, I personally give this movie a rating of 3.0 on a scale of 5.0.

Maya

Maya, a horror film, has had a nice breakthrough in its creation. The story weaves into another story, and the suspense is held throughout. Though a horror movie, it touches upon themes of 'Asylum' and 'how the society rejected the abnormal/retarded patients'. There is deception in a relationship, however, there is also love and care in the members of the same bloodline. All the actors have done their jobs quite appealingly. The movie is sure a thriller for its sudden scares, and the constant shifting of black and white to colour gradually merges and two stories become one. Overall, the movie was a nice watch, and I would give it a rating of 4.5 on a scale of 5.0.

Thani Oruvan

“Thani Oruvan” – An amazing fabrication in the stories of tackling corruption in the field of Research and Medicals. Siddharth Abhimanyu (Arvind Swamy) has got an amazing comeback, he has played the role of the villain rather too nicely that I fell in love with him all over again! He marks the classy villain ruling over the medical mafia, and the plot thickens with fragments of flashbacks that hold the logical explanation of the movie. The other characters, Jayam Ravi, Nayantara, Ganesh Venkatraman, Nassar and Thambi Ramaiah, too have done justice to their roles. The story is a nice thriller; the sequences are quite predictable yet are innovative in its depiction. Sengalvarayan, Siddharth's father (Thambi Ramaiah) has managed the humour, which is quite appealing. Overall, the movie was a good entertainment, and I would personally give the movie a rating of 4.75 on a scale of 5.0.

Bajrangi Bhaijaan

"Bajrangi Bhaijaan" - This Sallu bhai movie was a wee bit different from his usual 'action-dabangg' movies. It is a movie that subtly showcases the sensitive issues of the countries'-conflicts and the religion-differences; however the main plot revolves around how a common man from India helps a six year old Pakistani mute girl to return home. The actors have all played well, and Harshaali Malhotra (Shaahida a.k.a. Munni in the movie) has made a commendable effort for her debut movie. Her appearance was rather too sweet and innocent, and probably her acting alone had the power to kindle the emotions within the audience. The humour too weaves in through Salman Khan (Pavan Kumar) and Harshaali Malhotra, and is decorous in style. The songs were not too catchy nor carried extensive melancholy, but this was backed by the comedy. Overall, it was a good watch and I would personally give the movie a rating of 4.5 on a scale of 5.0.

Mrityunjaya!

Mrityunjaya, truly the right word I can possibly use to describe the undying efforts of K. Balachander, Kamal Haasan and the rest of the crew. "Uttama Villain" comes as an interlacing of the professional and personal; of the modern way of story-telling and the traditional way of narrating a folklore; and of the real and the unreal. The main plot is simple which showcases the rather colourful life of an actor coupled with his hard-work to attain a reputation. One truth shatters the peace, and the actor only grows to become a cult to the audience. The timed decorous humour weaves in naturally, and thus makes the movie apt to the Indian theaters. Overall, the movie was a good one, and I would give it a rating of 4.20 on a scale of 5.0.

The True Meaning of Smekday

"Home", a movie based on Adam Rex's children's book "The True Meaning of Smekday", is just a regular sci-fi involved alien-human forces combining movie. I particularly wanted to listen to Jim Parsons voice, after all it has been quite some time after TBBT. But, I felt a little disappointed, may be I expected too much from the movie just because Parsons had dubbed the main character 'O'. The movie runs low both on humour and emotional aspects, the actions too are not comendable enough (and I am writing so negatively for the first time!). It just turns out to be a mediocre entertainer, and nothing peculiar that one could cling on to. It was a fair one, and I would personally give it a rating of 2.15 on a scale of 5.0.

Dragon Blade - "Powers are conceited which reveals our limitations."

A Daniel Lee movie, starring Jackie Chan with his inexplicable and entertaining modern Kung Fu. The film is set during the era of the Han Dynasty. Huo An (Chan), a hun, serves as a commander of the Protection Squad of the Western Regions of the Han Dynasty. The group is tasked by the emperor to maintain stability between the warring 36 nations in the Silk Road region. The path is indeed a tedious one, but Chan's subtle and elegant humour always finds its way through. This movie is rather a breakthrough to that dream of all 'races' living in harmony. The child, Publius (Jozef Waite), the Roman Prince, becomes a reminder of the untouched innocence which gradually is exposed to corruption, but the fire of innocence is too powerful to be extinguished; and the story gets a new turn. The movie bears a nice way of retelling history, and 'the truth' becomes nothing more than just another interpretation. 'Dragon Blade', suiting the Chinese title, yet a name apart is worthy of its efforts. I would personally give this movie a rating of 4.75 on a scale of 5.0.

Chappie

 "Chappie", a South African sci-fi film that speaks of an unseen, devastating future. A time when 'AI' originates with 'consciousness', premonition-ed in its theme, and one cannot possibly deny to witness a time such! A beautifully crafted movie, and a gangster-buff to entertain the eyes with classy wheels and lethal weapons. Though the idea is to show how otherwise AI can turn out to be, the movie hits on sentiments of a robot, Chappie. Chappie, like a child, learns - to speak, to play, to walk, to talk, and to destroy. The days are not so far for Chappie to realize that the connection between the creator and the creation is almost getting disconnected. A final effort to reduce the physical body to just an outer-shell, while 'transferring' consciousness from one shell to another, and thus, immortalizing the being. This movie is worth watching, especially for those who are dogmatic toward AI. I would personally give this movie a rating of 4.25 on a scale of 5.0.