Manmadhan Ambu-Movie Review

My blogger life has come one full circle! Despite some highs and lows in the frequency of the posts, personally it has been a pretty satisfactory ride and I have enjoyed every bit of this first round. Thanks to each one of you who had the courage to read the 'ULarals' and encouraged me to blabber further.

I said 'full circle'. The reason being, this blog started with a review of the previous Kamal Haasan-KS Ravikumar venture, "Dasaavathaaram", on Jun 19, 2008. 75 posts in 2 and a half years, is something that I had never imagined even in the wildest of my dreams. Maybe, its nowhere comparable to bloggers that publish 2 posts a week or sometimes in a day and have hundreds of visitors in a day. But I hope with my limited imagination and unlimited observations I will get there one day.

Enough of 'Suya Puraanam'! Lets talk about the 'cupid's arrow'..

'Man-Madhan-Ambu' revolves around Major 'Man'naar (Kamal Haasan), 'Madhan'agopal (Madhavan) and 'Ambu'jaakshi (Trisha Krishnan), with Kamal being a 'ex-army man turned private detective' in the trail of actress Nisha (screen name of Trisha whose screen name is Ambu!), who is engaged to the ever suspicious-rich-spoilt brat Madhan.

In the process, we are also introduced to Deepa-Nisha's friend from school (think she was 5 years Nisha's senior in school!), Mrs & Mr. Kurup-a malayali producer couple with a script, in hot pursuit of the actress (Nisha) to get her dates, Rajan (played brilliantly by Ramesh Aravind), a cancer stricken friend (oh no! not again!) of Mannaar, whose treatment is the prime reason Mannaar takes up this assignment to toe Nisha and Mallika-Rajan's wife among many.

The pace is pretty slow as Kamal (the writer) takes his own time to establish the above mentioned premise.The first half is sluggish and is like the tiring drive thru the city traffic to get to the highway. There are 'typical Kamal dialogues' throughout the film and one that I enjoyed is Nisha's explanation to Madhan as to why there is a connecting door in the caravan. Well placed!

Post-intermission one starts wondering if 'Crazy' Mohan has made a guest appearance to co-script the second half. The characters, the slapstick, the dialogs and all else remind you of the playwright. But to be fair to Kamal, its the smooth flowing second half that keeps the film intact. There are several funny sequences and all the actors carry it off with ease.

The highpoint of the film and perhaps its most memorable, is the flash"back" 'Neelavaanam' song sequence. Brilliant!!

Kamal breezes through his on-screen role, that doesn't require him to break a sweat, with utmost ease. He looks jaded at places and his paunch (look who's talking!) is uncomfortably distracting in a few places, especially in the (unnecessary and forced) stunt sequences. Trisha looks nice and does her part really well. Sangeetha seems to be enjoying her extended second coming (post Pithaamagan) and impresses with her spontaneity and the boy that plays her son is a treat with his bunny teeth. Kunjan and Manju Pillai, as the Kurup couple, are funny.

Madhavan hogs all the lime light in an author backed essay and is a cut above the rest, any which way. It took me a couple of minutes to identify Ramesh Aravind, who manages to hold his own in a cliched role. Usha Uthup as Madhavan's mom and Oviya (remember the petite gal in the 'Damma damma' song from KaLavaani??) as his suitor pass muster.

Coming to the technical aspects, first timer Manush Nandan's cinematography is splendid, especially in the way 'Splendida' has been showcased. Shaan Mohammed's (debutante editor) scissors' require some more experience and the live recording is patchy at places.

Devi Sri Prasad impresses with his background score but the songs (except Neelavaanam) are pedestrian. 'Thakidu thaththam' literally is! 'Who's the hero' is annoying to say the least. The movie ends with Trisha murdering some (of the already suffering) Thamizh (despite some interesting lines written by Kamal) in the name of reciting poetry. Sad.

With a plot-line that has tremendous scope to tickle the funny bone, a stalwart like Kamal, the ever dependable Madhavan and the proven K.S.Ravikumar at the helm of affairs, what one expects is a hilarious roller coaster ride. But when I walked out of the hall after just over 2 and half hours (and the countless comedy capers that Kamal has been part of), it felt like a drive on the Bangalore-Chennai highway. Good and smooth, it was. But thats all, I think, it was! The film lacks any surprises or unexpected turns that could have elevated the overall experience.

My Verdict: Its a good option, if you are thinking of taking your mom and kids (wife goes by default, I guess) for a movie outing this holiday season. There are some good laughs for sure. But beware its no laugh riot by any chance!

The Music of Hey Ram!

I have read a lot about his fans raving about his music. A fan is always biased, isn't he? Maybe not. But thats what the rest of the world thinks.

I have also heard experts express their astonishment at his stupendous abilities of composing and writing a score. From Mani Rathnam to Semmangudi Sreenivasa Iyer to Dr.M Bala Murali Krishna to Laszlo Kovacs (Conductor, Budapest Symphony Orchestra), all of them swear about his achievements and his ahead of times' abilities.

Beyond all this, the spectacular body of work (close to 900 film albums in various languages, around a couple of dozens of non-film outputs that include a Symphonic Oratorio and a carnatic classical album performed by the prodigial Mandolin.U.Srinivas) stands testimony to the talent of this great composer. Prolific!

 I am sure by now all of you know that I am talking about the one and only Maestro 'Isai Gnani' ILaiyaraaja.

Hey Ram! produced and directed by another of his genial contemporaries, Kamal Haasan is one film I consider way ahead of its times and was one of the costliest films of its times then (Y2K). Unfortunately, it didn't set the cash registers ringing as much as it appealed to the critics. The music of this film was nothing short of a miracle. You may wonder why. The below link and Kamal Haasan's interview therein, to Screen-India, is proof enough! Yet again, like a lot of his other works, this colossal work by the Maestro also had to be content with just critical acclaim. Read on...

http://www.screenindia.com/old/jan28/music1.htm

(assuming that you have read the above..)

ILaiyaraaja even reveals in his book "Yaarukku Yaar Ezhudhuvadhu? (who writes to whom?)" (which encompasses his "Sangeetha Kanavugal'-Musical Dreams) about how he identified a situation for a song (that was not part of the original screenplay) in the narrative and suggested to Kamal to include the mesmerizing "Isayil Thodanguthamma" ('Har Koi Samjhe' in Hindi) sung by Pandit Ajoy Chakraborty. If you have seen the film and heard this song, you will know why this is a Master Stroke. Master Stroke?? Nah...Maestro's Stroke, that is!

I am watching Hey Ram! for the umpteenth time as I am typing this and trust me, I can't get enough of this magnificent score. Wonder when, some filmmaker/producer will ever be inspired to release a soundtrack of films such as these! Until then, we will have to content with videos like these that show glimpses of his genius.






Videos Courtesy: CRV and Deva

'Test'ing Times!

Day 1 of the 2nd Test between India & Australia in Pictures

Airtel Border-Gavaskar Trophy-2010

Venue: Chinnaswamy Stadium, Bangalore.

Date: Oct 09, 2010.



There was a steady crowd build up at the venue from 8 am, in anticipation of an Indian batting exhibition and hopes of seeing Sehwag on song..





It was not Queen's road, it was more of a 'Queue'n road!




But it was Ponting who was lucky at the toss..and expectedly Aussies were to bat first. The climate in Bangalore was just perfect for Test cricket..





India made 3 changes in their line-up. Vijay for Gambhir, Sreesanth for Ishant & more importantly Cheteshwar Pujara (aka Chintu) won his test cap in place of 'the aussie's menace' VVS Laxman.





For the visitors, Dougie Bollinger's absence due to injury meant right arm pacer Peter George would make his Test debut.





All set! Game on!




Zaheer started the proceedings for the hosts.





Sreesanth shared the new ball...





For the Kangaroos, it was Shane Watson...





..and Simon Katich.



 


The opening spell of the seamers proved fruitless, and MSD had to turn to his spinners. Pragyan Ojha was given the ball ahead of 'Bhajji'!





The aussies cruised to 50 without breaking a sweat...





..even as this statistic was looming large..





Here comes the 'Turbanator'!





Support for the 'Men in Blue' was quite obvious and came in various forms..





This sweep to a boundary...




..gave Watson his 2nd fifty of the series..He is relishing the Indian attack this season, isn't he?!





says it all!!





Bhajji gave India the first breakthrough by removing Katich, not before the openers put together a 99 run partnership.





"The day Laxman retires, it will be a national holiday in Aus". The stylish Hyderabadi was sorely missed, atleast by the fans! Hope the Indian batting line-up wouldn't!





Katich's departure brought Punter to the crease, and he looked quite comfortable from the word go..





Ojha, who bowled brilliantly all day, came to the party by scalping the 'man in form' Watson for a well constructed 57.





The 'fleet footed' Michael Clarke was the next man in and he showed glimpses of why he is one of Australia's better players of spin.





So near, yet so far! The spinners bowling in tandem, gave the fans a few exciting moments..





Bhajji was back in business, when he removed, Clarke to a sharp catch by Raina at backward short-leg.



 


Clarke's dismissal brought 'Mr.Cricket' to the crease.





Viru turned his arm over for a couple of overs before tea and almost got Hussey with a scoop that sailed just over the Mid on fielder to the fence...





Hussey was getting down to do what he does best-dropping anchor-before Zaheer came back to pouch him at gully, thanks to Sehwag's safe hands!





Marcus North vying to erase the not-so-great memories of the Mohali test, was tested with some incisive bowling. This short delivery in particular, from Sree, had him in two minds.





Once he gauged the pace of the pitch, Marcus North played some delectable drives.



In the meantime, the Aussie skipper slowly but steadily got to yet another test fifty and was looking mighty good for another ton. Here he acknowledges the cheers of the crowd on reaching his fifty.





But Mahi and Raina had other plans. This delivery from the 'part timer' caught Punter plumb in front! He made a flawless 77 of 147 balls.





The elated Indian team celebrating Ponting's departure and Raina's first test scalp. Way to go Raina!





North and Tim Paine ensured that the visitors ended the day without any further damage, after bad light stopped play after 85.5 overs. Aus were 285 for 5 at stumps on day 1.





Hope you enjoyed my coverage of day 1. While I thoroughly enjoyed my first time at a test match venue, I will not be covering the rest of the match. However like each one of you, am keeping my fingers crossed for the Indians to close out the series on a winning note.

Signing out from Chinnaswamy stadium, this is camera person and reporter 'yours truly', for ULaral TV!! :)

CHAK DE INDIA!!



படித்ததில் பிடித்தது..

நன்றி: மீனாக்ஷி பட்டாபிராமன் (அக்டோபர் '10 மங்கையர் மலரில் அச்சேறியது)

(ஒரு நல்ல கற்பனையே அன்றி,  யார் மனதையும் புண் படுத்துவது எண்ணம் அல்ல)

இடம்: பழமுதிர்ச் சோலை
உரையாடல்: அவ்வை பாட்டியும் முருகப் பெருமானும்

முருகன்: அவ்வையே! ஆங்கில மேதை ஷேக்ஸ்பியரையும் என்னையும் ஒப்பிடுக.

அவ்வை: அய்யனே! ஷேக்ஸ்பியர் பிறந்தது ஸ்ட்ராட்போர்ட் ஆன் ஏவான் (Strartford on Avon). நீ சரவண பவன்.

உனக்கு வேல் கையிலே. அவருக்கு பெயரிலே (Shake'spear'e)!

அவர் நடிகர்களுக்கு அடி எடுத்துக் கொடுத்தார் (Prompter). நீ அடியவர்களுக்கு (அருணகிரிநாதர், முத்துசுவாமி தீட்சிதர்) அடியெடுத்துக் கொடுத்தாய்.

அவர் காதலை நாடகத்தில் வைத்தார் (Romeo & Juliet). நீ காதலுக்காக நாடகம் ஆடினாய் (வள்ளித் திருமணம்).

அவருக்கு 'Globe' (theatre) சொந்தம். உனக்கு இந்த 'Globe' (உலகமே) சொந்தம்.

அவர் 'Money'காக நாடகம் எழுதினார். நீ கனிக்காக நாடகம் ஆடினாய்.

அவரது சிறப்பு நாலு (Four great tragedies). உனது சிறப்பு ஆறு (ஆறுபடை).

அவர் உலகம் போற்றும் கவிஞர். நீ உலகம் சுற்றிய அழகன்.

Endhiran-Movie Review

Its been a couple of days since I went in the Endhiran roller coaster.

Endhiran, Rajnikanth, Shankar, Aishwarya Rai Bachchan & Rahman have been all over the news & the net, for all the right reasons.

Rajeev Masand and Anupama Chopra have given magnanimous 3 and 3.5 stars respectively, for the dubbed hindi version, Robot (people who follow their reviews would know why I am saying this). Amitabh Bachchan and Aamir Khan endorse it.

Every article written has its own estimate of the moolah Endhiran/Robot has garnered in the opening weekend and predictions are galore of how much it will end up raking in (reports say, in the US box office alone, it has collected $200,000 in the first week) . Talks of this going on to become the biggest blockbuster of all time in Indian films are also in the air.

A few friends who have seen it also feel that its actually not worth all the pre release hype and hoopla. Complaints of a dragging second half and Rahman's music not being upto the mark are also doing the rounds.

In the past, we have heard producers and directors and actors claiming that they have a product which is better than a hollywood film waiting in the wings and on release they have flattered to deceive.

Having said all this, here is why I strongly recommend a trip to the theatre playing Endhiran/Robot.

Endhiran is probably one film that can atleast stand up to a hollywood flick in terms of production values and execution of visual effects. Watch it in a theatre to experience the last 30 minutes when Shankar weaves magic with his imagination.

The best part of this film is Shankar's vision of casting Rajnikanth in the lead and the Superstar delivers big time in his own inimitable style. I don't think anyone else would have taken this film to the heights its going to touch in the days to come. He handles the 2 diverse roles brilliantly and his interpretation of 'Chitti Version 2.0' is absolutely delightful. His antics in the first half as Chitti are hilarious. Mind you, there are no trademarks flicks and swishes that you are used to as a Rajni fan as neither of the characters warrant them. But there is no dearth of entertainment.

No doubt the screenplay has a few weak moments in the second half, but if one knows the worth of Rajni in a negative role, nothing else matters. The Superstar and his magical screen presence ensure that you are glued to your seats. Endhiran is worth a watch or two just to experience the Superstar's magic. On top of all this, he looks jaw droppingly good, especially in the Kaadhal ANukkaL and KiLimaanjaaro songs.

Casting Aishwarya Rai is another point of strength and she looks like a million bucks throughout, probably the best since 'Jeans' and "Kandukonden Kandukonden'. Though she doesn't have much to do, she holds her own in front of Rajnikanth and Rajnikanth.

The other characters including Danny Denzongpa, Santhanam and Karunas pass muster.

Rahman's background score is good and elevates the film (except for the jarring version 2.0 theme). The songs, like I had mentioned in my music review earlier, manages to strike a balance between Rajni and Shankar. The instrumental version of Pudhiya Manidha that plays during the end credits (rolls for about 5 minutes) is brilliant.

Apart from Rajni and Shankar, if this film belongs to anyone else, it is Sabu Cyril (Art Director/Production Design) and Rathnavelu (Cinematography) who deserve a standing ovation for their effort. Each and every frame spells hardwork. Magnificent sets and camera work.

Of course there are some logical loop holes (like how the Robot charges himself after being drained out), but I believe any Rajni film is incomplete without a few of them!

Endhiran without doubt entertains and is a landmark film in the history of Indian cinema. Do not forget to take the kids along. Rajni uncle is waiting to enthrall and cast a spell on them.

"இவன் பேர் சொன்னதும் பெருமை சொன்னதும் கடலும் கை தட்டும்,
இவன் உலகம் தாண்டிய உயரம் கொண்டதில் நிலவு தலை முட்டும்"

"இந்த எந்திரன் என்பவன் படைப்பின் உச்சம்!"

Hrudaya Raagangalude Raaja...

A video of Maestro ILaiyaraaja playing the piano. This is part of a documentary titled "Hrudayaraagangalude Raaja" telecast a few years ago on Amritha TV. Its followed by a brief demo of different flutes by Raaja's flautist Nepoleon (singer Arunmozhi of 'En Veetu Sannal Etti-Raman Abdullah' & 'Naan enbadhu nee allavo-Soorasamhaaram' fame)

Check it out! You don't get to see the Maestro's magic from such close quarters..



Courtesy: Shrikuttan

Peepli Live-Movie Review

 Peepli [Live] is a Satire in Hindi written and directed by debutante Anusha Rizvi. Produced by Aamir Khan productions (Aamir Khan & Kiran Rao) and distributed by UTV movies, it stars Omkar Das Manikpuri, Raghubir Yadav, Naseeruddin Shah and a host of other theatre artistes.

Satire is not a new concept in Indian films. My tryst with satires started with 'Cho' Ramaswamy's "Muhammad Bin Tughlak" a film that is relevant even in today's political scenario. Recently I happened to watch "Thamizh Padam" written and directed by C.S.Amudhan, a hilarious satire on the so called 'masala films' in Tamil.

Peepli Live takes a sarcastic look at the farmer suicides and the way the Indian media and politicians address it. Laced with loads of humour, the script follows the life of brothers Budhia and Natha in the village Peepli, who are in the verge of losing their land due to their inability to pay their dues. A solution to their woes can be the monetary aid provided by the Government to the family of farmers committing suicide.

 The scene in which the brothers decide on who will take the extreme step is one of the most hilarious sequences in the film. Natha (Omkar Das), though reluctant, is coaxed to commit suicide, a decision that turns the lives of the villagers topsy-turvy and that of Natha and family, forever. The film takes one on a hilarious roller coaster on how the media and the politicians take Natha and his family ride to further their causes.

Casting and performances are the high points of Peepli Live. Omkar, Raghubir Yadav, Shalini Vatsa (as Natha's wife), the old lady playing Natha's mother, Malaika Shenoy (the Journalist), Vishal Sharma (the Hindi news channel reporter)-each and every character (save for the cliched politicians) is brilliantly etched and portrayed that they stay with you long after you are finished with the film.

Cinematography is good and background score (Mathias Duplessy) is adequate. "Des Mera" by Indian Ocean suits the mood of the film quite well.

A little over an hour an half, the script is crisp and to the point. But where Anusha misses a trick or two is towards the end. What should have been a knock out punch ends up being a tame poke. The old lady who throughout the film voices her concerns in her inimitable style is muted at the end and could have been used to provide the thrust towards the end and to drive home the message.

Nevertheless, despite the tame end, Peepli Live is immensely watchable and engaging for its characters and the free flowing humour. Its unlike the senseless commercial potboilers that bollywood dishes out every other week. Anusha Rizvi deserves a bouquet for some fantastic writing and thanks to Aamir Khan productions for supporting this venture only because of which people like me ended up watching a really good flick.

Time well spent!

Music of Enthiran

Albeit a little late, here is my take on the music for the most anticipated movie of its time, Enthiran-The Robot.

I was personally looking forward to this album from Rahman, as this is his playground. He is known to experiment with new sounds and this sci-fi flick gives him enormous scope to score big time.

Of the 7 tracks, "Chitti dance showcase" is more instrumental and is an eclectic mix of Konnakol (performing percussion syllables vocally), percussions, guitars and a brief but beautiful western classical string passage.

'Pudhiya Manidha! Bhoomikku Vaa", the track introducing "Enthiran", starts off with SPB's & ARR's robotic voices before switching to the hypnotic voice of Khatija Rahman. Yes, the daughter of the academy award winner's voice sounds quite ethereal, as she sings "மாற்றம் கொண்டு வா..". SPB pitches in with super energy in the CharaNams, where the various attributes of the Robot are listed out. Vairamuthu dishes out some nice lines like "கருவில் பிறந்த எல்லாம் மரிக்கும், அறிவில் பிறந்தது மரிப்பதே இல்லை" and "பன்மொழிகள் கற்றாலும் தந்தை மொழி தமிழல்லவா!"


"Kaadhal ANukkaL" will see the scientist Rajni romancing Ash, in his super cool looks. The strumming guitar sets the tone for this breezy track. Vijay Prakash and Shreya Ghoshal glide through the lilting notes with utmost ease. The bagpipe like sound in the first interlude is nice. The loop in "Oh Baby" ensures that the song stays in loop. You are gonna hear this song a lot more in the days to come.


"Irumbile Oru Idhayam" sung by Rahman in the company of Lady Kash n' Krissy (this Tamil rapper duo from Singapore had also lent their voices to the song composed by ARR for the World Classical Tamil Conference) is my pick of this album. The song is the Robot's proposal to the heroine. Watch out for some super imaginative lyrics by (Madan) Karky (s/o of Vairamuthu). Sample this.

"உன் நீலக் கண்ணோரம் மின்சாரம் பறிப்பேன்,
என் நீலப் பல்லாலே உன்னோடு சிரிப்பேன்"
or
"தொட்டு பேசும் போது shock அடிக்கக் கூடும்
காதல் செய்யும் நேரம் motor வேகம் கூடும்
இரவில், நடுவில் battery தான் தீரும்!

The rap at the end is quite infectious. Robotic..Hypnotic..Hypnotic..Supersonic..

"Arima Arima" begins with trumpets and a march past like rhythm. The lyrics eulogize Enthiran in this mandatory hero worship track (இவன் பேர் சொன்னதும், பெருமை சொன்னதும் கடலும் கை தட்டும்!!). Hariharan and Sadhna Sargam are apt. Wait for the movie to release to see the impact this song is gonna have! One for the music channels!

"KiLimaanjaaro" is for me the weak link in the album. Paa. Vijay's lyrics are mostly quite pedestrian in comparison with the other songs in the album. We have heard such descriptions of the heroine atleast once in some context in the past. Nothing new! Again, lets wait and see if Shankar can work his magic with the visuals.

"Boom Boom Robo da" sung by Keerthi Sagathia, Swetha Mohan, Tanvi Shah and Yogi B (yeah! Kajah Balm!) is a passable track with lyrics that sound repetitive after listening to all the other songs in the album.

Rahman manages to strike a neat balance between the tastes of both his fans and those of the Superstar leaving enough and more space for Shankar's imaginative visuals.

I am ready to welcome Enthiran-the Robot!