Thuppakki - Movie Review

It's been a few years, since I mustered up courage to watch/tolerate a Vijay film ('Nanban' was an exception and was more Shankar driven). Such was the effect 'Azhagiya Tamizh Magan' left on me! At the helm of affairs was A.R.Murugadoss, whose 7-am Arivu was something that didn't suit my palate much either. Enough reasons to be skeptical?!

Egged on by positive comments from a couple of fb friends and with no better films for an alternative, we settled on Thuppakki.

Thuppaakki stars Vijay, Kajal Agarwal, Sathyan, Vidyut Jamwal among others and is the first time Vijay was coming together with A R Murugadoss.


To be fair to Vijay & ARM, this one is far more engaging and entertaining than I expected it to be. To start with, the concept of terrorist sleeper cells and a bunch of army men taking on it when on vacation (homework!) does make for an interesting premise. We also have a parallel track (as always), of the hero and heroine and their encounters which paves way for a few guffaws. Sathyan does his bit in inducing a few laughs and does his part really well, the 'petromax' remark being the high point.

The director manages to keep the screenplay afloat with a careful mix of the afore-mentioned tracks and with the entry of the 'all powerful' antagonist, things only get better. Vidyut Jamwal as the baddie looks all menacing and intelligent, before the climax makes a clown of him.

What really hampers Thuppaakki, are the songs by Harris Jeyaraj. None of the songs make an impact and hamper the flow of the film. 'Poi Varavaa' is the only song that sounded apt, but felt more like remains of a Goutham Menon film. The background score was adequate though and compliments the narrative.

I am told that Santosh Sivan is the cinematographer (he even makes a cameo appearence  alongside the director in the "google google" song.. or was it the other one?!). One wonders whether the acclaimed lensman has been used to his potential!

Another talent, whose potential the director has failed to tap is, Jayaram. I fail to understand why Jayaram is in the movie, in the first place. Sad to see such a colossal talent being reduced to a caricature. Jayaram needs to really think about his choice of films in Thamizh.

The climax is a bit of a let down and ARM loses a trick or two in order to please Vijay's fans. Orthopaedic surgeons have a few lessons from Vijay here!


ARM does touch a few emotional chords here and there with the 'army-family photo-sacrifice' sentiment.

Kajal Agarwal looks pretty and does her part(!) satisfactorily..Hee hee..

The screenplay does have its share of loopholes and moments (the car change sequence before the climax for instance) that drag the movie down, but its pacy enough to sustain one's interest.

Coming to Vijay, such roles are a cake walk for him and he does well in a tailor made role. There is nothing that really stretches his abilities (acting or otherwise), but that takes nothing away from his performance as Jagadish. Save for a minor hiccup in the climax, he manages his lines in hindi pretty decently as well.

My Verdict: Its a safe 'DeepavaLi Thuppakki' for Vijay, his fans and Murugadoss. Decent watch this.

Thilakan-End of an Era!

One of Indian cinema's supreme talents, actor Thilakan, breathed his last today. The man who breathed life into every role that he played (despite the multiple politics that he was in the middle of) leaves behind quite a number of memorable characters that will be etched in the minds of Malayali's and movie lovers for long.

One of those roles, that remains inimitable is that of Thampi, a retired lawyer and doting grandpa, who takes the ultimate decision when his grandson dies accidentally, in the critically and commercially acclaimed film, Moonaam Pakkam.

Written and directed by the legendary P.Padmarajan, this movie had some outstanding songs tuned by Maestro ILaiyaraaja.

'Thaamarakkili Paadunnu' is a famous track from this film.

But the song that is as legendary as Thilakan himself, "Unarum Ee Gaanam"-where the grandpa is shown, reminiscing the time he spent with his grandson, is my humble tribute to this genial actor.

Thilakan-during his early theatre days

Beautifully picturized, the song starts with Thilakan browsing thru a photo album, as the piano leads you to the flashback (notice how the piano resembles a toddler's walk!) and the memories come flooding.

G.Venugopal's voice is an apt choice as he glides through the song with utmost ease. Watch out for Thilakan's reaction when the assistant (played by another great talent Jagathy Sreekumar) puts his hand on the furniture being made. The doting, possessive grandpa stands tall!

The humming in the first interlude showers affection as the watchful grandpa oversees the 'apple of his eye' swim.

The second charanam shows the pain as the grandson is separated from the grandfather. Time passes by. His wife is no more now. 

The grandson is grown up (Jayaram) and the bespectacled grandpa is awaiting his return. As he glances thru the greeting cards and letters from his dear 'Pachu', written to his one and only 'Appooppan', tears roll down his cheeks..

An emotional avalanche accentuated by outstanding music and phenomenal acting!

Unarum Ee Gaanam

Unarpiccha Oru Nadan!

RIP Thilakan!

மன்னிப்பாயா?

என்னை மன்னிப்பாயா?

கொஞ்சம் கடினம் தான்!

என்னவெல்லாம் செய்திருக்கிறாய் எனக்காக!

உன்னைப் போய் காயப் படுத்திவிட்டேனே!

உன் மீது நான் சாய, 

என் கன்னம் நீ தீண்ட

எத்துணை இரவுகள், 

எத்துணைப் பொழுதுகள்!

நான் முதலில் காதல் சொன்னது உன்னிடம் இல்லை.

பின்னாளில் சொன்னது உனக்கானதும் இல்லை.

என்றாலும், என்னைப் புரிந்து கொண்டு

எனக்காய் எத்துணைக் காதல் தூது சென்றிருப்பாய்!

என் காதலுக்கு நீ தானே சாட்சி!

நான் முதன் முதலில் என்னவளிடம் பேசியதை

உடனிருந்து கேட்ட ஒரே ஜீவன், 

நீ அல்லவா!

நீ எனக்காய் கற்றுக் கொண்டு பாடிய 

எத்தனையோ பாடல்களில்- நான் 

கண் அயர்ந்திருக்கிறேன், 

புண் ஆற்றி இருக்கிறேன்!

வழி தவறிப் போய் தவித்த போதெல்லாம்

எனக்கு சளைக்காமல் வழி காட்டினாயே!

உன்னிடத்தில் நான் எத்தனையோ சொல்லி இருக்கிறேன்

ஒரு முறை கூட நீ சலித்துக்கொண்டதில்லையே!

எத்தனை நாட்கள் நீ எனக்காய் ஒய்விழந்திருக்கிறாய்!

உன் நலம் பொருட்படுத்தாது, கொதிக்கும் காய்ச்சலிலும்

எத்துணை முறை எனக்காய் அலைந்திருக்கிறாய்..

பின் அணைந்தும் இருக்கிறாய்!

என் கண்ணே! இன்று உனக்கு பக்கவாதம்!

தொட்டால் உணர்ச்சியற்று கிடக்கிறாய்!

உன்னுள் உயிர் இருப்பது தெரிகிறது!

என் உயிர் மட்டும் வலிக்கிறது!

நான் இத்துணை கொடுமை செய்தும்

நான் சொன்னதெல்லாம்,

எனக்காய் சேர்த்துத் தான் வைத்திருக்கிறாய்!

உனக்குள் கோர்த்துத் தான் வைத்திருக்கிறாய்!

கல் நெஞ்சன் நான்!

இன்று கண்ணீர் வடிக்கிறேன்.

உன்னைக் காயப் படுத்திய என் கையின்

நகக் கண்ணிலும் சேர்த்துத்தான்!

என்னை மன்னிப்பாயா?

நான் கோபத்தில் காயப் படுத்திய என் இனிய கைப்பேசியே!

காயப் படுத்திய வருத்ததுடன், 

உன் அருமையை உணர்ந்த,

நான்!

My ode to my Nokia 5230, whose touch screen display is damaged due to a single moment of madness from yours truly.. :)

Sri Rama Rajyam - Movie Review

'Uttara Kaanda' in Ramayana is the last of 7 chapters, credited to sage Vaalmiki, that narrates events post the coming home of Lord Rama & his consorts Sita and Lakshmana, after defeating the Demon king of Lanka, Raavan, leading to the end of the Rama Avatar.

I have been all ears from the day I knew that a Telugu film is being made on Ramayana for which Ilaiyaraaja is scoring music. The movie has been in the news for over a year now and has had its share of delays and controversies as well. The fact that Nandamuri Balakrishna (Balayya Babu to his fans) was embarking on playing a mythological character that his illustrious dad was best known for, the return to the marquee of yesteryear actor and octogenarian Akkineni Nageshwara Rao after almost 5 years, the audio release at Bhadrachalam and its subsequent comparison to the music (by the legendary Ghantasala) of the 1963 movie Lava Kusa of which this is a remake, the passing away of Ramana (co-writer), the protests against Nayanthara playing Sita and this being touted as her silver screen swan-song, the untimely passing away of Mrs. Jeeva Ilaiyaraaja during the post production stages etc.., ensured that the movie got its share of publicity.

'Bapu Bomma'-Sri Rama Pattabhishekam

Though my initial interest in this flick was more Ilaiyaraaja oriented, my curiosity levels multiplied when I read about director Bapu and his legendary 'Bapu Bomma' (If you own a music cd of Sri Rama Rajyam, the drawings that you see on the cover are by Bapu!). The coming together of these 2 legends after almost 3 decades (Manthri Gaari Viyyankudu, 1983, was their previous and possibly the only other outing) meant it was a must-watch for me.

From the moment the unique paintings of Bapu accompanied by Raaja's mellifluous score combined in the opening credits, I was quite convinced that I was in for a visual and aural treat. Anything else being good was only a bonus!

The movie is indeed a visual treat. Whether it is the palace in Ayodhya or the ashram of Valmiki the sets, frames and colours are beautiful with graphic embellishments all through. The art director deserves a pat for the visualization of the Palatial buildings and the imagination. We even get a glimpse of NTR! But how did they miss an opportunity to show the Viswaroopa Dharshan?!

The script itself is pretty slow in pace after the initial 20 minutes.

Balakrishna as Rama, is good. His body language, expressions and dialogue delivery are apt and justify the faith reposed in him. It would have helped if he had worked a little bit on his physique for this role. He looks a little bulky at times but that takes nothing away from his impressive performance.

If Nayanthara decides to call it quits after this film, I am sure there cannot be a better way to say good bye. She is quite a revelation as Sita. She puts her heart and soul into it and will be remembered long for this portrayal.

Akkineni Nageshwara Rao as Valmiki is an asset to the film and his screen presence and poise ensures there is stability to the narrative. The kids that play Lava, Kusha & Bal Hanuman do their portions confidently, with the bunny toothed Bal Hanuman being the pick. K.R.Vijaya (Kausalya) is at her wailing best and she along with Srikanth (Lakshmana), Murli Mohan (Janaka), Roja (Bhoo Devi) and a host of others are adequate. Oh yes! Bhramanandham was there too!

Cinematography is pleasing to the eyes. The editor may not get (m)any nominations for awards this year. The choice of junior artistes is something that could have been better. Also the choreography in a couple of songs were not upto the mark.

Ilaiyaraaja's songs and score are the backbone of the movie and he proves yet again why he is the master at the art of re-recording. The Vasanta based theme (to my limited knowledge) when Rama admires a sleeping Sita and the sarangi bit that holds the long Lakshmana-Sita conversation in the forest together are only instances of how the maestro can elevate a movie to different levels. If one sits patiently through some long winding scenes in this almost 3 hour movie, its largely because of Ilaiyaraaja's contribution.

I particularly enjoyed the placement of the 'Sitarama Charitham' song in the movie. Watch out for the shift in mood he brings into the 'Sita Seemantham' song when the event moves from the ravishing palace to the simple hermits ashram. Marvellous! Hardcore Raaja fans will miss one half of the 'Sri Rama Lera' song in the movie, but I am sure the makers had a valid reason behind omitting Sriram Parthasarathy's portion of it.

More than anything else, this is one movie that you can take your family to without any doubts. Whether its your parents or kids they will have a good time watching this.

That way you can also impart some mythological knowledge and values to gen-next.

'Sita Rama Charitham' well narrated!!

Rockstar (Hindi)-Music Review-A.R.Rahman

Sorry for being away for so long.. I am back and hope to keep going like before.

ARR's Rockstar audio has already created the ripples and infact the store that I regularly buy music from had run out of the cd's. I managed to get a copy only after a week of the audio release. Shows the popularity and the pull of the double oscar winner!

The album has 14 tracks of which 2 are instrumental works and one (Meeting place) a poem (of Rumi) narrated by Ranbir.'Tango for Taj' and 'The Dichotomy of fame', the 2 instrumental tracks are quite engaging with the latter weaving some Shehnai (feat Balesh) magic in unison with Kabuli's guitars.

'Phir Se Udd Chala' starts with a meditative chorus elevated by that lilting guitar bit. Mohit Chauhan rules it and sounds a lot like Ranbir himself. Fantastic start this!

'Jo bhi Main' has some fabulous lyrics by Irshad Kamil, who unfortunately has not been credited in the CD. The guitar loop initially gave me a feel of 'If I Rise' from 127 hours, until Mohit's 'Yayaya' takes over. With minimal arrangements, this one's another good listen.

Harshdeep Kaur's silky vocals rule 'Kateya Karoon' and is undoubtedly one of the picks of this album. Super infectious from the word go!

To me the album belongs to 'Kun Fayakun'. On first listen, I felt a Delhi-6 hangover (Arziyan) probably because of Javed Ali's voice. But ever since, this song has been on loop. No complaints! Fabulous feel, typical of all Rahman devotional songs!

'Sheher Main' is fun and the dholak beats elevate the song to a different level. Didn't notice this song much the first few times. But it grabbed me today and I am lovin' it. Mohit's rendition is brilliant.

'Hawa Hawa' is another peppy and infectious track. Based on a Czech folk legend, the vocal arrangements are this song's highlight.

'Aur Ho' is a slow, mellow track and will feature in the backgrounds. Passable.

'Tum Ko' sounds like a Yuvvraaj leftover. Do you hear Tu Hi to Meri Dost hai somewhere? I do, for some reason. Nevertheless, its good to hear Kavita (Krishnamurthy) Subramaniam after quite sometime. Where have you been Kavitaji?

'Naadaan Parindey' is the anthem of the wandering soul. Is this a reflection of Rahman's state of mind, I wonder?! For that reason is alone this song is thoroughly enjoyable.

'Tum Ho' is another passable number that suffers from a Yuvvraaj hangover.

'Sadda Haq' is the war cry backed by some sensational guitar work (feat Orianthi Panagris, best known as Michael Jackson's lead guitarist for the ill fated 'This is it' concert series). Brilliant! The song is Jordan's (Ranbir Kapoor's character in the film) call to claim one's rights and is one sweeping track from the 'Isai puyal'.

Imtiaz Ali has extracted some brilliant stuff from Rahman. Now I am curious to see how these have been utilized.

All said and done, this album well and truly belongs to Jordan's voice, as the sleeve notes credit him, Mohit Chouhan. He has come quite a long way from his 'Dooba Dooba Rehta hoon' days. Now its time for him to fly high as in 'Phir se Udd Chala'. 

This Rockstar rocks for sure!!