Category: cinema:tamil

FRS: Darbar (2020)

So you all know what an FRS is right? Right? 

Editor’s note: why do you guys keep saying this? I don’t like it, Chumma kizhi this line; add something like Happy New Year buddies or some such thing. 

+5: Movie has no narration, this simply means that it will try and use the simple visual medium and not over indulgent voice overs to simply tell a story. Kudos. 

+2: Movie begins with suspense type character killing rowdy boys here and there, face not shown. Immediate suspense buildup. 

-2: Next moment itself, newspaper tells that this is actually done by Mumbai police commissioner Aaditya Arunasalam. So much for immediate buildup which is immediately spoiled, newspaper headlines also are quite lol worthy. 

+5: Mumbai Police have a lot of Tamil speakers on the force, this is considerably more than the number of tamil speaking doctors in Srinagar (wink! Wink! Nudge! Nudge! We made a Kaatru Veliyiday reference) 

+6.7: ARM’s Durbar is truly a bilingual in a different sense, as in people are speaking in one language and dubbing is happening in another and of course there is no sync, which is intentional we believe. 

-50: Small time crook releases video asking hero to ‘encounter’ him within a day. Bad move nanba. 

-21: Not enough pistol training for all the rowdy boys in the movie because there are at least 100 of them and when they fire at Rajni, not even one bullet even causes a flesh wound. #RowdyBoysNeedSkillDevelopment

+5.34: Rajni is introduced by showing the impression his boots make on the ceiling of the building he is raiding, much like in a monster movie. Just saying. 

Editor’s note: don’t proceed with this imagery, our offices might get hit. Chumma Kizhi. 

-11: Rajni literalises an idiom by really bringing a knife to a gunfight, of course wins 

-34: Ok ok, now we know that our hero is indeed a mad cop, all we need is a sympathetic human rights activist to tell us the backstory as to why he became the mad cop. Waiddaminit, this movie has confusing timelines! 

+7.2: SPB goes into his golden age raspy voice for one second in the opening song, that reminded us of many things. 

Editor’s note: Stop it right there. 

-21: Hero’s daughter randomly points to one girl in the whole of Mumbai city and she happens to be heroine, needless to say that the heroine is single (although never stated) etc. Convenient relationship status is extremely convenient. 

-53.2: Now hero is tasked with “okaying” heroine. Following scenes seem to have been taken from some national film archives which somehow safeguards these 80s type coffee type romance.

+22: Rajni makes a clear stand. He likes only filter coffee. Instant powder coffee down down. 

+23: Rajni makes an even more clear stand. Coffee shop sell overpriced coffee that don’t taste so good. 

Editor’s Note: We should avoid such snide social commentary like these in our reviews, coffee shops are modern places  where minds can meet and discuss…stuff, in essence as many business books written by professors inform me that really we are not paying only for the coffee but for the ‘experience’. Much like how in movie theatres we are not paying for the movie alone but for the ‘experience’. 

<Hand Baby (Kai Kuzhandai) in audience goes Kua Kua Kua incessantly, FRS writers record this as part of ‘experience’> 

+12: Movie suddenly becomes serious and wants us to care about human trafficking 

+13: Movie suddenly becomes more serious (of course in between Yogi Babu comedy track is there) and wants us to care about drug menace

Remind us to cut points when movie later will completely forget these issues. 

-67: Movie suddenly then becomes about Mumbai Police finding their respect among the citizenry which was lost because of an old incident. 

-23: Heroine akka simply calls Hero to some random marriage because one girl has lost her chain. The reason for calling is because hero is Police Commissioner. After this, there is the dreaded marriage song, where hero goes and gives advice to marriage couple without knowing who they are, even other relatives don’t know who this person is, although no issue is made of the same

-34: All songs whenever and wherever, even BGM is fully with words like Thalaiva and Superstar with percussion….we mean..what is this? 

+6: Nothing really happens for a while then director decides to introduce the main villain, who will always be an international gangster. 

+11: Said villain has been elected as the head of all gangsters, seems like a quasi democratic process too! Long live gangster democracy! 

Editor’s Note: kindly remove gangster democracy. Chumma Kizhi. Take this out I say. 

-23: Movie bounces here and there, like Rajni’s hair before making it another hero vs villain fight which we know hero will win

-40.9: Movie thinks it is actually putting obstacles in the way of the hero, but then we never really feel anything, to make a show of it, movie decides to suspend Aaditya Arunachalam and then before you put your hands to scrape the bottom of the popcorn box, he is reinstated. So much for the show. 

But that suspension scene reminded us of THAT scene from Thangapadakkam (watch from 6:00 mins)

-7: Useless villain, when he has the opportunity to escape and come back with a better plan, decides to stay back and get hit by hero. 

-502: To Mumbai City planners, a ghastly fire accident has happened some 20 years back and you guys have not pulled down the potentially unsafe building but have actually made it into a memorial. What is this? 

+303: Hero inspires kid to wear police uniform. Now whole city respects the cops, drug problem is solved, human trafficking is reduced. All problems solved. All is well. Go and sleep peacefully. 

Editor’s Note: This is not very funny. Happy New Year. Include go and sleep peacefully as the last line. Thanks. 

All numbers are incidental and arbitrary, except the facts provided by our data analytics team

Subam

Team FRS

Kaithi (2019)

Lokesh Kanakaraj is in a hurry.

In 15 mins, I get to know there is a child waiting for an unknown guest somewhere, a group of students are detained at the police commissioner’s office for drunken behavior, a bloody operation results in 900kg of cocaine being seized, a high ranking official sets up what seems like his farewell party and a gang leader puts out a hit job task to his henchmen. 

All this before the credits.

But with characters and dialogue, not with narration and flash forwards. So when a police constable says that the current colonial building is being vacated for a new headquarters, it means a lot and at different points in time. 

You would notice that all of these events correspond to groups. Kaithi to my memory has the most number of memorable characters in recent times, which is not easy to do, most movies use a good one third of their time in set-up and hardly achieve memorable status apart from the leads. 

Lokesh does this is in a “look, I don’t have time, but this is what you have to know, come along and you will figure it out” kind of way. 

The seized cocaine is what gets things rolling(literally the truck), but this is not a story about how different groups are in the race to get back what they lost; in fact every set here wants something else- the IG wants a respectable retirement, certain henchmen just want money, a brother is in need of another, Kamatchi just wants his truck in one piece and Dilli (Karthi is brilliant) just wants to see his daughter (or does he?) and so on. 

Which is why Kaithi is such a constrained title, it brings back focus to one of the characters, but that is when the movie begins to adopt a one-man-against-the-world-hollywood-actioner aesthetic, and most of it works when set within context, although I fear that some of it, like the bullet ridden climax, is set well outside. 

But not all out of context things are bad, especially when Jumbalaka Jumbalaka and Metro Channel  starts playing to drown out voices in a lock-up. Fantastic!

Kaithi is blockbuster material when it stays on the road and wants to go from point A to B, I would have never imagined our rural roads, forests, quarries and  hills to lend themselves to this type of actioner, but I realize things are what they are, only because of the ways we see it in. Lokesh saw it differently

Kaithi is now streaming on Hotstar.

Enai Noki Paayum Thota

It’s been a week since I saw Gautam Menon’s latest film. I remember almost nothing of it. I take home images of a movie and only then, do I begin to form opinions on it (unlike whatever you might think). 

With ENPT, I can only recollect Dhanush dancing on the edge of the salt pans somewhere on the ECR. I know for sure that this does not directly concern the story- something like Sunaina’s character ( whose name I have to Google), but I guess one of the bad guys described her “gummunu irukka” (not translating due to lack of appropriate word) somewhere in the movie . 

It’s just me, I am getting old. I need to seek help to get this ENPT blog post out. ENPT blog out and ENPT out of my system, so we can really plan what to see and discuss in the coming year. Get the blog out!

So I decided to call up the buddies who put together the FRS, they of course had a good memory, but they said since we have already written the FRS of Achcham Yenbadhu Madamaiyada or AYM, the points would hold good for ENPT. 

The writers were also very smart, they said that if I badly wanted a blog post about ENPT then I could just replace AYM with ENPT, Dhanush with STR, Megha with Manjima and voila, ready. 

Sometimes, I wonder how such smart people write for us. Mostly, I forget that these people are smart people. It’s just me. I am getting old. 

Next I look to the internet, which is a rich in opinion and low on insights medium. Maybe these opinions could help me remember what the movie was all about. After all, I needed to have a memory to form opinions, this seemed a logical option. I had to do it, I had to get into death wish mode and complete this blog post. 

But mostly the internet was talking about how ENPT had a lot of voice overs, hmm they were right, but also this was a Gautham Menon movie, what were they expecting? Maybe they were expecting smart voice-overs. But then again, this is a Gautam Menon film. 

Ah, now I remember; Dhanush’s college senior is Sunaina. But I know for a fact that Dhanush is much older than Sunaina, so maybe I should write about actors playing their appropriate age, that will surely resonate on social media. It is fairly an easy piece to write, almost a low hanging fruit, even our data analytics team in Pune said it would do good for overall website traffic. I rejected the idea, low hanging fruits don’t appeal to me. That’s why I didn’t write about a 30 years old actress playing a 26 year old. 

Another section spoke about how voice overs (i.e VOs) is the modus operandi (i.e MO) of Gautam Menon, they even said like if ‘we’ don’t question shadows in a Hitchcock film, then ‘we’ shouldn’t question GVM too. On the face of it, this seems like a very intelligent argument, our data analytics team also saw such arguments get the much needed traction. 

But is it not about using a method of storytelling but how well it is used and what impact it creates on the audience, the “we” in this case. Of course, if “we” say this, the response would be like, impact is subjective etc. Don’t ask me what I thought about the voice overs, I barely remember this film. It had voice overs. 

Ah! Now I remember, Sunaina’s character name is Mythili and she works in Mumbai. 

With only these minor memories, I was again faced with the question, should I even write about this film? The options before me were clear and they all pointed to one way to escape this misery, I had to. 

Don’t ask me why, you don’t have the right, because you did not ask when Scorsese used voice-overs or when Hitchcock used shadows. 

I should probably make up sentences like “first half was breezy-romantic, second half was action packed” , but honestly, I don’t know what breezy romantic is. But I should write these things, it’s probably what the ‘we’ felt in the theatres according to some critics. 

I know this blogpost will not add anything to discourse, much like Dhanush’s sister character in the movie, much like all GVM’s sister characters. 

So I should just put it out there, get ENPT out of the way and move on. Maybe I should go to Mumbai too, just to think about this movie in detail. But that would be a costly thing to do and my life might cross with gangsters and arms dealers. But I can always stay in Mythili’s place. Damn! I should just publish this blogpost.

“Do it. Do a spelling and grammar check. Now hit publish!” a voice in my head tells.

Don’t ask me why. 

Even if it is mediocre, some critic in the future might compare it to a blog post about a Hitchcock film.