Category: cinema:tamil

FRS: Bigil


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

+2: Movie is without narration. Always a good sign (or so we thought). 

+5: Movie puts itself into porali category immediately as it begins with students protesting against change of the college building from a heritage building to a new building outside the city. (actually in Arakonam).

We feel the government is in the right here, since in-city colleges and their buses actually contribute a lot to city traffic. But of course it is not a Tamil movie, unless it opposes the government.

Even heritage buildings will breathe better without the trouble of students <umm…where are we going with this>

Heil Democracy and all that. 

-41: Predictably politician character is played as a mixture of being clueless and ruthless. Politico uncle orders a riot on protesting students, of course this is what is going to set-up the hero introduction sequence. 

+5: Hero has mastered the art of throwing bijli vedi in a manner that it explodes just before the thug’s face. Also this is a way to wish the audience “Happy Diwali Nanba”

-5: Hero hits at least 20 people within the first 20 % of the movie, means ki you can comfortably say that for the remaining 80 % of the movie any such hitting will be surely tiring and you will not experience any exhilaration. 

-2: If hero is from gully, then surely he must be the most popular guy with all the thaaymaargal’s and kutties love and affection. We will never understand why this is so, apart from the fact that he is the hero.. 

-11: Since it is written in the Kollywood Shaastram, that the  best way to end a semi-comedic intro fight would be to convert into an intro song. We now have an opening song which is shot in all shades of red available. 

-24.5: Yogi Babu is in this movie, that means a “moonji” joke is always around the corner. We have to face it. <We mean…>

+6: It’s not a big hero tamil movie, if it does not have a chief minister reference; althought this seems to be a new virus; such a thing was never said in the Kollywood Shaahstram

-90: Kollywood continues to exploit gansgterism without even for once explaining the mechanics of it. 

-91: Kollywood heroes continue to exploit cooling glasses by wearing them for 90% of the movie, so we can never see them act. 

#ItsNotCoolToWearCoolersAlways

-12: When in hospital, supporting characters will regain consciousness only to reveal entire back story of character. 

-30.8: Surprise! Father of gangster hero is also gangster, but with white hair and all. That’s about it. All pazhaya scenes only. 

+30.8: But he is well meaning gangster, because of course he is played by hero only. 

<Pause for reflection> 

Rayappan believes that his son becoming a national football player will encourage more people to move out of their gully by taking up football. 

While this is an inspiring thought, since there is always only a limited number of people who can be part of a national football side, the idea itself might not scale. 

There is a possibility that those who don’t make it to the national side either return to their rowdy roots or become sports followers on twitter who tweet GOALLLLL while following matches. 

Neither will help the overall ecosystem. 

Rayappan should have thought better. Won’t scale. 

</Pause for reflection> 

-05: No girl in the football team had the slightest doubt that Michael indeed looked like ex Tamilnadu captain Bigil. Because….hmm…

+11: Nayanthara is playing an empowered heroine in a movie about woman empowerment

-11: Empowered heroine does not tell father that she is not interested in marriage right now, this would have cut some 20 minutes of attempts at a comical church wedding. 

-3: Convenient team physiotherapist is extremely convenient (for hero)

-24: When movie transforms into sports movie, so all sports officials transform into villains and hero can become coach. 

+33: For a few minutes we actually thought this would be a women’s empowerment film, points for those minutes.

When issues are watered down so that the hero can take a stand on it, then ultimately the issue only suffers. 

Here in Bigil, while women empowerment is treated with allowable care; director offers no apology for violence and rowdyism.There are at least 300 people being thrown here and there by the hero. 

That rowdyism itself is a threat to women’s safety never occurred to the director. 

Hmm of course, hero is rowdy because rowdy is cool/wants to be etc. 

-33: For a full second half which is supposed to be about the girls, barely their names registered and most don’t have any role or character. 

+6: Director firmly believes that scoring goals is the only aspect of football he will concentrate on. 

-78: Movie relies heavily on stereotypes, but also does some baavla in the name of dismantling them. 

-101: Movie is not over yet. 2 more football matches to go. 

+3: One police station sequence which seems was directed by ARM during Darbar break. 

-5: Director sneaks in outtakes from Adidas ads for SIngapennay song, we hope people found it inspiring, or atleast to do some Diwali sports shoe shopping

<Use code BIGIL50, wherever you want, you never know> 

+5: Everyone in football team is wearing Bigil jersey, but we expected them to turn to camera and say “I am Bigil” like “I am spartacus” , no such luck.

-41.8: A team in full form will suddenly play like they have never played together before in THE FINALS of the tournament, just so our hero can go to locker room and motivate them. 

+11: Hero fulfills everyone’s wishes, including the wishes of his dead father and his father and their friends and their uncles and their gullies and the whole world. 

+32: Hero gets credit for everything by NOT getting credit for everything, wow well played. 

Hmm but..

Haters can hate, because Peace is the answer. Everyone becomes good. Society is happy. World is happy. Sleep well. 

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

Happy Deepavali Nanba.

Subam

Team FRS

Parking Lot Notes: Nerkonda Paarvai

It is difficult for me to see Nerkonda Paarvai without making comparisons to Pink, at the same time it is also difficult for me to accept that an EDM festival in such a large scale would be held near Mamallapuram.

Yes, that is how H Vinoth’s Nerkonda Paarvai begins. 

If this had been an FRS we would have cut points for disbelief, but this is no FRS. 

Even with some years behind since its release Pink had something going for me, its absolute lack of heroism itself was heroic, the smooth transitions between the scenes which were not wanting to create dramatic tensions when they did not exist. 

When Amitabh Bachchan stands up to say “No” there is but a ticking clock (presumably of the court) which keeps him company, there is no other score. 

Just a lawyer delivering the closing arguments of his case. 

There has been many a column dedicated to how bold it is for a hero like Ajith Kumar to take up such a subject.But many columns need to be written on how the film making differs and the additions that Vinoth has added only hamper the classic and on point film making of Pink. Hopefully this is a start. 

Nerkonda Paarvai is in all ways an inferior remake of Pink. Let’s start with the characterisation. 

Deepak Sehgal is a disturbed ageing lawyer, his illness is mentioned but not explained, we know it is an impediment when he mixes up words when fighting for the girls. These impediments make the fight difficult, they add one more layer when the wronged girls go against the powerful boys. 

In the Tamil remake, the worst I had feared had happened; Bharath Subramaniam has a mental condition- bi polar, stress and anger issues etc but this is hardly an obstacle, in fact this mental condition gives Ajith a superpower to bash goons- again typical nondescript goons. There is no obstacle, in fact here they fear the hero. 

I loved Viswasam, I almost felt it was a clever Tamil reworking of Logan- Ajith even sports the same tired look of Hugh Jackman (this for another blog post). In Nerkonda Paarvai, his association with super heroes continue and Bharath Subramanium is nothing but a Bruce Banner/Hulk as realized by Ajith. 

Nothing wrong with that, except that this characterisation is in the wrong movie. 

I am not sure if the Pink remake needed a heroic backstory for its hero, but it surely did not require the utterly unconvincing Vidya Balan flashback. Oh and a loud Yuvan background score. 

And of the other actors only Rangaraj Pandey seems to be having fun, playing a version of himself- one of the most confident debuts in recent times. 

At the Laureate we do not celebrate movies just because of the themes that they take up- but hey many liked this film- why such negative notes? 

Maybe it is me, I should have given more time between viewing these films. 

In that case I would have forgotten about how beautifully absent of background music Pink was.

I would have forgotten the biting sarcasm that Sehgal brought about in his ‘guide to the modern Indian woman’.

I would have forgotten that Amitabh was just a player ( an able one at that) in the movie which was more focussed on the girls. 

I would have forgotten all about how the original treats people as people and not playing them as heroes and villains, the remake does this constantly by close-ups and ominous music. 

Maybe it is not them, it is me. 

Parking Lot Notes: Kadaram Kondaan

There is something more frustrating when a movie comes close to greatness and then falls short- it is when a movie is perfectly flat and gives me not enough reason to hate it. 

Rajesh M Selva’s follow up to Thoongavanam is the cinematic equivalent of what is referred to in corporate appraisal meetings as “barely meets expectations”. These meetings don’t end badly, but neither are they the source of future happiness or gross percentage increase in salary. 

It is like just doing enough to avoid being hated by the manager. 

Doubly frustrating if you can relate it to our writers at the Lowly Laureate- this could have been an FRS. 

Lucky for the director  that he has the script from the french film which saved him from doing stuff from scratch- ideally would have given him more time in character development- but who cares what I believe. 

“Let’s just have Vikram walk in slo-mo and hope the audience go bonkers and maybe they will use indeterminables like” chiyaan swag etc.” Let’s also have him smoke a cigar because that would add to the style right? 

Ghibran could add some “BWAAAAH”, that dark knight type music? Ok cool. 

Character development done. 

Somewhere along the line, a set of characters do an exposition dump in the middle of a car ride- this is just after they discover the mysterious KK (vikram)  in the police database. Of course he is ex-special forces, double agent and expert safe-cracker and no one on the robbery unit couldn’t recognize him on the go, because Malaysian police are nothing without their databases. 

I thought maybe the movie should have begun with something like “In a world where everyone in malaysia speaks Tamil” that would have been crazy and fun, but this movie does nothing crazy(or fun), even the tired ‘twist’ comes before the halfway mark. 

The initial romantic portions between the leads Abi Hassan and Akshara Haasan (not related) too look like they have been inspired by a real estate ad asking young couples to invest in a new apartment so that they can claim subsidy from the Pradhan Mantri Awas Yojana ( but then this scheme is not applicable in Malaysia). 

Maybe I should not be expecting anything. Maybe I should not be so mean. 

Easily one of the worst RKFI films.