So you all know what an FRS is right? Right?
Seems Mani sir did not find time to read the FRS of PS 1, well maybe he was busy (duh obviously) and it reflects in PS2.
So our writing team was found adapting FRS points from the PS1 post – uh um rephrasing if you could call it that.
This is of course purely unacceptable behavior in the FRS writers room.
We fired the entire writers room.
That is our commitment, even adaptation needs well you know, integrity.
So here we are with the new FRS writers, at least those we could find.
-100: Narration, even if it is by Kamal
Kamal basically summarizes Part1 in few seconds, it could have been the same introduction from PS1 because that too was a summary or a situation analysis and nothing much happened except character introductions.
+50: Wow, finally a temple in a series about Cholas, the great temple builders!
Guess it’s Melkote, so long live Vijayanagara empire!
PS2 begins where Surya was left pining in Thalapathy, there’s a similar “kovilil paadum penn” meets “porukku sellum thalapathy” situation.
With all honesty, this is the sweetest part of both the movies only to be brought to a close by a song that is about separation.
Sweet becomes bittersweet.
We rewinded ourselves to the opening of PS1, where there is the fog of war and Karikalan walks in as it clears almost like a theater curtain.
Nandini’s introduction is more literal – she draws the curtain of her palanquin.
Mani makes no bones about both the PS movies being about Karikalan and Nandini, the supposed dramatic high points are created to revolve around them.
But then the movie could have simply been called Nandhiniyum Karikalanum and not an almost incidental Ponniyin Selvan.
Welcome again to the FRS of Nandhiniyum Karikalanum- based on the characters from Kalki’s Ponniyin Selvan.
–25: Franchise which aims to tell the glory of an ancient dynasty is focussed on how its hot headed soup boy prince almost brought it to its feet just because he could not get over a girl.
Good call writers! Good call!
Ok say last time they left us hanging about the lives of PS and VT- will they survive? Of course they do, they break this suspense in the trailer itself.
So much for another attempt why did Katappa kill Baahubali moment.
-70: Odd Madurantaka Thevar is odd max.
In the last movie, he beseeched the help of all the small kings in order to make him King, this time he is holding Kasi Tamizh sangamam with a group of Naga Sadhoo types.
Sivoham and all that, but the small kings plan seemed slightly better.
Over the course of the movie he would take another turn and that would be the most funnies of all funnies ever attempted. (not spoiling)
Madurantaka Thevar Vaazhga!
-101.5: Mani sir interrupts the tense search for Ponniyin Selvan for a Aga Naga poetic love sequence whose setting was probably suggested to the assistant director by ChatGPT when asked to list a few poetic locations.
Isolated island with one boat.
Does this serve the story? Umm debateable, but it surely satisfied all the fans.
Kundavi Devi Vaazhga!
+42: Wherever you are in this universe, you are never far away from Azhwarkadiyan Nambi. He is everything, everywhere, all at once.
It almost reads like an advertising slogan, but really it is the truth if his eyes are in Pazhayarai , then his ears are in Kadambur and he himself is somewhere camping with Karikalan but also appears in Nagapattinam.
Does he have a twin brother?
The FRS writer room when on ground nut and tea break came up with a theory that Cholas silently invented cloning but restricted it to only their spies so they could put one in each key district.
Thirumalai Azhwarkadiyan Vaazhga!
+21: The Rashtrakootas might like this movie more than the first part.
-200: Pandians are not going to like this one single bit, it is like for two movies the same plot element of Pandian Abathudhavis try, try and try to kill the Chola Pulis.
All in vain, there is even a meta statement that Nandini posts but then that too lands as a joke.
The Pandian Abathudhavis are the startroopers of this universe.
-34: Confusing motivations are confusing.
Does Nandini want to kill or not? What does she really want?
The only guys with clear motivations are the Pandians and they are made to look like the terrorists from last year’s Beast.
Difficult to root for characters without having to clearly know what their motivations are.
-101: Director wants to convince us that the Pandian assassins will succeed this time, just before the interval.
Again there seems to have been no thinking involved in these attempts, they just go at the Cholans with whatever they get, shouldn’t there be some planning?
+102: Jeyam Ravi as Ponniyin Selvan is the only actor in the ensemble who got his character, but sadly he is playing in a different movie only.
Ponniyin Selvan Vaazhga!
-302: Loool Tanjore folks not able to identify Ponniyin Selvan because he is wearing mask loool what is this like Tamizh Padam spoof level
+86: Karikalan accepts Periya Pazhuvettaraiyar’s plan to give away the kingdom to Madurantakar.
If only they had agreed in part one itself this would have saved Lyca and co some millions.
As the famous saying goes, for this cotton gunny bags could have remained in the godown itself.
-201: Mani sir introduces props and characters to either forget them or to drop them on the way to Thanjavoor.
What happened to the horse Semba? It surely mattered to VT till a point?
What happened to the throne that Nandini was longingly looking at in PS1?
Why did a crown which suddenly popped up on Sundara Cholan became the main prop in the climax? Where is the throne that is there in all of your movie marketing?
Not to forget the fish engraved sword, which again comes to no purpose.
I mean like…there’s a whole story about characters but that would put us in a very bad place, but still better placed than Kandan Maaran.
All of this screamed that the movie was not well thought through, besides being rushed into production.
However it is completely possible to be enthralled by some of the visual flair in PS2
+101: Cinematographer Ravivarman Vaazhga (best thing is to name all cinematographers after painters, as they are in effect painters of light)
But Mani sir is irked by the idea of having to shoot two people talking and hence has to introduce rotating camera tricks every now and then.
Embrace the drama Mani sir, it is what it is. The need to be seen as a visual filmmaker is coming in the way of telling a good story through characters.
-80: Something something happens and we are now in the middle of the war and we didn’t know what to scratch our heads for- whether it is to understand what war is this or why Partibendran Pallavan and VT are now on opposing sides?
Oh wait there was this Nandini seducing Pallavan scene. Whatever came off that?
Spare a thought about Nandini who is in control of the situation almost all through the movie but then ends up being shown as a victim in the hands of many men.
Anyhow all’s well that ends well.
Cholas are on the way to their golden age and we went home feeling bad for the Pandian Abathudhavis (again).
You can read the FRS of PS 1 here.