Tag: FRS

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

FRS: Saaho

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

[As all the FRS writers begin to arrive at the writer’s room atop the 55th floor of an undisclosed chennai high rise building…] 

Lool, what chennai high-rise building? You really thought we will give away our location? Nice try. 

-5: Narration, since this is a trilingual we will multiply points by 3 whenever wherever. ( you can do the mental math on this ) 

-10: Usual cinema overdose of gangsters, here of course they run an entire city called Waaji

Maybe their official city song is Waaji Waaji Waaji En Jeevan Sivaji, although no such thing is implied. 

Also also, this movie joins the list of movies which just say people are gangsters without explaining how or what made them turn into gangsters- no explanation of the process- these are important for FRS writers, we believe in detail. 

+15: The contribution of gangsters to Waaji’s economy seems immense, they have a modern city functioning with the best security systems, banks, expressways and what not; maybe someone can do a paper about the economic benefits of letting gangsters run Indian cities, we mean…legitimately. 

+21: The gangster congregation is more like those “Royal Stag- Have I Made It Large” type ad set up and of course we see that the Roy family is going back to India, to take over the country etc 

<Cut to Mumbai> 

+88.97: Hero is here to save another gangster (yes you cannot keep count) from a housing society, he has to reach the top floor within 5 cooker whistles, going from one floor to another but every floor has a different type of monstrous thugs + wild animals he has to overcome. 

Holy mackerel! That’s a full movie right there, like Raid: Redemption meets the Cabin in the Woods. 

Actually this can be a full movie. Should we cut points for director not going further with this idea?

+30: Hero is neither clean shaven or bearded, this intermediate state of facial hair is possibly to satisfy the expectations of both kinds of die hard fans of our hero. 

-23: Clueless Mumbai Police is clueless or like we say in the office “Mumbai Police is not going to like this film” 

+65.21: Although they will be very happy to have Shraddha Kapoor as a special agent <insert appropropriate yet respectable smileys here> 

+5.52: Shraddha here is a special agent because she is special to our hero <wink wink> 

+17: Whenever Bombay police is going to take up a special investigation, they will first set up secret headquarters which has fun start-up office feel, it has foosball, basketball ring, beer cafe, video game parlour and of course graffiti splashed walls (obvious) and before I forget, a shooting range. 

I guess this is done so that the special agents really feel special <wink wink > 

Good initiative by Mumbai Police

-7.3: One person in the special unit’s only job is to pan and scan CCTV footage, we believe that such a limited role will not help in future career paths #wecare

-45: Whenever Shraddha Kapoor meets hero, there will melodious music and slow breeze that will gently animate her hair cliche. 

-20: Mumbai Police still use a random method to allot cases to their policemen. 

<Cuts back to Waaji City> 

-51.8: Everytime we cut back to Waaji City, there is a new set of gangster families and their heads that we need to place within the context of the story, since all of them wear suits and have cheroots in their mouth this memory game became a little difficult. 

The FRS team as usual were innovative to brand everyone with above characteristics as villain and we went ahead with the viewing. 

-8.10: Mega Mafioso death will trigger a succession war and no one in Waaji City knows how to get hold of the wealth cliche

-18.3: Mafioso uncles will have chief economic advisor (their words not mine) but will not have proper succession plan. It’s like one legal document would have prevented this whole film

+41: Mandira Bedi is styled to look like someone from a Gautham Menon film, this we believe is a teaser for next week’s hopeful release. 

-23: Indian Music director still using BWAAANG music for any major moment in the movie without realizing that even Hollywood has moved past BWAANG! 

-95: Waaji, a city infested with gangsters will also have the best in class police tech in the world including jet based police vehicles. 

+23: Imaginative world building: director never gives the audience the time to guess the geographical locations in the movie- one second we are in a Dubai type desert city, next second rainforest, then snowy mountains. 

Buy the ticket. See the world. 

+4: Hero steals time bound tech device which everyone is after and then takes vacation with heroine all over the world. 

Because of course why not. 

+11: Vacation is photographed in great detail for future romance things, this we believe will give a boost to a sub segment in the photography economy called “couple vacation photography” 

Become a vacation photographer. See the world (with a couple). Wink Wink!

-85: That reminds us, where did the comedian Kodandam go? Missing Mumbai police is missing. #MissingInAction

+21: Hero makes punchline based on cricket so that whole of India can react to it. Masterclass. 

-50: Just when you thought you didn’t understand the complexity of the storylines, character will start to recite shloka in sanskrit. #truestory

+200: Director’s noble intention to show many movies in one single movie, I think this is a uniquely telugu director school of thought. 

Multiple storylines. Multiple characters. Multiple twists and turns. But singular focus on hero. 

Made us question if this movie is for real or like made up? 

There too director stumped us by keeping a great song in the proceedings called “unmai ethu? Poi ethu? Sollidu Anbe 

( you see we didn’t do the usual “all songs whenever wherever”, wink wink )

These directors are anticipatory genius. 

A simple feeling of watching at least 23 movies and TV shows for the price of a single ticket. 

A humbling yet exhilarating and uniquely tiring experience.

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

Subam

Team FRS

FRS: NGK

So we all know what FRS is right? Good that would save us an introduction.

-10: Movie begins with hero being introduced dramatically with rain, hence raising our expectations that something is going to happen now types, but nothing really happens (is this Selva preparing us for the whole movie?)

-21: Kollywood hero is a farmer cliche, not just any farmer but an organic one at that

Accepted Occupations in the Kollywood-verse (in order of precedence)

Rank 1: Farmers (honest, humble, divine and innocent)

Rank 2: Honest Police officers (not humble, but has thimiru)

Rank 3: Auto drivers (mostly honest, but actually humble)

Rank 4: Aspiring actor/ aspiring movie director (includes all above attributes, add to that struggling)

There is also intermingling of these ranks in a film like Raatchasan where a Rank 4 becomes a Rank 2, in Vettaikaran Rank 3 wants to be Rank 2

Not accepted occupations in Kollywood-verse (no order)

Any occupation that involves getting monthly salary and wearing some kind of formals, sometimes even casuals. Basically Kollywood is against anyone who works for a organization which is registered as a private limited company and believes they are actually slaves.

-30: As expected, farmer hero thinks all office jobs are for slaves and asks rest of TN to wake up and smell the “mannvasanai”

+30: Sai Pallavi, wife of NGK loves the smell of “mannvasanai”, her sense of smell is important for the rest of the story

+56: Organic farming executed by NGK and his 500 friends is successful, although none of this is shown.

-56: But not successful enough for other farmers in the region to adopt the same practices, even when the whole project is headlined by the town’s most prominent son NGK

Also if you are a hero from a small town in TN, obviously you have to be prominent and rest of town is happily dancing with you in an opening song which hero asks people to be vigilant, etc

-90: An immediate scene after this involves NGK battling for the government jobs of few unfortunate girls whose fathers died while in duty, hero is not successful on his account but achieves it by calling help from a school friend who works for the local politician.

This scene is a set-up for NGK to understand that how much influential he might seem, the real power lies with politicians.

But this we feel is going against the character of NGK, he did not for even a moment tell the girls to give up their dreams of working for salary and take up farming!

Or does this mean that NGK is only against private enterprise?

-67: All politicians are villains and all villains are politicians, except the unsuccessful ones

-32: Hero being asked to join politics so that he only can change the system by at least one character in a political film, also in the background is MGR staring down on him types etc

-66: Early success of organic farming somehow adversely affects rest of the economy of the village and hence the entire money lender mafia is now out to kill NGK….can’t money lenders look for some other businesses or individuals to lend etc.

Why does kollywood keep selling this success of one means failure of the rest narrative, there is space for all us guys, there is lot to do.

-101: Every big conflict in this movie is resolved by means of just a phone call, this never ceased to shock us, although Rakul Preet doing a mini bio-pic of Prashant Kishor within this movie is even more shocking

-34: Movie after being humorless for an hour suddenly decides to become a satire

-10: Satire still is not funny, but by this time NGK slowly descends into madness and pulls the rest of the film with him

+134: This was perhaps the most interesting feature, most of the characters become mad over the course of this film, fascinating; but Selva doesn’t overtly go through with this.

Maybe this is a film by a bored Selva, who really didn’t want to make such a flat film(but had to?).

This is more of a taunt to the audience. More like Selva’s Neengal Kettavai, but Selva doesn’t want to give what the audience want. All those things happen in the background somewhere but he is reluctant to show all this. This is a subversion of show, don’t tell philosophy of film making- Tell, don’t show.

Maybe during the making of the film, the director understood it, as to how NGK reflects this very moment in the entertainment business or popular culture- the entertainer and the entertained are the same people. Every turn a story takes somehow has to be connected to the current, deliver a larger message, the movie actually ends in a public meeting which is more of a direct address to the audience (us) at large

There are no jokes in this movie, because we are the jokes?

There are no redeeming characters in this movie, because reality is such?

There can be no change in the system, because we don’t deserve a change?

And those who promise change are as bad (or even worse) those who we wish to change from?

Selva puts out all these existential questions, provides no answers, doesn’t even try and write stand-out scenes which results in a film that is completely consumed of the director’s boredom.

But the cumulative effect is that, we (the FRS) writers could feel this boredom seeping into our minds while writing this piece that we forgot to deduct points for narration that we usually and happily always do.

This is not a happy experience.  But to Selva’s credit he actually made us ‘feel’ the film without actually making it.

Strange. Really strange.

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

Subam

Team FRS