Tag: santosh sivan

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

The Aunty Terror Squad

FYC: Spyder

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Has there been any Hollywood movie that has influenced so many Indian filmmakers within a short while than Christopher Nolan’s The Dark Knight? Maybe it is about the obsession with creating an antagonist.

Oh but I’m only thinking out loud, but it could really be the next on the ‘movies-we-look-up to-for-immediate-inspiration’ after Coppola’s The Godfather.

But the Batman and Joker are already part of larger conscious because of decades of multimodal existence, making it easier for writers to evoke invested past strands and bring to life the characters; it is not the same case in a Telugu-Tamil bilingual; a genre where a master in the culinary arts would not feel out of place.

Such movies are not called masala for nothing.

The Dark Knight is a (dark) blockbuster superhero movie, the near equivalent from what we have is the south Indian mass masala.  While some of it can be considered as comic, but here the word does not refer to periodicals out of which characters leap out of.

Mass masala by itself depends much on its leading man and the story gives into him. By that very statement it means that these films are meant to work only for those who buy into the charms (or lack-of) of the star.

Which means that for the most part the writer-directors are restricted in their choice of ingredients, sometimes they have to make do with just one condiment, more often than not trick the audience by throwing garam masala in our eyes.

AR Murugadoss seems to, in my eyes at least an expert chef who can find different uses for the same ingredient.

(I am really overdoing this samayal-cinema analogy, must come to the point before things get over cooked)

Under The Influence

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I believe more than the act of being inspired by another work, it is more important to know why that particular inspirational moment worked and think before replicating it.

Spyder’s hero does what Batman wanted Lucius Fox to do, listen in on people; while the ethical ramifications of spying are superficially dealt, they provide a convincing motivation for the lead; to prevent crime before it happens.

Yes, this could be the pre-crime from Minority Report but it could also be the inversion that is seen in ARM films like making a Vijaykanth film without making a Vijaykanth film?

The hero becomes a mass hero as a reaction to personal tragedies or societal atrocities, but can he/she really still be called a hero by preventing events from happening and not let the world know?

But it isn’t really an inversion unless you follow through with the act of an unseen hero, ultimately compulsions prevail and there is a love track and so there must be songs and an overblown climactic fight which makes you forget the questions that the film tried to raise earlier.

Especially notable is when Madan Karky rhymes mosam with awesome and concludes love is eternal much like plastic.

But Spyder is still somewhere there and even these commercial elements are not without joy.

Who Wants To Be A Hero?

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Earlier in the Spyder, a scene made me reflect on an underlying theme in Nolan’s Dark Knight trilogy, that every person is capable of heroism, Bruce obviously states this in the concluding chapter but there are enough visual examples.

The way the common folk are involved in the events that happen to the city, not just as observers but as  active participants, they are not alienated in the good vs. evil battle nor are they just used as bait for the hero to rescue.

But why?

In Spyder’s best segment which lasts about 20 minutes, has nothing to do with Mahesh Babu  or the antagonist S J Suryah, but about common people (middle aged ladies in this case) finding courage to do what they would not normally do and lend a helping hand beyond possible imagination.

It worked totally for me and convinced that this involvement of the nameless with whom we can identify, add to how we receive a film.

Yes yes, S J Suryah character and how he seems to have played it tries to match Heath Ledger’s Joker in every step, but then there is more to the Dark Knight trilogy.

Only if we choose to see, hence for your consideration.