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What I like most about Trivikram Srinivas is how he connects mythological stories with mass masala movies. He often places his heroes in the roles of Vishnu, Rama, or Krishna, making them feel like incarnations of these divine figures. In Saripodhaa Sanivaaram, Vivek Athreya followed a similar approach.
Saripodhaa Sanivaaram Title card
Have you heard the story of Narakasura?
Narakasura was a powerful and evil demon king, the son of Bhudevi (Mother Earth) and Varaha, an avatar of Lord Vishnu. Despite his divine origins, Narakasura was notorious for his wickedness and cruelty. He ruled the kingdom of Pragjyotisha, where he terrorized people and killed many innocents.
His power and arrogance grew so immense that even the heavens were disturbed by his actions.
Finally, Lord Krishna decided to fight Narakasura. However, Narakasura had a boon that only his mother could kill him. Krishna, knowing this, allowed Satyabhama, who was an incarnation of Bhudevi, to take the lead in the battle.
Plot: Saripodhaa Sanivaaram
Saripodhaa Sanivaaram begins with this story, and throughout the movie, Naani keeps referring to it. In a way, S. J. Suriyah represents a modern-day Narakasura, Sokulapalam is a modern-day Pragjyotisha, and Surya and his girlfriend Charulatha can be seen as Krishna and Satyabhama.
Nani vs S J Suriyah Face Off from Sanivaaram
But there is one difference, Krishna empowers others to take action against injustice but Suriya is different, when he witnesses injustice, he does not let it go.
Why You Should Try This Movie
This movie is packed with all the elements that make for commercial success in Tollywood and Kollywood: mother sentiment, father sentiment, sister sentiment, and a hero saving a community from oppression or vigilantism. A hero introduction setup where he fights against injustice. You’ll experience intense cat-and-mouse games between the villain and the hero.
Nani & Priyanka Mohan
But what’s most impressive is that Vivek Athreya proves you don’t need to rely on showing the actress’s navel, a mass item song, or a foreign set song to create a mass action flick. Even though it’s a mass entertainer, Vivek Athreya keeps a minimalist approach, ensuring that you won’t get bored with cliches. In one line, Saripodhaa Sanivaaram is a middle-class Chathrapathi or a Vikramarkudu on a low budget.
A Domino Game and Athreya’s 6 Chapters
I feel like Vivek Athreya, as a writer, took inspiration from films like Tamil Maaveran and various Hollywood movies. He segmented Saripodhaa Sanivaaram into six chapters: the prologue, the turn, the knot, the crossroads, hide and seek, and redemption. It’s almost as if Vivek Athreya is trolling mass-action fans, sarcastically asking us, ee formula Saripodhaa? (Isn’t that enough?).
S J Suriyah as C I Daya
He established Suriyah (Nani) with subplots, Charulatha (Priyanka Mohan) with an open-ended past, and Daya (S J Suriyah) laced with dark humour and a dysfunctional family plot, all of which set the stage for a fire show.
The way Vivek wrote the script is like a domino effect—each event triggers the next, and each character drives an event. It’s beautiful to witness the script evolve so rhythmically.
Performances & Cast
When it comes to performances, Abhirami’s portrayal of the mother was deeply touching and reminded me of Simran in Kannathil Muthamittal, especially those moments at the beach, and some elements from Bhanupriya of Chathrapathi.
Sai Kumar, the millennium’s angry young man, plays a father struggling to pacify his angry young son. There wasn’t much for a veteran like Sai Kumar to do, aside from a few bass voice narrations.
Nani as Suriyah
S. J. Suriyah and Nani played their characters brilliantly, convincingly portraying their utterly chaotic and distressed lives. Both are going through pain triggered by siblings—one suffering because of his brother, the other troubled by his sister.
Murli Sharma and Ajay Ghosh’s characters were icing on the cake with the perfect touch of humour to the film with their mannerisms and timing.
S J SUriyah speech at Saripodhaa Sanivaaram pre-release event
However, Priyanka Mohan’s character didn’t quite convince me. As S. J. Suriyah mentioned during the pre-release event of Saripodhaa Sanivaaram, Priyanka was too cute even as a constable. Her makeup, costume, and body language felt more like a hero’s pillion rider. I wish she had played a more prominent role, similar to what we see in the Narakasura story.
Jakes Bejoy: The Master of Elevation
Last but not least, Jakes Bejoy is the one who ensures you won’t dig too much on logic. Instead, you’re completely sucked into Athreya’s world, where no poor man uses social media or mobile cameras. For every question that pops into your head, Vivek’s writing will push you to another event, and Jakes Bejoy’s BGM will scream loud, and shut your curious mind, keeping you on track.
Saripodhu Ee Sanivaram
Finally, it’s technically a Vivek Athreya vigilante story, but I believe it’s actually a Vivek Athreya revenge story—a revenge against the Telugu audience who made his Ante Sundaraniki a flop. Now, he’s screaming loud to you: Saripodhaa Ee Sanivaram! (Is this Saturday enough??) I believe people are saying a big yes! Ee saari assalu bore kottaledhu.
In one of his interviews, Ravi Teja mentioned that some directors had already approached him for the Raid remake, but he declined since it doesn’t fit within his comfort zone (mass-masala-glamour). However, when Harish Shankar proposedMr.Bachchan, he readily agreed because Harish Shankar’s remakes are different. I completely agree with this, and that’s exactly what I felt when I watched Gaddalakonda Ganesh and Mr. Bachchan. Harish Shankar will go to any extent to entertain with his masala-action dramas.
Mr.Bachchan Title Card
The thing with a remake movie is, when you know what’s coming yet still find yourself drawn to the narrative, then it’s a successful remake. And that’s the Harish Shankar formula. Let’s take the example of Dabangg and Pawan Kalyan’s Gabbar Singh. Who would have expected that Antakshari event with rowdies at the police station?
Gabbar Singh Antakshari Scene
The Grandeur Plot
In Mr. Bachchan, Ravi Teja plays a tax official who raids the house of a powerful and wealthy man and gets suspended from the department. The entire first half has him romancing the heroine and enjoying his suspension period. In the second half, his suspension is repealed, and he’s assigned to conduct a raid at another ruthless, powerful man’s home.
Ravi teja Title Card: Mr. bachchan
Raid (2018) vs. Mr.Bachchan (2024)
In the original movie Raid by Rajkumar Gupta, there’s minimal setup before the raid. We learn that Ajay Devgn has been receiving information from an anonymous source about hidden wealth, and he keeps it all secret, even from his staff, because he (correctly) doesn’t trust them.
Raid Trailer
What I like most about Raid is that it manages to be thrilling without being stressful. But in Mr. Bachchan, everything is grand—4-5 songs, tonnes of junior artists and their melodrama, comedians popping up like those random pineapple pieces in a spicy biryani.
Bhagyashri, Harish Shankar’s Lucky Star
Despite its niggles, clichéd templates, and outdated comedy of nearly two and a half hours, Mr. Bachan might entertain the regular Telugu movie audience, who doesn’t have much in the way of expectations or deep thoughts.
For example, you shouldn’t ask questions like how a 1980s couple from a village dreams up a song in Switzerland, or why the camera angles focus more on the heroine’s curves than her face, or why the ruthless villain and his entire gang are helpless against an average man without even a gun.
It’s a director’s film that draws steamy performances from both Bhagyashri Borse and Ravi Teja, and that’s the biggest highlight of the film. Honestly, it’s more Bhagyashri’s film than Ravi Teja’s.
Ravi Teja – Harish Shankar Mass Elements
What makes the difference in such an old-type story is the spicy cooking by Harish Shankar. He knows the recipe well. More than Ravi Teja, it’s Bhagyashri Borse who got the whistles. There are certain antics of Ravi Teja—like wrapping his arms around belly curves, clasping fat tissues, cuddling earlobes and neck—which could appear like ‘overacting’ if not handled well by the director. But Harish Shankar managed those areas really well with his camera angles and aesthetic direction skills.
Song Shot from Mr.Bachchan
He used them excellently to bring out hilariously entertaining episodes from the central characters, and even threw in retro Bollywood songs in the first half.
Why you should try Mr.Bachchan
Sathya and his comedy track with Sachin Khedekar
A surprise cameo in the second half
The climax twists and fights
Bhagyashri and her cuteness-overloaded songs
Retro song recording sections—probably the best comedy track of the film
Reference episodes to Amitabh Bachchan movies
The only hope for Ravi Teja, he badly needs a hit, let’s support 🙂
“Mr. Bachan, the only hope”—I believe this title fits Ravi Teja perfectly. After multiple flops, his only hope is in Harish Shankar, and I believe this will end up as an average grosser. One thing is sure: Bhagyashri is going to be the next Sreeleela of Tollywood.
Refer to this image for a better reading experience.
If you ask me, which is the brilliant Malayalam film from the 2024 first quarter, I would say it’s Aattam. Aattam is a 2024 Malayalam suspense chamber drama. Penned by debutant director Anand Ekarshi, Aattam navigates through the politics of gender dynamics, patriarchy, situational morality & selfishness in humans, within a theatrical setting. If you have seen this movie, most viewers ask a question: Who is the culprit in Aattam. Let me explain the layers of Aattam first, and if you are impatient, just scroll down.
Plot Overview
Aattam is a thriller of accusation and betrayal set against the backdrop of a theatre troupe. The plot circles around Anjali, the group’s only female actor, levelling charges of sexual harassment against a newly joined popular movie star in their team.
A scene from Aattam
What starts as a straightforward allegation soon spirals into a complex web of deceit, manipulation, and shifting loyalties, especially when the proposal of a European tour throws the troupe into moral disarray.
The narrative cleverly employs a classic whodunit structure, yet the way it unveils the innate biases and hypocrisy of its characters is what makes it interesting.
How Aanand, wrote each character is truly admirable; for example, the character Aji (the eldest among them): Aanand constructed the character through micro interactions (mentioning phone calls, his mannerisms, etc).
Transformation scenes of Aji from Aattam
At the same time, Aji’s transformation didn’t go well (someone who doesn’t care about dying suddenly willing to compromise on himself so that he can go to Europe is a bit forced, in my opinion). And all this was just so that he could say what he said at the end.
Finding The Culprit & Theme of Aattam #Whodunnit
Aattam is not about Whodunnit; by the end of the film, if you are just curious to know Whodunnit, then I would say this film is not for you. This film is not about the sinner; rather, it’s about the sin.
It’s like wondering if Teddy Daniels in Shutter Island chooses to live in a lie or faces the truth in the end. The real question isn’t what reality he picks. It’s about Teddy reaching a point where he prefers peace over constant torment, regardless of whether his world is real or made up. So, he makes a choice that might lead him to a lobotomy, showing he’d rather forget than live with the pain.
A scene from Shutter Island
The movie is sprinkled with so many minor flaws in human interactions, be they judgmental, generalisation based on experience, selfishness, hypocrisy, vigilantism, patriarchal mindset, social influence, arrogance, or demeaning others.
A scene from Aattam
Even in the way he shows patriarchal ideologies in all layers of society, for example, there is a scene where a politician requests Madan’s vote, saying, Come and vote for me with the same finger that you have voted for my father.
By the end, when Anjali says: “നീ ആരാണെന്ന് എനിക്കറിയണ്ട. നീയും ആ 11 പേരും തമ്മിൽ ഇന്നെനിക്ക് ഒരു വ്യത്യാസവുമില്ല”
Climax scene from Aattam
The director Anand Ekarshi summarises the movie there. But if you are curious to find the culprit from Aattam, I will help you. Scroll down straght to the last sub-heading.
12 Angry Men v/s Aattam
Aattam is very similar to the classic 12 Angry Men, be it the style, theme, and narration. It’s evident that Aanand Ekarshi is highly inspired by 12 Angry Men.
The film 12 Angry Men exemplifies many social psychology theories. This tense, compelling film, features a group of jurors who must decide the guilt or innocence of the accused.
12 Angry Men
Initially, eleven of the twelve jurors vote guilty. Gradually, through heated discussion, the jurors are swayed to a not-guilty decision. Upon examination, the film highlights social psychology theories in areas of conformity, attitude change, and group processes.
Don’t you think it’s the same structure that Anand is following here?
When the inverter stops working, everyone leaves the house and steps outside due to the heat. Later, when it starts to rain, everyone rushes inside the house. These 2 scenes are one of the few scenes in which background music can be heard.
I think the director Anand Ekarshi wants to emphasise these 2 scenes, to show how we change our stance depending on the situation. The whole team was sure about throwing out Shajon’s character initially, but when the London Trip was introduced, everyone changed their stance.
A scene from 12 Angry Men
A similar scene you can see from 12 Angry Men, where they open the windows because it’s too hot inside, and they open up the windows.
This shows that we humans change our stands as per our needs. This is where, I thought it would have been great if there were a couple of women who initially stood with Anjali and then turned their backs after the European trip offer came, It would better show that most people are hypocrites, not just men.
Attitude Change and Persuasion in the First Half
The central route to persuasion is all about logic and reason. It’s where you convince someone by using strong arguments, evidence, and facts to back up your position.
In the first half, you can see that Madan, Sijin, Jolly and Santosh are doing this.
For example, Sijin asks Madan: “What exactly did she tell you”, or Jolly asks: “So it happened not when she was awake”
Peripheral v/s Central persuasion
The peripheral route of persuasion is the opposite of the central route. It’s a shortcut to influencing someone, relying on indirect cues and associations rather than strong arguments.
It targets our emotions and biases, and doesn’t require much effort from the audience to process. Vinay, Aji, Nandan, Sudheer, and Selvan are following this route.
For example when Nandan says: “He will do it, he always shares bawdy jokes”. or Selvan says: ” A sober mind wouldn’t do such things, it happened becuase they were drunk”. Through the use of non-factual, environmental cues, the sick gentleman utilises the peripheral route to persuasion.
Another important factor is Social loafing. It describes a situation where people exert less effort when working in a group compared to working alone. It’s like slacking off a bit because you think others will pick up the slack.
Prashanth and Jolly are in that stage, where they are slacking off with excuses.
Imagine you and your friends are discussing a movie. Some might initially like it a little, some might be neutral, and a few might dislike it. Through discussion, those who liked it a little might become more enthusiastic, and those who disliked it might become even more critical. This is group polarisation.
Vinay brilliantly polarised everyone in one direction, by the end of the first half.
Moral Disengagement in The Second Half
Throughout Aattam, you are going to witness a few complexities in human behaviours like Moral Disengagement and Hypocrisy.
What is moral disengagement?
Moral disengagement is basically a fancy way of saying someone talks themselves into believing ethical rules don’t apply to them in a specific situation. It’s a psychological process that lets people act unethically without feeling bad about it.
Moral Disengagement
Moral justification: Coming up with reasons why their actions are good, even if they aren’t. In Aattam, how conveniently the characters brought different reasons after they got to know about the European trip.
Observe how Selvan, Madan, Aji and Jolly. For instance, Jolly, the silent guy in the first half is aggressive and says “Just swallow the story in the whole”.
Euphemistic labelling: Using nicer words to downplay the seriousness of their actions. For example when Madan talks about “Tactile Halluccination” he is trying to nullify her arguments in a sweeter way compared to Santhosh and Sijin.
Discrediting the victim: This involves downplaying the harm caused to the victim or portraying them as deserving of the negative consequences.
For example, Selvan saying about Anjali’s drinking habit, Prashant talking about her relationship with a married man, Sijin talking about her relationship, even addressing her as “Set-up”.
Disregarding or minimising consequences: This involves downplaying the negative outcomes of the action. For example, Vinay saying Anjali ” No one did anything to you, let’s believe it like that.”
I really love that scene where Anjali asked the question to vinay: “If it’s not Hari, who was it? , no one raised this question”. this is where the brilliance of the script, in the beginning, everyone was talking about the punishments, but when they realised it’s not Hari and one among them, they conviniently went through the moral disengagement and forgot the whodunnit part.
Who Is The Actual Culprit: Aattam Ending Explained
If you really want a culprit, let me share some thoughts:
In the final scene of the movie, in Anjali’s drama, the culprit confesses while Anjali is holding a yellow cloth. There is only one character in the whole movie who is wearing a yellow dress. Is that the culprit?
That’s not a rational finding, right?
Okay, one more theory:
Anjali said, there was an intense perfume smell. Guys who fell in the pool won’t have that intense smell.
Jolly, Sudheer, Prashanth and Vinay were the people who didn’t fall in the pool.
Let’s eliminate Vinay, since, he is her lover. Jolly was busy with his video call and was disturbed, so let’s eliminate him.
Now either it should be Prashanth or Sudheer. Sudheer and Prashanth are the ones who got disturbed while hearing this, and went out for smoking.
I believe it’s Sudheer. WHY?
During that party, Sudheer was disturbed by seeing Anjali’s cleavage, that disturbance can be an arousal as well. Sudheer tried to hide the evidence in the first half, without any rationality. Near to the climax, while Jolly is showing the screenshot to others, Sudheer acts like he is seeing the first time. He was in a hurry to establish Hari as the culprit. He consistently avoided involving the police.
Sudheer’s key scenes from Aattam
Being a smoker, Sudheer knew that Hari kept cigarettes in his car. He likely stole the car keys before the other person retrieved them.
Additionally, Sudheer watched pornography just before the incident. that was revealed later. Madan is asking why Nandhan went to Shajitha’s room, if we place Sudheer in Nandhan’s place, we have an answer: Sudheer might have gone there to see his wife and might have seen Anjali.
So, I believe it’s Sudheer. But let me remind you that the essence of film is not #Whodunnit
“നീ ആരാണെന്ന് എനിക്കറിയണ്ട. നീയും ആ 11 പേരും തമ്മിൽ ഇന്നെനിക്ക് ഒരു വ്യത്യാസവുമില്ല” 👌 { “I don’t need to know who you are. You and those 11 people are all the same to me today.” – Anjali }
Sandeep Reddy Vanga’s Animal is streaming on Netflix with 3 hours and 24 minutes of adrenaline pumps. This is not a review, but rather an analysis of the propaganda art and politics of Animal. So, this blog contains spoilers, and if you haven’t watched it yet, skip this.
After Arjun Reddy (2017)andKabir Singh (2019), two films about a sexually desperate misogynistic doctor with anger issues and Preeti obsession, director Sandeep Reddy Vanga returns with Animal. This time, it’s about a toxic patriarchal chain-smoking engineer obsessed with his father.
Animal Movie Poster
The crux of the story is a son protecting his father from animals in an animal park. Despite the script being imbued with his palaeolithic view of human instincts, Sandeep Reddy Vanga managed to infuse it with high adrenaline action, music, and a bloodbath. In essence, the hero is a carnivorous animal in human form, devoid of sin, vision, or empathy, driven only by instincts.
I thoroughly enjoyed the film, although I disagree with a few of Sandeep Reddy Vanga’s perspectives. This film is a commendable mass entertainer.
How Sandeep Ignites the Adrenaline Rush With Animal
Sandeep Reddy Vanga brilliantly incorporates elements that have recently succeeded in commercial movies. Bringing in a weapon dealer, adding a massive gunfight scene, and retro songs like Roja,Punjabi DJ songs & Jamal Jamaloo, created high moments in theatres and on Instagram as well.
The cold-blooded revenge arc, fatherly sentiments, and nationalism (the weapons are made in India scenes) are well-placed. Surprises, such as the bystander-turned-traitor twists and the double climax, the 2-hour (so-called) street fight in the end (a reminiscent of Thallumala)the list is long. The high-adrenaline music is another highlight. Kudos to the long list of music directors from Harshavardhan Rameshwar, Jaani, Vishal Mishra, Shreyas Puranik, Manan Bhardwaj to last but not least: A. R. Rahman.
Forgot to add, the climax scene, inspired by Rolex, is particularly notable. Fans of Leo, Jawan, Pathan, and Arjun Reddy will find Animal a high-adrenaline theatre experience.
Animal’s Anthropology Class & Thrills from the Start
The movie begins with a narration, swiftly moving to a school episode of Ranvijay (Ranbir Kapoor) showcasing his love for his father. One of my favourite scenes follows, filled with A.R. Rahman’s Roja background score,where Ranvijay is now a college boy. The film transitions seamlessly to love at first sight.
Sandeep Reddy Vanga acts like an anthropologist, sharing perspectives on the evolution of poetry. These insights could be used to promote a whey protein brand or a fitness centre. He then progresses Ranvijay’s character arc to highlight his prejudiced and narcissistic nature.
Sandeep Reddy & His Art of Crafting a Predatory Protagonist
Sandeep Reddy Vanga meticulously wrote this character. Ranvijay cries only once in the entire movie. He never shows his vulnerabilities; even when he informs his sister about her husband’s death, he immediately consoles her by suggesting a remarriage. He consoles his wife by stating that happiness is a choice, and there’s a scene where he enjoys biryani made from human flesh (though Sandeep Reddy Vanga doesn’t explicitly show this). With all these elements, Sandeep tells you how umpathetic Ranjvijay is.
I appreciate Sandeep Reddy Vanga’s meticulous crafting of dialogues for Ranbir Kapoor. Ranbir’s dialogues always reflect an animal mindset, like his comments on business expansion or his various lectures. When Ranbir talks about patience and his fights with schoolmates, it reminds me of predators on Animal Planet. Sandeep Reddy Vanga’s portrayal of his hero as a tiger is contrasted with a more dog-like loyalty, treating others as subservient. Sandeep Reddy Vanga has a knack for highlighting character flaws, like Ranvijay’s.
The Subservient Female Roles in Animal Explained
Sandeep Reddy Vanga doesn’t give much importance to female characters like Geethanali, Zoya, or even Reet. They are portrayed as subservient to their male counterparts. Geethanali’s quick fall in love with Ranvijay, perhaps influenced by watching Arjun Reddy, is an example of this. Similarly, Zoya is depicted as submissive to Ranbir’s character. What is most disturbing is that Zoya is even ready to lick his feet for his love.
Rashmika Mandanna & Ranbir Kapoor from Animal
Unfortunately, Sandeep Reddy Vanga’s skill seems solely invested in building the character of Ranvijay. When it comes to the character arc, it only moves in one direction, continually ascending. I believe actions should have consequences, but nothing Ranvijay does in Animal seems to have any.
Sandeep’s Reply for Concerns Around Sexuality, Violence, and Gender Equality
Sandeep Reddy Vanga also tries to counter criticisms of male chauvinism. He addresses consent by having Ranvijay touch Geethanali’s feet and give a lecture on the importance of women in the Paleolithic era.
Ranbir kapoor and Rashmika Mandanna from Animal
If there’s a problem with him slapping her, this time let her slap him. If there are issues with domination and masculinity, let her come to his home, kiss him in front of everyone, and let him praise her physique. He addresses body shaming by giving a spiritual lesson on pubic hair.
If there’s a problem with adult content and gory scenes, let’s have a three-hour blood bath with nudity and discussions of sexual fantasies.
What I really like is the idea of recording the moanings of their first lovemaking and using it to calm his angry wife, that was truly a wow! what an idea moment 🙂 .
So, in simple words, this movie entertains the majority with ease. I was expecting a Tarantino style but got an ultra-mode RGV style. Raw violence, sex, and obsession await you in this movie, sprinkled with a few good father-son sentiments.
The climax scene, with two sons fighting for their father’s honour and love, battling with emotions, and a background song echoing their family connection, made the whole theatre dark and silent without any mobile screen light or murmurs. That’s the power of bringing raw emotions to the screen.
From Ranbir to Tripti Dimri: Explaining Performances from Animal
Ranbir Kapoor, Bobby Deol, Rashmika Mandanna and Anil Kapoor from the Animal movie.
Regarding performances, Ranbir Kapoor establishes himself as a superstar with Animal. Sandeep Reddy Vanga did justice to Bobby Deol fans, though I expected more from Bobby Deol. My surprise was Tripti Dimri, whose screen presence was mind-blowing despite limited screen time. Charu Singh and Anil Kapoor did their parts as Ranbir’s parents with ease. Saurabh Sachdeva delivered a killing performance as Bobby Deol’s brother, especially in the climax. Rashmika gave a decent performance, possibly her best since Kirik Party
Why is it Animal ? Animal Explained
Let me explain my views on why the film is called Animal by Sandeep Reddy.
The film explores the more primal, instinctual aspects of human nature, as shown in how Ranbir celebrates his heart surgery and how Abrar releases his pain of loss. In Sandeep Reddy Vanga’s Animal park, the lead male characters operate based on the pleasure principle, seeking immediate gratification. The climax fight is reminiscent of the survival of the fittest theory, living in a world where the law of nature prevails.
In this movie, after Papa,SWASTIK is the most highlighted word. It’s their family business, indicating a blend of traditional values and a darker quest for power (Nazi approach).
The tagline of Swastik, “Power, Progress & Victory”, is repeated by Ranvijay during his oath of vengeance. As per psychologist Carl Jung’s concept of the shadow,this tagline could be seen as manifestations of Ranvijay’s shadow, where his animalistic traits (aggression, dominance, the pursuit of power) are embraced and externalised as his personal and corporate ethos.
Animal & Sandeep Reddy Vanga’s Propaganda Art
Regarding opinions, my friend argued,
“How conveniently do we forget that Scorsese used slow-motion and rousing soundtracks for despicable characters in ‘Goodfellas’ and ‘Casino’, and when Sandeep Reddy Vanga does an extreme Indian version of that, it’s suddenly ‘glorification’?”
Robert De Niro & Martin Scorsese
As a die-hard fan of Scorses, I feel Martin Scorsese never portrayed Travis Bickle or Jimmy Conway as heroes, nor did he justify their actions. His characters dealt with consequences, unlike in Sandeep Reddy Vanga’s Ranvijay. This is where Sandeep Reddy Vanga falls short as a responsible artist. I believe he is obsessed with certain ideologies and celebrates and promotes them through his movies. Scorsese’sRaging Bull highlighted male insecurity in 1980.Can we expect such a film from Sandeep Reddy Vanga?
Toxic masculinity is a propaganda tool for promoting patriarchal beliefs. Ranvijay’s words to his sister about killing any of her choices he dislikes, and his actions as a school kid stepping in with a gun to protect his sister, and delivering a lecture to his father suggest a patriarchal mindset. That’s where he fails to responsibly handle his craft.
Merry Christmas, directed by Sriram Raghavan, is a beautiful film, especially if you like slow-paced yet engaging movies like the Before trilogy. Merry Christmas uniquely blends the romantic drama of Wong Kar Wai with the suspenseful elements of Hitchcockian noir thrillers.
Merry Christmas Title Credit
In essence, it’s reminiscent of Thiyagarajan Kumararaja’s Ninaivo Oru Paravai,which seamlessly fuses these two elements. It’s not surprising that the director, Sriram Raghavan, mentioned Thiyagarajan Kumararaja as an inspiration.
Retro Charm & A Mood For Love, Sprinkled with Witty Black Humour
Merry Christmas begins with a note saying,‘When Mumbai was known as Bombay.‘ The film takes place in Bombay during the 1970s and makes you feel nostalgic.
The colours, music, and songs in the film are sync with the era and make the experience even better. The story revolves around Albert (Vijay Sethupathi) and Maria (Katrina Kaif). Two souls wandering in the neon-lit lanes of Bombay, whose lives intersect in a serendipitous Christmas encounter.
Merry Christmas Title Card
It’s more of like a O.Henry short story; whatever you are reading and imagining in the first half will get a 180 degree shift in the later half.
The movie’s pacing is deliberate, slowly building up to a climax. If you are expecting a thriller like Andhadhun, you may get disappointed. Merry Christmas is a cute black comedy.
Perfect Blend of On Screen & Off Screen Efforts
Vijay Sethupathi is outstanding in his role. Watching him dance with Katrina Kaif, who is famous for dance numbers like ‘Chikni Chameli,’ is a treat for the fans of both. You can’t help but be drawn in by Vijay’s cute dance performance.
The film’s homage to the bygone era of Bollywood, Vivaldi’s ‘Four Seasons’, background score by Daniel B George, all these adds layers to its storytelling, makes ‘Merry Christmas’ more than just a movie set in the 70s. It feels like it truly belongs to that time.
Scenes from Merry Christmas
Cinematographer Madhu Neelakandan deserves a special applause for meticulously capturing the essence of the setting, focusing on even the smallest details. The vibrant red-blue-green colour palette that fills each frame is so catchy and sync with the moments. However, the close-up shots of Katrina Kaif are a bit of a letdown. Personally, I felt that these moments were jarring, as Katrina seemed to struggle with conveying the subtlety of emotions required for these shots.
Sriram Raghavan’s Yadhoom: A Merry Christmas with Self-Discovery
Sriram Raghavan’s Merry Christmas not only shines with performances but also with its intriguing scripting.The movie looks at ‘Yadhoom’ moments – those instances of clarity and realisation of one’s true purpose in life.
Tamil veteran actor Rajesh plays a kind man who took care of Albert’s mother, Celine, before she passed away. He also looks after her apartment. He gives Albert a bottle of homemade wine called Yadhoom.
But what does Yadhoom mean?
Rajesh explains it like this:
‘We spend our lives working, raising families, and doing other things. But we’re all waiting for a special moment. When that moment comes, it’s like you suddenly know what you’re supposed to do. That’s what Yadhoom is about.‘
Merry Christmas (2024)
Sriram Raghavan carefully places his characters right before the Yadhoom moments in their lives. He shows us how they find out who they are and what they want.
Before he starts his night adventure Albert reads a quote “Night is Darkest Before The Dawn”, this blend with the eastern version of Yadhoom philosophy where challenges and sufferings lead to self-realisation. Hope you have watched Lion Kingwhich beautifully portrayed this philosophy.
Albert’s return to Bombay is more than just a trip. It’s a journey through his past and into his own heart. The idea of Yadhoom is key in the movie.
The characters of Albert and Maria are skillfully crafted to evolve towards this Yadhoom realisation. Their interactions, laden with yearning and a sense of lost time, gradually lead them to their respective Yadhoom moments.
Complementary Yadhoom Arcs
The characters, Albert and Maria, are created in a way that Maria is skeptical, fragile and is more sure of her motivations than her decisions, while Albert is almost too careful, yet easy going.
Katrina Kaif & Vijay from Merry Christmas
There is a dialogue from Albert: “I’ve left a lot of things unfinished in life, but never a bottle of chilled beer,”. These complementary arcs in their behaviour is what makes them complete in the end while talking about the agony of remorse and awaiting.
Sriram Raghavan’s storytelling is subtle, he cleverly uses the festive atmosphere of Christmas to create a striking contrast with the deep self-reflection experienced by his characters. This contrast serves to highlight their personal growth. Initially burdened by their pasts and uncertainties, Albert and Maria evolve throughout the film. They move from being individuals weighed down by life’s complexities to people who gradually come to embrace the concept of Yadhoom.
Yadhoom, Albert and Maria: Philosophical Layers in Merry Christmas
Merry Christmas is more than just a black comedy on screen. It introduces us to the deep ideas of some philosophies.
Katrina Kaif & Vijay Sethupathi playing Flying Wish Paper Swan
Existentialism
For example, the film reflects existentialism. This is the belief that people must create their own meaning in a world that doesn’t have a clear purpose. Albert and Maria are characters struggling to escape their past and the truth, and in the end, they use what happens in their lives to make their own meaning and purpose for their present.
Stoicism
The film also shows ideas from Stoicism. Stoicism consists of wisdom, justice, courage, and moderation.
This ancient philosophy teaches that people should accept what happens in their lives and use these experiences to grow and become better people. We see this in how Albert and Maria deal with their past and how they change to find their purpose. In the climax there is a shot where Maria burns a Teddy and keeps two fish in the flush tanks. The way that night ends was narrated beautifully by Sriram and captured elegantly. by Madhu Neelakantan.
Even there is an instance were, Albert talks about Violence, he says: “Violence is better than the sufferings from non-violence”. This reminds me of Dharma philosophy.
In summary, ‘Merry Christmas’ is not just a black comedy thriller but a philosophical journey that resonates with the heart and mind. Echoing the essence of trendy Ikigai, Existentialism, Dharma,and all other such philosophies, Merry Christmas inspires us to explore our own paths, encouraging us to find our unique place in the world.
Are you waiting for the latest OTT releases this week? From the Rom-Com to Thrillers…the list is packed with a good number of thrillers, docu-series and romantic movies.
Collage of ott releases this week
Guardians of the Galaxy Vol 3: A Mischievous Emotional Rollercoaster
OTT Platform: Disney+ Hotstar Directed by: James Gunn Cast: Bradley Cooper, Chukwudi Iwuji, Linda Cardellini, Will Poulter
In Brief: Guardians of the Galaxy
The final instalment in the Guardians of the Galaxy series, Vol 3, focuses on Rocket’s traumatic backstory, featuring the High Evolutionary’s experiments. Rocket’s escape and separation from his soulmate Lylla, the otter, lead to a thrilling adventure filled with mischief, humour, and heart.
A big-hearted film that balances an overstuffed storyline with classic GOTG trademarks. James Gunn’s touch with unexpected dark themes keeps the series’ irreverent swagger while delivering emotional punches.
Dhoomam: An Unimpactful Thriller Fogged by its Message
OTT Platform: Amazon Prime Video Directed by: Pawan Kumar Cast: Fahadh Faasil, Roshan Mathew, Aparna Balamurali, Vineeth
In Brief: Dhoomam
In Dhoomam, Fahadh Faasil plays the marketing head of a major tobacco firm caught in a hostage situation with his wife. The non-linear narrative switches between the attempts to escape and Avinash’s rise within the company. The film also delves into the corporate world of tobacco, showcasing the methods used to convince new users and lobby with the government.
OTT Platform: Netflix Directed by: Pawan Basamsetty Cast: Naga Shaurya, Yukti Thareja, Tom Chacko, Satya Music: Pawan CH
In Brief: Rangabali
Rangabali tells the story of Shaurya, a man whose strength and identity are rooted in his hometown, Ramavaram. He falls in love, faces conflicts, and must change the identity of a significant place in his town. The film follows Shaurya’s journey from a small-town guy with dreams of heroism to his struggle with politics and identity.
Rangabali attempts to celebrate unabashed hero worship but ends up feeling like a collection of random ideas with superficial execution.
Naga Shaurya’s portrayal of the protagonist is unconvincing, with elements like his white shirt fetish and action sequences failing to evoke interest. The lack of depth in the storyline, masked by humor and mass masala, leaves much to be desired.
However, moments of occasional humour thanks to supporting actors Satya and Rajkumar provide some relief.
Rangabali’s promotional spoof interviews, in which Satya mimics media personalities, ironically offer more innovation and entertainment than the film itself.
Soulcatcher: A Clichéd Disappointment Bereft of Originality
OTT Platform: Netflix Directed by: Daniel Markowicz Cast: Piotr Witkowski, Jacek Koman, Jacek Poniedziałek
In Brief: Soulcatcher
Soulcatcher takes place in a not-so-distant future where a weapon named the Soulcatcher can transform ordinary people into savage killers. The plot revolves around a military contractor who is assigned to retrieve this device but faces a dilemma when his brother falls victim to it. This Polish action thriller endeavors to be a gripping tale but ends up awash with clichés.
The film sets itself up with a blockbuster script, yet its modest budget fails to match its grand aspirations. It falls short in terms of visuals, fight scenes, and character development, leaving much to be desired.
Although it boasts a conceptually interesting weapon and a promising plotline involving political corruption and scientific brilliance, the execution lacks originality and conviction.
Santhosham: A Feel-Good Attempt That Falls Short on Conflict
OTT Platform: Amazon Prime Directed by: Ajith V Thomas Cast: Anu Sithara, Amith Chakalakkal, Kalabhavan Shajohn, Mallika Sukumaran
In Brief: Santhosham
Santhosham revolves around the family of Suresh Kumar, focusing on his two daughters, Aadhya and Akshara. The narrative explores their dynamic relationship, especially as Aadhya’s marriage is fixed. The film attempts to delve into the sharp mood swings of children, a theme often overlooked in Malayalam cinema, but ends up delivering a conflict-free and simplistic narrative that fails to blend family bonding with a central idea.
The music by PS Jayahari adds charm, but misplaced songs hinder the overall experience.
Despite its aim to spread positivity, Santhosham’s underdeveloped script neglects to build a solid conflict, resulting in a film that focuses on optimism but lacks depth and engagement.
Plot Synopsis: When a group of misfits finds themselves up against a common enemy—a ruthless yet superstitious politician—they plan a heist as their method of revenge. The series combines elements of comedy and drama, promising a unique take on the heist genre. Choona aims to deliver an engaging story of retribution.
Dayaa: A Chilling Discovery and a Tumultuous Journey
OTT Platform: Disney+ Hotstar Directed by: Pavan Sadineni Cast: JD Chakravarthy, Eesha Rebba, Remya Nambeesan, Prudhvi Raj, Kamal Kamaraju, Josh Ravi
Plot Synopsis: Dayaa, a Telugu remake of the popular Bengali series Taqdeer, revolves around the life of a freezer van driver whose routine existence is shattered when he finds a lifeless body in his van. The discovery sets off a chain of events that embroils him and his best friend in increasingly complex challenges. As a new addition to Telugu-language content, Dayaa represents a thrilling foray into a new market for the renowned Bengali production house, SVF.
The Hunt for Veerappan: Unveiling the Dreaded Bandit’s Saga
Plot Synopsis: The Hunt for Veerappan is a gripping four-part docuseries set to explore the untold and unheard stories of the feared Indian bandit turned domestic terrorist, Veerappan. Beginning as a poacher, Veerappan ruled the jungles of South India, becoming the subject of India’s largest manhunt. Through detailed examination and intense storytelling, this series will delve into the complex web of Veerappan’s life and the forces that sought to capture him. The Hunt for Veerappan promises to unravel the mystery and mythology surrounding one of India’s most enigmatic criminal figures.
Nagumome Chaalu Le: A heartbroken and wide-eyed decided to explore the city
OTT Platform: Aha Directed by: N Balaji Cast: Saketh Valluri & Sindhuja Turlapati
Before Lust Stories 2, let’s get back to square one. In Lust Stories first edition, the anthology kicked off with Anurag Kashyap’s episode – a phenomenal start, indeed.
Lust Stories Title Card
Let me paint the picture:
If I’m not wrong, the opening scene featured Radhika Apte, head out of a car, basking in a nostalgic Bollywood tune. Street lamps illuminated her face, her hair waving in the wind, and she’s laying lazily, looking at her young lover, You get all this in one long shot of a taxi cruising on a quiet, lit-up highway at night.
Isn’t it making you see the picture? Can’t you feel what the character’s going through? No dialogues, but it still speaks to you. That’s my first metric for assessing a film’s quality. How much it speaks to you without dialogue.
After this scene, there’s a chat where Radhika Apte asks her boyfriend if they’re alone at home. He says only grandma’s home, and she can’t hear well. Then they’re in his room, talking about the books on the shelf, sharing thoughts. You can tell loads about the characters from this conversation. Kashyap uses the setting and dialogue to peel back layers of the characters. There’s a lot of talking, mostly by Radhika, but none of it’s senseless.
Why am I talking about Lust Stories 1 while writing about the second edition? Because that’s the easiest way for me to share my experience of Lust Stories 2.
Episode 1: Granny from the Future: Too Much Sex, Too Little Sense
Anurag Kashyap used the atmosphere and ambience to convey the emotions and used dialogue to portray the inner layers of the characters.
It’s not simply about sex or lust. The characters are not talking sex or f*** a lot of times; they are talking about their anxieties, which might be yours as well, and they are unveiling the deceptive covers in front of you. In the first episode, when Radhika Apte asks you, How can you expect one person to be everything, your friend, your lover, and your wildest fantasy? you will be able to empathise with the character Kalindi and be convinced that Kalindis exists.
First Episode: Lust Stories 2
In Lust Stories 2, everything is flipped. We start with R. Balki’s episode with a granny from the future, or maybe another planet. The episode is all sex or fuck. It feels so fake, full of cringe dialogue. Why did they pick this as the first episode? It made me want to stop watching. But after a break, I gave the second episode a chance. Balki should have made some notes from Anurag Kashyap’s Lust Story episode, especially on world building, character sketching, and dialogues.
Episode 2: A Peek into Hidden Emotions, Konkona Sen Sharma’s Lust Story
In Lust Stories 1, the second episode is from Zoya Akhtar, another great talent. It’s about a relationship between a domestic worker Sudha and the man she works for. It’s a subtle, simple story that leaves a question at the end. You can see that Sudha has almost no dialogue, but you can see her transformation, her anxieties, and, in the end, her acceptance of a hard truth.
Second Episode: Lust Stories 2
In Lust Stories 2, the second episode by Konkona Sen Sharma is very similar to what Zoya did; it is subtle, with almost no dialogue between the main characters except a short tirade. The episode ends with a superb commentary on voyeurism and how some emotions can only be limited to being kept under the wraps. Tillotama Shome nailed it, and I was so happy to see her again in the Night Manager today.
Episode 3: Lots of Lust but a ‘lustful’ Misfire
In Lust Stories 1, Dibakar Banerjee crafted the third episode, and it has a strong message for women. It is about Reena, who is in an extremely unhappy marriage with a businessman. She stuck in her roles as wife, mother, and lover, unable to assert herself as an individual. A single line of dialogue from Reena is enough to understand what’s going on; she says, “You need a mother, not a wife, and I cannot be that.” The movie questions the institution of marriage from a woman’s perspective.
Tammanna and Vijay Verma Lust Stories 2
But in ‘Lust Stories 2’, the third episode by Sujoy Ghosh is just a show. Lots of kissing and cleavage, and then a predictable twist. I couldn’t figure out what it was trying to say. At least they should have tried to remove that cliched backstory, which would have helped them make the climax better. If you are a Tamanna fan, go for it; otherwise, just watch the first 5 minutes and the last 10 minutes of the episode.
Even Vijay Verma couldn’t save this one as he did in Dahaad, I believe. By the way, I believe Jenniffer Piccinato is going to be a most searched term after Lust Stories 2. Her video call in this third episode added more Lust than the writers did.
Episode 4: Predictable Fairy Tale, Saved by Kajol’s Eyes
Kajol in Lust Stories 2
In Lust Stories, Karan Johar surprised me with the last episode. Among philosophical takes and social commentaries, he presented a simple yet thoughtful comedy-drama. But Lust Stories 2 ends with Amit Sharma’s episode trying to be a dark fairy tale and ending up just being dull. The only good thing was Kajol and her beautiful eyes.
There is actually nothing much to explain about Lust Stories 2. The endings or plot points are pretty straight, and if you are still looking for ending explained posts, you should really evaluate your cognitive skills.
In the end, I believe ‘Lust Stories 2’ may disappoint you. They messed up the brand with an amateur job.
As an ardent fan of Pawan Kumar, my expectations were sky-high for Dhoomam, especially after being enamored with his last web series, Kudi Yedamayithe. I eagerly waited two long years for Pawan Kumar to unveil his new work, post Kudi Yedamayithe.
Dhoomam Title card
However, to my disappointment, I couldn’t find the signature sophistication and finesse I had anticipated from Pawan Kumar in Dhoomam. It doesn’t show the output of 2 years of homework.
Plot
The plot centers around Avinash (Fahadh Faasil), who is the marketing head of a major tobacco company. He and his wife Diya (Aparna Balamurali) find themselves held hostage in a secluded hilly terrain. The kidnapper issue a series of demands via phone calls, prompting Avinash and Diya to complete certain tasks to save their lives.
The film switches between the couple’s present predicament and flashbacks to Avinash’s career rise in the tobacco company run by Sid (Roshan Mathew). In the past, we see Avinash’s cunning methods to promote the company’s products and influence government policies.
The plot leaves some loose ends, with questions around who the ‘faceless’ caller is and why Avinash is being targeted instead of Sid, the actual head of the company.
Expectations and Initial Disappointment
Director Pawan Kumar’s effort to highlight a grave issue like smoking deserves applause. However, the film’s execution leaves much to be desired. The kidnapping scene at the beginning of the film is unconvincing and disrupts the viewing experience. The film’s pacing feels off, with crucial events happening too rapidly and without adequate build-up. These elements, combined with a plethora of continuity errors, contribute to a sense of disconnection from the narrative.
Direction and Continuity Issues
When the movie starts, we can see Aparna Balamurali is waiting for Fahad Fazil and it’s raining, but while getting into the car, you can see that she is not at all wet. I couldn’t find any raindrops on her face, hair, or dress. If this movie was directed by any other directors from Kannada, I wouldn’t have cared, but since it was Pawan Kumar, this was a friction point for me.
With poor editing and scripting, the kidnapping scene in the movie was so artificial and unconvincing for me. There were a lot of loopholes in that scene, and I found so many continuity issues in just 20 minutes of the film. For example, I don’t know why the kidnapper took the watch from Fahad Fassil. While driving, there is a watch on his left hand, but in the morning it is not there.
There is a fight scene between a gunman and Fahad Fassil, and you can see a lot of wounds and bruises over his face and body, but after a face wash, he is clean and left with only a scar.
Characterization and Plot Development
When it comes to the plot development, I would say it is highly predictable and filled with cliched events.
The character development also suffered from amateur first thoughts. Take Fahad Fazil’s character Avinash as an example; he was portrayed as a creative thinker, problem-solver, and ambitious individual. However, the writer failed to provide a compelling trigger for this character’s transformation or introspection. I found it unconvincing that such a calculating character would alter his mindset without a strong reason.
All this means I couldn’t enjoy the movie at all? A Big No!!
Why You Should Try This Movie
There are some dialogues from Fahad Fazil as a marketer that really strike every citizen, I believe. For example, the way Avinash (Fahad) marketed the vapes was so brilliant, and as a marketer, I find it so interesting, and I realized how dangerously our emotions and mirror neurons work.
Similarly, the government’s involvement in promoting tobacco usage was represented neatly.
Fahad Fazil as Avinash in Dhoomam
Fahadh Faasil, playing the ambitious marketer, delivers a solid performance, reflecting his character’s complexity and moral struggle. Aparna Balamurali, despite a somewhat overly dependent character, brings credibility to her role. Roshan Mathew also offers a convincing portrayal in his role as the head of the tobacco company.
The climax is well-drafted, so realistic, and well-executed. I strongly believe that climax can make a huge impact on anyone who smokes; at least they will think twice next time when they hold a cigarette. The last 15 minutes of the film were really worth it, and that’s where I found the signature of Pawan Kumar.
Despite its flaws, “Dhoomam” delivers a potent social message. The impactful final scenes carry a significant enough message to make smokers reconsider their habits, highlighting the dangers of tobacco usage.
Final Thoughts
It might be best described as a missed opportunity – a film that could have been a powerful social commentary but falls short due to its execution.
Kerala Crime Files, As Hotstar’s first Malayalam thriller web series, I held high hopes. And I was happy to see that Disney Hotstar managed to meet my expectations in terms of production quality.
The series, set in 2011, showed a clear investment in recreating that era’s technological and ambient milieu. The craftsmanship on display was remarkable.
Penned by Aashiq Imar and directed by Ahammed Khabeer (known for ‘Madhuram’ and ‘June’), I had a feeling that the narrative might have fared far better as a standalone OTT movie instead of a web series.
A Case of Too Long a Tale
The plot, at its core, is simple. Sub-Inspector Manoj and his team of four are on the heels of a sex worker’s murderer. Their leads? A fake address: Shiju Parayil Veedu, Neendakara, and a witness who claims the suspect has squinted eyes. They are solving the case within six days (6 Episodes).
It sounds gripping, doesn’t it?
However, as the story opened up, my interest began to wane. The narrative felt like a wafer-thin premise stretched far too thin; it’s pretty evident that the writer didn’t spend much time with the characters or the events. If it were a 100-minute movie, this writing might work well, but I am not sure about a crime-thriller web series.
The series takes off slowly, with the first two episodes feeling like they could have been compressed into one. The narrative regains momentum in the third episode, establishing a robust motive for the lead character (S.I. Manoj) to track down the killer. But after that, the excitement ebbs again, only to return in the fifth episode.
Although the choice to depict six days across six episodes lends realism, the thrill factor takes a hit, perhaps a side effect of my steady diet of thrillers.
Written Poor, but Executed Well
The characters, whether the killer or the police officers, lack depth and layers. The addition of officers’ personal lives seemed a ploy to stretch the runtime, lacking subtlety or layers. The writer tried to build an image of the murderer with the first five episodes, and when it was finally revealed, I found a mismatch between the buildup and reality. That’s where I felt the writer should have spent much more time with the scripting.
In the climax, the explanation of the motto felt artificial. The victim character did not pull it off well enough to make it convincing. However, I really enjoyed the villain and his subtle cues.
The series showcases commendable performances from Aju Varghese in the lead role, supported by Navaz Vallikunnu, Zhinz Shaan, and Devika Rajendran. Zhinz Shaan’s constable “Pradeep” deserves a special mention for his steadfast character arc. His obstinate and narrow-minded approach distinguishes him from his colleagues. Another noteworthy performance is that of Lal in the role of CI Kurian.
To sum it up, lower your expectations, and you may find ‘Kerala Crime Files’ enjoyable. While it manages to retain your attention, it falls short of being a nail-biting thriller. The expectations set by the trailer didn’t fully translate into the series, and it spoiled my experience with this thriller.
My Opinion: A Promising Start, but Does It Deliver? Doubtful
What’s the big advantage of making a thriller film like Por Thozhilas a debutant, especially a homicide thriller? You might think it’s the heart-pounding suspense or the dark and mysterious aesthetics.
Title Card: Por Thozhil
But from a scriptwriter’s perspective, the real charm lies in its easiness. If you have a solid “whodunit” hook and a twist in the end, you need only to ensure a smooth investigation filled with a few impressive moments. For debutant directors, it’s a surefire strategy. and there you have it. A recipe for minimum an above average status.
And that’s where Por Thozhil fits in. It’s a murder mystery that plays safe, sticking to the tried-and-tested formula.
It’s thrilling, engaging and, above all, familiar. But is that necessarily a bad thing? Not at all!
Familiar Grounds, Engaging Watch
Pick any classic homicide thriller and you’ll start seeing a pattern.
The detective often wrestles with personal loss, chronic illness, or a haunting past. He then stumbles upon an extraordinary case, perhaps involving a serial killer or a brutal murder. The movie ends with a twist; the detective overcomes his struggles; sometimes, the audience sympathises with the killer. While most cases end happily, occasionally the detective loses his life or his partner. There are outstanding exceptions like Chinatown or Memories of Murder. (Read why ‘Memories Of Muder is different here.)
Por Thozhil doesn’t deviate from this blueprint. And although this might sound repetitive, the real magic happens in the journey from the start to the finish. That’s where the storyteller can truly make a mark.
From the classic ‘Silence of the Lambs’ to the recent Malayalam thriller ‘Kooman,’ the difference lies in the journey – the route it takes from the departure point to the destination.
However, Por Thozhil doesn’t break new ground. It embraces the cliched template, with several elements reminiscent of countless other detective thrillers. Nikhila Vimal’s character, buddy cop frustrations, mentor cop arrogance, serial killer, and the ending twist are all elements borrowed from a hundred other detective thrillers.
Falling Short of Convincing: The Local Flavour is Missing
One downside of Por Thozhil is that it misses out on the local flavour. The serial killer’s backstory would make more sense in countries with lower population densities( 32/sq.km), like Canada or Australia but in Tamil Nadu with 555 people in a square kilometer, it’s not that convincing.
Why are our filmmakers fixated on these Western-style plotlines?
Why not develop detective thrillers that resonate with our culture, demographics, and geography?
The last time I felt like I was watching an authentic Indian detective thriller was ‘Joseph’, not a mere adaptation of a foreign thriller. Even Ila Veezha Poonchira and Kooman were succesful in adding the local flavour and serving it as a genuine Indian Thriller.
Thrills and Chills: It’s All About the Unravelling
Another bone I have to pick with Por Thozhil is how the narrative unfolds.
It seems as if the clues chase the detective, rather than the other way around. This takes away from the excitement or “got omething new” moment that should naturally come with a thriller.
For example, when you watch the Malayalam thriller ‘Memories’, you will find many occasions where the detective brilliantly did some outside-the-box thinking without his super-computer brain, which can remember and recall everything (like in Por Thozhil).
There’s a scene towards the end where Prakash (Asok Selvan) decodes a ‘who’ in a coffee shop. For me, this was one of the most superficial decodings I’ve ever seen.
The lack of an intensive, painstaking investigative process can make the narrative feel a bit superficial and detracts from the immersive viewing experience.
Por Thozhil Cast: The Saving Grace
Despite the movie’s shortcomings, the performances shine. Sarath Kumar is spectacular as the senior cop. Ashok Selvan’s portrayal of Prakash, the rookie officer, also deserves applause.
Sarath Kumar as Loganathan
Prakash (Ashok Selvan) is a newbie, and initially, Sarath Kumar has little hope or trust in him. There’s a scene where Prakash determines the time of death by measuring the brain temperature of the dead body (If you watch thrillers, nothing new in the method). Sarath Kumar’s subtle reaction beautifully conveys a sense of pride, a kind of “Paravayilley” reaction.
Asok Selvan as Prakash
Sharath Kumar mesmerised me with his effortless acting and the subtle reactions throughout the movie.
The casting of late actor Sarath Babu is another highlight. His portrayal of the vulnerable and guilt-ridden antagonist brings a sense of realism to his character.
Nikhila Vimal, however, has room for improvement.I didn’t see the character Veena in the film; instead, I saw Nikhila Vimal playing a supporting role to Sarath Kumar.
Nikhila Vimal as Veena
There’s another character I want to mention, but that might be a spoiler. The casting could have been better there as well. It wasn’t convincing considering body language, reaction, or emotional appeal.
My Suggestion
For debutant director Vignesh Raja, Por Thozhil seems like a safe bet. His clever blend of elements works for a mainstream audience, making the movie a passable watch for fans of the genre. Despite some missteps, the film is a testament to his potential as a promising filmmaker.
It’s not groundbreaking, but it still manages to be an entertaining watch. The actors, especially Sarath Kumar and Ashok Selvan, do a fine job. If you’re in the mood for a decent detective thriller, Por Thozhil might be just the ticket.
