Dahaad: Sonakshi Sinha’s Mixed Bag of Thrills and Spills

“Dahaad,” Sonakshi sinha’s new Indian web series on Amazon Prime, showcases a serial killer’s tale set in a small town in Rajasthan.

Created by Reema Kagti and Zoya Akhtar, the series is inspired by Cyanide Mohan’s real-life story.

Mohan Kumar, a former primary school teacher in Dakhina Karnataka region, confessed to poisoning and killing at least 20 women between 2004 and 2009, stealing their jewellery afterward.

Reema Kagti and Zoya Akhtar combo’s last thriller, “Talaash” (2012), was my inspiration to watch “Dahaad” on its release day. Talaash(search) was a promising search but Dahaad(Roar) is not Roaring that much.

Dahaad Poster

Thrilling Plot with a dashing Villain

“Dahaad” follows the story of Anjali Bhaati, a sub-inspector in the small town of Mandawa, Rajasthan. She’s grappling with a disturbing pattern of women’s deaths that seem to be suicides but hint at something more sinister. These women all come from economically and socially disadvantaged backgrounds, facing domestic problems like dowry issues, compelling them to elope with lovers.

The common thread?

Their dead bodies are found in public washrooms.

Now, meet Anand Swarnakar, a charming literature professor, husband, and father, living a seemingly ordinary life. But beneath this façade, he’s the serial killer that Anjali is relentlessly pursuing. We, the audience, know this from the beginning, and our curiosity is piqued not by who the murderer is but by how Anjali will bring him to justice.

Who! Why! How! & Too Many Sub-Plots

Most thrillers tend to fall into the ‘whodunit’ category, while some focus on ‘how’ or ‘why.’

“Dahaad,” leaving viewers curious about ‘why’ or ‘how.’ Unfortunately, “Dahaad” seems to falter in this respect, failing to sufficiently intrigue or clarify these aspects.

Serial killer cyanide Mohan and his victims.

The script is very close to the original incidents in 2009, especially the sub-plots around the fringe Hindu outfits, Mohan Kumar’s targets, and Dakshina Kannada Hindutva experiments, and those layers were successful in convincing the audience about the intensity of rumours and propaganda communications.

The series incorporates themes of casteism and patriarchy, but these elements feel somewhat forced and disrupt the narrative flow. Anjali, played by Sonakshi Sinha, is from a lower caste, and her experiences often come into the picture.

However, the incorporation of these societal issues somewhat slows down the pace and diminishes the thrilling vibe of the series.

The series also delves into the personal lives of the cops, a typical trope in cop thrillers. For instance, Pargi, a demoted corrupt officer working with Anjali, grapples with his wife’s pregnancy, leading to some melodramatic moments reminiscent of Tamil and Telugu films. This subplot does not blend well with the main storyline, further diluting the series’ impact.

The Many Faces of Sonakshi Sinha

Sonakshi Sinha’s performance as sub-inspector Anjali Bhaati in “Dahaad” is commendable, but there are a few areas that could have been improved:

Sonakshi Sinha in Dahaad as SI Anjali

Emotional Range: While Sonakshi portrays the strength and determination of Anjali convincingly, there are moments where her emotional range seems limited. Key scenes that require a deep display of emotion, such as anger, fear, or grief, sometimes come off as underplayed.

Character Development: While this is more of a script issue than a performance flaw, Sonakshi’s character isn’t as fleshed out as it could be. We don’t get a thorough exploration of Anjali’s backstory or her motivations, which limits Sonakshi’s ability to bring depth to her character.

Dialogue Delivery: Although Sonakshi delivers most of her lines effectively, there are instances where her dialogue delivery could have been more impactful. Particularly during intense scenes, her delivery doesn’t always match the gravity of the situation.

Vijay Varma: A Masterclass in Acting

Vijay Varma’s performance in “Dahaad” is one of the highlights of the series. As Anand Swarnakar, a literature professor who is also a serial killer, he is captivating and terrifying in equal measure.

Vijay Varma in Dahaad as Anand

Character Portrayal: Vijay masterfully embodies the dual nature of his character – a respected teacher and family man on one hand, and a cold-blooded killer on the other. The ease with which he switches between these two personas is chilling and keeps the viewers engaged.

Emotional Range: Varma displays a wide emotional range in his portrayal of Anand. Whether he’s playing the caring teacher or the ruthless murderer, his performances are always believable and evoke strong reactions from the audience.

Physicality: Varma’s use of physicality to convey his character’s emotions is exceptional. His body language and facial expressions perfectly mirror the mental state of his character, adding an extra layer of realism to his performance.

Screen Presence: Varma has a commanding screen presence that draws the audience’s attention. Every scene he is in becomes more intense and gripping because of his performance.

Why You Should Watch “Dahaad”

Engaging Plot: “Dahaad” provides an engaging plot that revolves around a serial killer and a dedicated police officer’s pursuit. The blend of crime drama and social themes like “Love Jihad”, gender disparities, and the exploitation of women, makes it a thought-provoking watch.

Vijay Varma’s Performance: Vijay Varma delivers a stellar performance as the literature professor turned serial killer. His portrayal of the character is captivating and chilling, making it a highlight of the series.

Cinematography: The series’ cinematographer, Tanay Satam, skillfully captures the landscapes and settings of the small town in Rajasthan, encapsulating the raw essence and tension of the story. The utilisation of natural light and atmospheric hues further enhances the authentic feel of the series, contributing to its overall aesthetic appeal. 

For more reviews click here.

Afwaah: An Untold Indian Story from Sudhir Mishra

Afwaah Poster

Plot: Social Media, Power, and Prejudice

Before writing a review of “Afwaah,” directed by Sudhir Mishra, let me share a glimpse of the plot.

“Afwaah” unfolds in Sawalpur, a small town in Rajasthan, embroiled in political unrest and social chaos.

As the story begins, we meet Vicky Bana aka Vikram Singh (Sumeet Vyas), a politically ambitious man whose provocative speech ignites a chain reaction of violence and revenge.

When his fiancée Nivi (Bhumi Pednekar) discovers his bigotry, she chooses to escape, only to find herself caught in the crossfire of escalating rumors and hate crimes, fueled by the social media platform, Qwitter.

As Nivi and Rahab Ahmed (Nawazuddin Siddiqui), a stranger who steps in to help her, strive to evade the dangers, they become victims of ‘love jihad’ hatred.

The film takes a deep dive into the consequences of unchecked rumors and the disturbing ease with which social media can manipulate public opinion.

Unsettling Exploration of Politics

“Afwaah” is a deeply political film that exposes the dynamics of power, the manipulation of public opinion, and the devastating role that social media can play in fueling societal divisions.

At its heart, “Afwaah” focuses on politics and fake news. It shows how a rumor, when magnified by politics and social media, can disrupt lives. This can lead to deeper societal divisions.

The story delves into the misuse of social media. Power-hungry individuals exploit this platform to take advantage of existing prejudices. This can create an atmosphere of fear and hatred.

The film reveals an uncomfortable truth. A single, unverified piece of information can be used for political gain. It highlights a bleak reality of our times. Personal biases can be manipulated and used for political purposes.

“Afwaah” also draws attention to bystanders’ role. They can unknowingly contribute to this vicious cycle. This happens when they don’t question the information they share or consume.

The film is a strong and timely critique of politics and social media’s dark side. It urges us to question the information we consume and share.

Subtle yet Powerful Performances

Characters from Afwaah

The acting performances are nothing short of exemplary.

Sumeet Vyas delivers a powerful portrayal of Vicky, encapsulating the many facets of his character, from his raw ambition to his volatile emotions.

Bhumi Pednekar excels as Nivi, a strong, determined woman who’s unwilling to compromise her values. Pednekar’s performance is compelling and emotive, matching stride for stride with Siddiqui’s restrained yet impactful presence as Rahab.

Sharib Hashmi also stands out, leaving a lasting impression in the limited screen time he gets.

Why You Should Watch This Movie?

Director Sudhir Mishra’s Interview

“Afwaah” isn’t just a movie; it’s a social commentary on the state of our times. It pulls back the curtain on the dangerous manipulation of social media and reveals the damning consequences of rumors.

By presenting a story that is both compelling and relatable, “Afwaah” pushes us to question our own beliefs and biases.

It provokes us to examine our online behaviors and the information we choose to trust and propagate.

The film’s relevance in today’s digital age cannot be overstated. It’s an important reminder of the responsibility we all bear as participants in the digital world, where a single rumor can incite chaos, disrupt lives, and deepen societal divides.

Despite its gripping narrative and stellar performances, “Afwaah” isn’t without its flaws.

It’s not Flawless

Predictability: The film’s engaging and gripping storyline can’t hide the fact that viewers can easily predict some of its twists and turns early on, taking away the suspense this movie should ideally build.

Pacing: The first half of the film is quite fast-paced, which keeps viewers engaged. However, post-interval, the narrative seems to slow down, making some parts feel unnecessarily stretched out.

Language Usage: Moreover, while the dialogues in the Rajasthani dialect lend authenticity to the film’s setting, the excessive use of local slang might detract from the viewing experience for some.

Character Development: The film could have given some characters, especially the antagonist, a more nuanced portrayal to add depth to the narrative. As it stands, the antagonist’s motivations and actions often come off as one-dimensional.

Screenplay: There were moments where the screenplay could have been tighter, ensuring a more seamless progression of the storyline.

In conclusion, “Afwaah” is an important and timely film that explores the dark underbelly of social media and its potential to manipulate and divide.

Bolstered by compelling performances and a thought-provoking narrative, it’s a film that deserves to be seen, discussed, and pondered over. And perhaps, it might make us think twice before we click ‘share’ the next time.

Read more reviews here.

Jude Anthany’s 2018 – A Stirring Story of Survival With Some Clichés

“2018 – Everyone is a Hero”, directed by Jude Anthany Joseph, is a testament to the power of human resilience in the face of a calamity. This gripping drama, based on the Kerala floods of 2018, showcases a whole community coming together to overcome adversity, proving that heroes exist in every corner of society.

2018 Malayalam Movie Title Card

The Emotional Journey Through the Floods

Jude Anthany Joseph’s direction and Chaman Chakko’s editing strike the right balance between portraying the harsh realities of the situation and the uplifting moments of heroism and unity. The film is elevated by its technical excellence, especially in the flood scenes, which are both visually impressive and emotionally stirring.

The film’s script and story, crafted by Jude Anthany Joseph, are undoubtedly the backbone of 2018 – Everyone is a Hero. The narrative weaves together numerous characters, each with their own unique arc, capturing the essence of a community uniting in the face of catastrophe. The film’s strength lies in its ability to showcase the ordinary lives of people, their petty quarrels, and their extraordinary transformation when faced with adversity.

As the story unfolds, we witness an emotional rollercoaster that peaks during the intense rescue operations and heart-wrenching moments of loss.

2018 – Everyone is a Hero: A Gripping Story with Room for Improvement

However, I must point out a few areas where the script could use some improvement. The first 40 minutes of the film is laden with clichés and predictable sequences, reminiscent of old Tamil movies brimming with “Paasam” and “Pride.” Asif Ali’s love track and Tovino’s side track at the beginning feel like they’re filled with immature writing and clichés.

A more balanced and realistic portrayal of characters in the initial phase would have added greater depth to the story. At this stage, it’s all too easy to predict the upcoming events in the second-half. The film’s scripting and characters brings to mind Major Ravi scripts. I truly hope that, one day, Mollywood will get a survival thriller without much clichéd melodrama.

Secondly, the pacing of the film could have been more consistent. Although the first half sets up the characters in a very slow-steady pace and the film experiences a few dips in the second half. Some scenes feel stretched, while others are rushed, which affects the overall flow of the narrative. Tightening the script in these areas could have improved the film’s pacing and made for a more immersive experience. Lastly, the film could have delved deeper into the political and social aspects surrounding the disaster. Instead, it primarily focuses on human spirit and heroism, albeit with a few clichéd characters and events. Additionally, more thorough research could have enabled the scriptwriters to explore the underlying issues and challenges faced during the crisis more effectively, adding depth and relevance to the story, rather than resorting to clichéd melodrama.

An Exhibition of Remarkable Performances

One of the major highlights of 2018 – Everyone is a Hero lies in the powerhouse performances of its stellar cast. The movie boasts of an ensemble of talented actors, including Kunchacko Boban, Asif Ali, Tovino Thomas, Naren, Kalaiyarasan, Vineeth Srinivasan, Aparna Balamurali, and Lal. Each of them has left an indelible mark on the screen, bringing forth the raw emotion, resilience, and courage of their characters.

Characters

Kunchacko Boban, with his nuanced portrayal of an everyday hero, perfectly encapsulates the essence of an ordinary family man and a responsible government official during calamities. Asif Ali’s performance as a reluctant volunteer provides a sense of relatability, displaying the evolution of an individual in the face of adversity. Tovino Thomas delivers a gripping performance, capturing the pain, loss, and determination of a man fighting against all odds to save his people. I would say, you can see a more humanised version of Minnal Murali in 2018.

Naren, Kalaiyarasan, and Vineeth Srinivasan play pivotal roles in the narrative, showcasing the diversity of human emotions and responses to the disaster. Their acting prowess breathes life into the story, ensuring that every character contributes to the overall impact of the film.

However, it does fall short in its representation of female characters, who are often shown as helpless and in need of rescue, despite the fact that many women played crucial roles in the recovery efforts. Aparna Balamurali’s character treis to balance it but her character doesn’t have much depth to the narrative, making it just another helpless female character.

2018: A Watchable Tribute to the Unsung Heroes

In conclusion, 2018 – Everyone is a Hero is a compelling story that showcases the best of human resilience and unity, but it could have been elevated further with a few improvements in the script and pacing. Nevertheless, the film remains an engaging and moving experience that will surely resonate with audiences.

“2018 Everyone is a Hero” serves as a reminder that even in the darkest of times, there are heroes among us, ready to lend a helping hand.

Similarly, this movie demonstrates that with great content and quality production, there’s no need for promotional gimmicks. The theatre was packed for the second show.

Read more reviews here.

Vyavastha: Anand Ranga’s Legal Drama Lacks a Depth

I was searching for a thriller webseries and chose Vyavastha a Zee5 webseries based on its intriguing one-liner:

“On their wedding night, Yamini (Hebah Patel) is arrested for her husband’s murder. Vamsi (Karthik Rathnam), a young lawyer who cares for her, takes her case and tries to save her from Chakraborty (Sampath Raj), a crooked and influential lawyer in the city.”

Sounds interesting, right?

However, although it looks great on paper, the on-screen result is a cliched webseries that follows Vamsi as he tries to prove Yamini’s innocence while battling a corrupt lawyer.

Vyavastha webseries suffers from poor execution and weak scripting, making it worth watching only once if you’re interested in courtroom dramas.

Vyavastha poster

Poor Direction and Below Average Screenplay

Director Anand Ranga establishes a promising premise with a strong foundation for an engaging legal battle. The first episode reminds me of the 2020 Netflix series “Raat Akeli Hei.”

However, from the second episode, I realized that the series is a mediocre attempt with a template screenplay filled with some predictable and insipid events.

A scene from Vyavastha

The intensity and emotional depth are lacking, but to some extend, Karthick Rathnam’s performance helps balance these shortcomings. The subplots and conflicts, which could have enriched the story, are underdeveloped and lose momentum as the series progresses.

Vyavastha starts with a bang, but then it’s just a humming from episode 2 to episode 7, and finally, in episode 8, you can see a rushed conclusion that may also leave you unsatisfied.

I believe that after the first episode, you can directly watch episode 8, and it won’t make much difference even if you skip the episodes in between.

Performances & Technical Aspects

Karthik Rathnam impresses as Vamsi, a lawyer committed to justice, while Sampath Raj’s ruthless and greedy lawyer Chakraborty boasts a strong presence. Hebah Patel provide a decent performance within her characters’ limitations, and it was a surprise to see Kamna Jethmalini after a gap, nothing more to say about her character.

Hebah Patel

Anil Bandari’s cinematography is adequate, but the law firm sequences could have used a more polished presentation. There isn’t much to say about the art department, as it’s even worse. The courtroom setup is unconvincing. Vyavastha is suffocating at multiple places because of thsi poor technical aspects.

Naresh Kumaran’s background score does its job but isn’t exceptional, and it doesn’t leave a lasting impact.

Reasons to Watch Vyavastha webseries:

  • Engaging premise and intriguing plot (But spoiled from E02-E07))
  • Strong performances from Karthik Rathnam and Sampath Raj
  • Some well-written dialogues

Reasons to Skip Vyavastha webseries:

  • Poor execution and weak screenplay
  • Underdeveloped subplots and conflicts
  • Engagement is limited to the first and last episodes.

Despite a solid plot and commendable performances, the series falls short due to poor execution and a weak screenplay.

For more reviews click here.

Ponniyin Selvan Part II: Mani Ratnam’s Vengeful Visual Feast

Mani Ratnam’s “Ponniyin Selvan: Part II” has finally arrived, and in one word, it’s not as loud as Bahubali, but it’s wiser than any Rajamouli film.

PS-2 is an emotionally driven, character-focused epic that delves into the intricacies of political intrigue and human connections in a captivating and thought-provoking manner.

In my view, Mani sir’s storytelling expertise is evident in this film, making it a must watch for his fans.

Sara Arjun & Santhosh Sreeram

PS-2: A Layered Story Filled With Emotions

The plot of “Ponniyin Selvan: Part II” starts with the childhood stories of Nandhini and Aditya Karikaalan. It prepares the audience for the upcoming events. Then it shifts to the present, and continues from where the first part ended, exploring the power struggles and alliances that determined the Chola Empire’s destiny.

The film features three major events: the return of Arunmozhi Varman (Jayam Ravi), who was thought to be dead; the confrontation between Nandhini and Aditya Karikaalan; and how Vandhiyathevan (Karthi) exposes the plot to topple the Chola Empire and wins the war against the Rashtrakutas.

Though the plot is undoubtedly complex and multi-layered, Maniratnam keeps the audience engaged through skillful storytelling. The emotional intensity of the film may be too much for some viewers, particularly those who prefer a more action-filled historical epic. Don’t expect a Baahubali-style period drama here; instead, the emotions and performances from the lead actors grip you throughout the journey.

Fiery Aishwarya Rai & Raging Vikram

One standout aspect of “Ponniyin Selvan: Part II” is the exceptional performances from its talented cast. Aishwarya Rai Bachchan’s portrayal of the cunning and enigmatic Nandini is especially noteworthy. Her expressive eyes and ability to convey various emotions make her character unforgettable.

Characters Ponniyin Selvan

In my opinion, this is undoubtedly one of her best performances ever. Similar to the confrontation scene between Kundavi and Nandini in the first part, there is a scene where Aditya Karikaalan meets Nandini after a long time. Even without any dialogue or eyebrow movements, the way Aishwarya Rai captures vengeance and inner fire is impeccable. I couldn’t take my eyes off those beautiful close-up shots.

Vikram, as Aditya Karikalan, exudes determination and intensity in his role, showcasing his versatility as an actor. Jayam Ravi and Karthi also deliver impressive performances as Arunmozhi Varman and Vandhiyathevan, respectively, adding depth to the overall story.

Unfortunately, in this sequel, Trisha doesn’t contribute much beyond a romantic scene with Karthi, which was already trending on social media, leaving no element of surprise.

Last but not the least, 17 year old ‘Deiva Thirumagal’ actress Sara Arjun truly surprised me with her stunning emotional scenes.

The Unforgettable Face-off: A Pinnacle Moment in Ponniyin Selvan: Part II

One of the most striking scenes in “Ponniyin Selvan: Part II” is the intense confrontation between Aditya Karikalan (Vikram) and Nandini (Aishwarya Rai Bachchan). This face-off highlights Mani Ratnam’s exceptional direction and scripting, as well as the strong performances of the lead actors.

As the tension between the characters peaks, the audience becomes absorbed in their complex relationship. It’s filled with suspicion, power struggles, and subtle emotions. Their eyes express a blend of anger, determination, and vulnerability, revealing their character arcs.

The build-up to this moment is well executed. Mani Ratnam uses subtle cues and visual storytelling to craft a tangible sense of anticipation. In this scene, you can experience A.R. Rahman’s best work from the recent times. The scene is further enriched by the remarkable cinematography and the art works, intensifying the emotional impact.

This unforgettable scene in “Ponniyin Selvan: Part II” exemplifies Mani Ratnam’s story building skill. The way mani Ratnam pull off the emotions is that make this film an epic worth watching.

Character Arcs, Scripting, and Pain: Mani Ratnam’s Mastery

In a Mani Ratnam film, the character arcs of female leads often excite scriptwriters. Characters like Shakthi, Divya, Meghna, and Dr. Leela evolve while the male parts typically have flat arcs throughout the movie. In PS-2, there is no exception; Nandini’s character arc is especially noteworthy, revealing the complexities and layers of the main player, Nandini.

Aishwarya Rai Bachchan’s Nandini transforms from a mysterious figure in Part I to a fully-realized, multi-layered character in Part II. This change demonstrates Mani Ratnam’s skill in developing character arcs. His ability to balance various plotlines and characters without losing sight of the core story is praiseworthy.

Technical Elements: A Visually Stunning Experience

“Ponniyin Selvan: Part II” excels in its technical elements. The film’s visuals are breathtaking, with each frame carefully designed to reflect the grandeur of the Chola Empire. The cinematography and art direction significantly contribute to the immersive atmosphere of the movie. Watching it in IMAX further enhances the overall visual experience.

However, I believe there is room for improvement in pacing and editing. A more streamlined narrative would have benefited the complex plot and numerous characters, keeping the audience fully engaged.

In conclusion, Mani Ratnam’s “Ponniyin Selvan: Part II” is a masterfully crafted historical epic showcasing the best of drama and politics. It’s a must-watch for enthusiasts of this genre.

For more reviews click here.

Yaathisai: A Riveting Period Drama by Dharani Rajendran

This summer is a real treat for fans of Tamil culture, as they’re in for two back-to-back period dramas within a week’s time.

Yaathisai Poster

The interesting twist is that Dharani Rajendran’s ambitious venture, Yaathisai comes with a modest budget, an unknown producer, and several debutant actors, telling the story of the Pandyan and Einar clans.

On the other side, we have a highly anticipated Ponniyin Selvan -2 by a renowned director, a team of experts, LYCA productions and a star-studded cast, including Karthi, Vikram, and Aishwarya Rai, who delve into the Chola Kingdom.

Yaathisai: A Compelling Period Drama on a Budget

If you’re short on time, here’s the gist:

Director Dharani Rajendran has shown that crafting a compelling period drama doesn’t require a massive budget, famous stars, or a team of experts – all it takes is a vision.

That vision is evident in Yaathisai, and as a filmiholic, I wholeheartedly appreciate the effort. I believe you should experience this in theatres and encourage such commendable attempts.

Dharani Rajendran: Hidden Talent of the Tamil Film Industry

Yaathisai is truly a refreshing period drama that stands out and serves as a lesson for big-budget period dramas. Directed by Dharani Rajendran, this film showcases the hidden potential of the Tamil film industry.

Yaathisai takes us back in time, where the Einar clan fights the powerful Pandiyan kingdom.

In my opinion, the film was marketed incorrectly, as it seems less focused on Pandian warriors and more on the underdog tale of the Einar clan.

Powerful Performances and Technical Excellence

The director’s extensive research is evident throughout the movie, keeping audiences engaged from start to finish.

The lead actors, Seyon as Kodhi and Shakti Mithran as the Pandiyan king Ranadheeran, deliver powerful performances that breathe life into the story. In one word, their performances are raw-rustic and loud.

The world of Yaathisaasi

The technical team also deserves praise for creating a world that looks and feels real. The movie gradually picks up its pace, slowly taking us into the world of Yaathisai.

I truly appreciate the action choreography; the fight scenes are intense and make you feel like you’re part of the action.

Of course, the movie isn’t perfect. Sometimes the special effects take away from the story, but that can be considered given the budget constraints.

In the second half, the pacing could be better. After the interval punch, it moves through some melodrama and the marriage scene reminds me of Santhosh Shivan’s Asoka. There are some slow-paced melodramatic moments in the second half, but the movie picks up its action soon.

Finally, enhancing the dubbing and sound effects could elevate the movie further, especially during the forest sequence and ambush event, which could provide an even better theatre experience with a bit more effort in the sound department.

Why I Love Yaathisai

Yaathisai shows that you don’t need a lot of money or famous actors to make a great historical drama. You just need a team that’s passionate and creative.

In conclusion, Yaathisai is a must-watch for fans of period dramas and anyone looking for a fresh, raw-rustic movie experience. Dharani Rajendran’s bold attempt is a great example of what Tamil cinema can do. So get your popcorn, sit back, and enjoy the world of Yaathisai – Just like Baahubali, PS-1, Yaathisai also has a second part; it’s just the beginning.

For more reviews, check whattowatch.

Adi – A Thriller Exploring Male Vulnerability

Prashobh Vijayan’s Adi takes on the central theme of toxic masculinity and its associated vulnerabilities, with a thrilling plot revolving around road rage in Kerala.

I must say, Prashobh Vijayan’s movies never excited me, which is why I opted for Madanolsavam over Adi. However, when a few people from the theater gave positive responses for Adi, I decided to give it a try. And, let me tell you, I was pleasantly surprised! Adi is the best movie from Prashobh, Ahana Krishna, and Ratheesh Ravi so far.

Adi promotional poster

A Thin Plot with “I am Man!!” Pride

Adi revolves around Sajeev, an NRI played by Shine Tom Chacko, and his wife Geethika played by Ahaana Krishna. Their adversary, Joby Joseph, played by Dhruv, oozes with masculine pride. Sajeevan gets badly beaten by Joby Joseph, and it bothers him that it happened in front of his wife, Geethika.

The film effectively highlights the issue of toxic masculinity, with the characters repeating the line “I am a man!” before and after every act of violence. Eventually, the movie shows how Ahaana’s Geetika is challenging this “I am Man!!” pride.

Road Rage, Masculinity & Vulnerabilities

The movie addresses the alarming issue of road rage in Kerala, which is something that we should prioritize. Road rage and revenge have been the central theme of many movies like Hollywood’s “Unhinged” and Mollywood’s “Kali,” and Adi follows suit but with a less intensity compared to “Kali” or “Unhinged”.

Shine Tom Chacko & Dhruva from Adi

Still, As the movie progresses, it turns its colors and Adi tries to explores the congeniality between relationships.

The movie initially gives the notion that it’s all about toxic masculinity, much like Ratheesh Ravi’s previous work, Ishq. Some viewers may have misunderstood as Adi as a male chauvinistic movie. However, in my opinion, the film aims to address the issue of toxic masculinity and its associated vulnerabilities.

Adi’s Cast Brings Depth and Intensity to Their Characters

Ahaana Krishna from Adi

All three main actors, Shine Tom Chacko, Ahaana Krishna, and Dhruvan, excelled in their roles. It was surprising to see Ahaana and Shine’s on-screen chemistry. Normally, the contrast between young actors and experienced actors like Shine Tom Chacko is visible, but Ahaana was able to pull off her character with ease. Dhruvan made a great attempt but there were instances where I felt he could have done it in a more sublr manner instead of exaggerations.

Athira Patel’s character may have been short, but it effectively points a finger at toxic relationships and the male ego.

Adi’s music is one of its strongest assets, thanks to Govind Vasantha, who composed music for the 96 movie. The music adds an emotional layer to the film’s many scenes, elevating the overall viewing experience.

Adi: A Conclusion without a cliched “Adi”

Overall, Adi has a great start, subtly addressing its core theme. However, when it reaches to the end, I felt like the climax of the film a bit forced and unconvincing. If the filmmakers could work on it a bit more, the movie could have impressed more viewers this festival season. I feel like, Adi is a movie best suited for youngsters, not for everyone.

With standout performances from Shine, Ahaana & Dhruvan, superb music, and a thrilling theme, Adi is a one-time watchable for anyone interested in exploring the issues of toxic masculinity and vulnerability.

Here you can read about the second release of the week, Madanolsavam.

A Modern Version of Raghunath Paleri Classics: Madanolsavam

Ratheesh Pothuval’s Signature Style

Ratheesh Pothuval’s movies always remind me of the old Raghunath Paleri classics.

When Malayalam film industry was filled with slap-stick comedy tracks, Raghunath Paleri scripts transport us to a different world, filled with dark comedy, subtle political satire, and a touch of Deadpan comedy with quirky characters like Pashune Kalanja Paapi, Meesha Vasu, Krishna Kurup, Doctor Vadhu…

Ratheesh Pothuval movies are no different as they are a modern version of those Raghunath Paleri classic films.

Madanolsavam title card

An Unexpected Turn of Events & A Political Game Changer

This title can be the one-liner of this movie.

The story revolves around Madanan, a young man who sells coloured chickens for a living. One day, a girl unexpectedly enters his life, creating the most hilarious (dark humor) event in the movie, even though it’s unrelated to the film’s central theme.

Madanan Manjakkaran, a BDF candidate played by Babu Antony, is about to win an election for the first time in Manjeswaram. However, the opposition party, led by “Porali,” decides to use Madanan as an imposter candidate against Manjakkaran to scatter the vote share. The rest of the story follows how Madanan’s life changes after this event.

Entertaining, But Lacking Freshness

Madanolsavam is a complete family entertainer that has enough elements to keep you entertained.

However, somewhere in the movie, I felt like the freshness of Ratheesh Pothuval’s previous scripting was missing, maybe because of the overused template of Kasargod slang, stereotypical character comedies, and subtle burlesque moments. I believe Ratheesh Pothuval needs to reinvent his writing to avoid losing the punch he had in his earlier works.

Tried and Tested Formula

Ratheesh uses the same eccentric political shades that succeeded in “Enna than case kodu.”

I love the way he builds the first act of the movie. Be it “Enna thaan Case Kodu” “Kanakam Kaamini Kalaham” even “Madanolsavam” he uses a “staright to the point” style. Within just 10-15 minutes, he will settle everything in place and make the protagonist ready for the confrontation.

From his aunt’s weak bowel movements to his marriage, it all happens within a few minutes in Mdanan’s life. With hilarious punchlines from characters like Mohanan (Sumesh Chandran) and Madanan’s aunt, it’s an entertaining gateway to the world of Madanolsavam.

Madanolsavam Poster

Subtle Performances

Suraj Venjaramoodu fully steals the show with his full-fledged comedy role in Madanotsavam. However, there are some moments where he becomes too emotional, adding some material for the family audiences into this political satire. Madanolsavam employs Suraj’s ability to oscillate between comedy (his slapstick style) and serious (but not bordering on melodrama) elements.

Sumesh Chandran’s character, Mohanan, was a laughing riot in the film, and I am sure that he will be viral soon after Madanolsavam’s OTT release.

Rajesh Madhavan’s Namboothiri goon, Chandrika Madikkayi’s aunt role, Rakesh Ushar’s corporate strategist, Babu Antony’s Madanan, and PP Kunhikrishnan’s Chindilayappan are all characters that ensure Madanolsavam is a wholesome entertainer. 

Bhama Arun’s Alice deserves a special mention because even though it was her debut in Mollywood, she truly nailed it. Her chemistry with Suraj was well-portrayed, with awkward pauses, romantic smiles, and emotional eyes. I expect to see her in more movies soon (Hopefully without being stereotyped).

Bhama Arun’s Interview (Credits: The Cue Studio)

Missing a Signature: Sudheesh Gopinath

Though it was directed by Sudessh Gopinath, Madanolsavam has all Ratheesh Pothuval’s trademark humour and deadpan set-up throughout. 

Casting, Narration, Opening, Ending, in simple words it’s Ratheesh pothuval everywhere. Eevn he did an extended cameo role as well.

Overall, I felt if Sudhessh could manage to add some unique elements we could have felt the freshness from a debutant director.

On the other hand, it’s possible that Sudheesh Gopinath’s influence was present in Ratheesh Pothuval’s previous works, as he served as the chief associate director for all of those films.

Final Verdict

Madanotsavam is a solid family entertainer packed with witty one-liners. However, it falls short as a political satire, especially during the rushed climax. Climax was too fast and disrupts the convincing-natural flow of the film.

So, Madanolsavam is a dark-comedy enteratiner which failed to leave a lasting impact.

Corona Papers: Priyadarshan’s Gripping Crime Thriller Inspired from Akira Kurosawa’s Stray Dog

Corona Papers is an engaging thriller directed by Priyadarshan.This will be a different Priyadarshan movie for you, since the film is devoid of slap-stick humor or romantic songs.

Corona papers maintaining a thrilling atmosphere from start to finish. In this movie, Priyadarshan demonstrates his return to form as a master craftsman, presenting captivating visuals that keep the audience hooked.

Poster: Corona Papers

Priyadarshan’s crime thriller, Corona Papers, starts with an acknowledgment that the filmmaker was inspired by Akira Kurosawa’s Stray Dog. This 1949 detective film revolves around a stolen gun and delves into the social and economic conditions in Japan after World War II.

And this acknowledgement is true I feel, the movie is not actually a remake of 8 Thottakal rather it’s an adaptation of Stary Dog.

The Riveting Plot

The story follows Rahul, a newbie Sub-Inspector in the Kerala police force, who is assigned shadow duty at his first station. Tragically, he loses his service revolver, and the bullets from it are later used in a bank robbery.

As the investigation unfolds, the audience is drawn into the core of the story, with the tension continuing to escalate.

Priyadarshan’s approach in Corona Papers is straightforward and focussed, unlike his previous thriller, Oppam. He eliminates all the unnecessary melodrama and humor, ensuring a laser focus on the script.

Engaging Performances and Visual Beauty

Corona Papers’ first half offers a unique, thrilling experience with the freshness in casting and the fast paced events.

In the second half, although the plot points are predictable, the focus lies on how they connect and drive the characters towards the central event. This intriguing aspect keeps the audience engaged.

Secondly, the film remains engaging due to the skillful execution by the actors and Priyadarshan’s enhancement of the visual beauty and dramatic elements.

For example, there is a memorable scene where characters are exchanging money on a rainy night, adding an intriguing layer to the thriller.

The supporting cast, including Shane Nigam, Shine Tom Chacko, Gayathrie, P P Kunhikrishnan, Henna Reji, and Siddique Lal Jr., all deliver commendable performances.

Corona Papers

Siddique Steals the Show

Siddique stands out as suspended police officer Sankararaman, delivering an exceptional performance that showcases his talent. He effortlessly handles emotionally intense scenes, adding depth to the film.

A philosophical scene unfolds between Shane Nigam and Siddique, and it’s hard to picture any other actor delivering it so effortlessly. And here are few elements around Siddique’s character and it added some philosophical layers to this thriller.

For exmple, a scene where Siddique uses Alexander Pope’s famous quote “to forgive is divine” that voice modulation is an icing on the cake for that scene.

Some Weak Points

While Shine Tom’s character is not insignificant, certain aspects of his role feel disconnected at times.

Shane Nigam excels in emotional scenes alongside Siddique. However, Sandhya Shetty struggles to match their ease. Her acting and dubbing fall short, particularly when sharing the screen with the experienced Siddique, creating a noticeable contrast in their performances.

Sandhya Shetty as Gracy (Corona Papers)

Additionally, her character Gracy could have been written better. It’s not that convincing and there is a lack of depth. It reminds me old Vani Vishwanath era of Mollywood thrillers.

An Anticipated Climax with a Twist

Priyadarshan tried to make this different from typical crime thrillers, the climax of Corona Papers is not a twist but an awaited resolution of the interlocked puzzle.

The film pulls this off decently, but for those expecting a twist, there is one included. However, it feels forced and unnecessary for an otherwise solid thriller.

  1. Experience a sleek thriller with minimal drama,
  2. outstanding acting by Siddique, and
  3. Priyan’s masterful visuals.

These three key elements make Corona Papers a must-watch film for thriller enthusiasts.

In conclusion, Corona Papers is a decent crime thriller with a few flaws, but it will undoubtedly keep audiences captivated throughout its runtime.

Viduthalai: Vetrimaran’s Hard-Hitting Expose on Bureaucratic Atrocities

Vetrimaran’s Latest Release Sheds Light on India’s Oppressive System

Viduthalai Title card

In India, where the colonial hangovers still loom, we need more directors like VetriMaran who create films that shed light on bureaucratic atrocities in our society. Tamil films, such as Visarai, Vilangu, and Writer, are examples of movies that explore such issues. Viduthalai is the recent addition.

The Need for Viduthalai : A Hope

Over 30 Israeli Air Force pilots recently refused to participate in training or reserve duty as a protest against Prime Minister Benjamin Netanyahu’s judicial reforms. If more people acted ethically and humanised rather than blindly following laws on paper, our world could have been better.

Think about Russian soldiers protesting against Putin’s fascist and uncongenial decisions to invade another country.
Think about all our police constables refusing to work like a maid (more like a slave I should say) at IPS officers home.

I hope at least some of you remember how human right activist Father Stan Swamywho died while he was in judicial custody in Taloja jail.

I believe, changes may not happen soon, we need to wait for another generation to eradicate the GOI Act 1935 and its colonial hangovers. But these movies may act as a catalyst for those changes.

Viduthalai’s Gripping Storyline and Setting

Vetrimaran’s latest release, Viduthaalai shed light on India’s bureaucratic system, which is infamous for its hierarchical slavery and political nepotism.

Viduthaali, set in 1987 in a remote forest village, portrays a community of oppressed people, rebels, and a subservient police force conditioned to follow orders led by a treacherous, sadistic, perversive commanding officer (Chethan).

The movie starts with a gory extended single-shot sequence of a train bombing.

Then we follow Kumaraesan (Soori), an innocent man who starts work as a driver and cook in that police camp at the Karnataka-Tamil Nadu border.

Soori as Kumaresan

With Kumaresan as our POV character, we understand the nuances of police operations, atrocities, sufferings of low rank officials.

Then we have the mysterious Perumal (Vijay Sethupathi), who is fighting against a proposed mining project.

Stellar Performances and Unique Casting Choices

When it comes to the performances in Viduthaalai, everyone did an outstanding job. I believe the whole credit should goes to Vetrimaaran’s outside the box casting choices.

Gautham Menon, who glorified cop-killing in his movies, plays a brutal cop.

Soori portrays the central character with a magnificent makeover.

Bhawani Sri, who played a small role in Ka Pae Ranasingam, plays a village girl and love interest for Kumaresan (Soori).

Bhawani Sri as Tamilarasi

Even Rajeev Menon’s performance as a Principal Secretary is subtle and elegant.

Vijay Sethupathi appears in only a few moments in the film. Still he may give you goosebumps with his classy ‘mass’ performances and that one-liner in the climax was epic.

Vijay Sethupathi as Perumal

Soulful Music and Captivating Cinematography

Viduthalai is packed with many raw and hard-hitting moments, but it also sprinkled with some emotional-romantic moments. In both cases, Ilaiyaraaja’s soulful tunes elevate the emotions. His music is not loud but is subtle and prudent enough to leave an impact.

R Velraj’s cinematography effectively take us to the world of Viduthalai, with unshowy visuals of forest terrains, single-shot visuals in the introduction, and documentary-style realism in the frames.

Viduthalai is a great film backed by a talented team on and off-screen.

Why We should clap for Viduthaalai: Relevance in 2023

Although the movie is set in 1987, it remains relevant today. Police atrocities against SC/ST communities remain prevalent in many areas of India.

I hope you are aware of Police atrocities in Wayanad, where Attappadi tribal head claimed that Kerala police were taking revenge as they fought against the land mafia.

If you think Chethan’s portrayal of the film’s commanding officer is unrealistic, consider a real-life incident where a police officer in Wayand subjected a 16-year-old girl to violence.

Shockingly, the punishment given to the officer by the system was just a “Suspension order”. Is that really justice for the young girl?

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