Modhi Vilayadu

A tale of big businessmen and the games they play, that is Modhi Vilayadu. In the world of business tycoons, money flows in millions, assets are worth even more. But, the state wouldn’t be too happy to know that so much wealth belongs to a single person. That is where the concept of ‘binami’ (pseudo ownership) comes into play; a clever way to hoodwink the government off taxes and also to mislead business competitors from one’s real assets. The ‘binami’ idea is the central theme of Modhi Vilayadu. A Saran directorial venture after three years, much was expected from this tale of big money, property and rivalries. Does Saran deliver?

Modhi Vilayadu was meant to be a gripping game of big rivals going for each other with vengeance and cunning. The premise is interesting, the games they play are intriguing, but the proceedings are not exciting. In short, the journey fails to engage you. The masked identities, the target and fate’s unpredictability interest you, but it is when Vinay begins his attempts to checkmate Kalabhavan Mani that you feel a bit let down. Some of the situations in the screenplay are highly improbable occurrences for a multi millionaire to be seen in.

Director Saran who had touched the mass commercial flicks of B and C centres has opted for a film merely for multiplex audiences. But kindly don’t mistake that if a film is shot sleek and stylish, it’s meant only for ‘A’ class. Of course, the film’s screenplay has been well-tailored gratifying for all the centres. Although, first half may not be off great likeliness for miniscule audiences with stylish love tale, the latter portions are commercially weaved catering to tastes of B and C.

Santhanam’s comedy are more enjoyable, especially the moments in second half where he imitates Arya in Naan Kadavul, Jai’s Subramaniapuram, Vijayakanth’s Ramana and as a Hollywood actor. Ramesh Khanna and Mayilsamy add furthermore to the humorous portions.

The high point of Modhi Vilayadu is its production values. No compromises have been made on the rich look of the film; each frame reflects the lifestyle of millionaires. Karun’s camera has captured the grandeur well. Colonial Cousins, Hariharan and Leslie, do not disappoint on debut. Two songs, ‘Chi Chi’ and ‘Padhi Mutham’ are pleasant to hear. Modhi Vilayadu is a pretty lavishly made tale of businessmen and the games they play.

On the whole, Modhi Vilaiyaadu is an interesting film with commercial element and right moments that will entertain the audiences

Kambakkht Ishq

Its raining biggies in Bollywood after almost 3 months of lull, New York revived the market to an extent last week and now it’s the turn of the reigning Baadshah of Bollywood Akki to show some magic with ‘Kambakkht Ishq’. Akki has had a rather lackluster 2009 with three of his releases Jumbo, Chandni Chowk to China and Tasveer that did rather shoddily at the box-office, so Kambakkht Ishq is very important for the macho man of Bollywood. Let’s see if he hits a six or misses it.

Kambakkht Ishq is a remake of Kamal Hassan’s Tamil hit ‘Pammal. K. Sammandham’ but has been changed and tweaked to suit the Hindi audience or that is what they want us to believe. They have made a movie which is full of cleavage and clichés and though cleavages rule the entire movie, during the last 20 minutes clichés take over.

Sabbir Khan, the debutant director has done a good job. He has made a movie which is entertaining almost all the way through, thanks to the lighthearted scenes which take up most of the first half and larger portions of the second too. But as a screenplay writer Sabbir Khan along with Kiran Kotrial, Anvita Dutt Guptil and Ishita Mohitra, is not up to the mark, as the foursome writers have heavily relied on skin show and sex to move the movie ahead. This might work on college youth oriented romance or sex flicks like American pie but not this kind of a genre. The Tamil original might not have had an enviable screenplay but it scored in flawless characterization as every action of the people involved had a reason but Kambakkht Ishq slips in that department as almost all the characters suffer from poor character sketch. One small unworthy dialogue will change their whole life’s principles. Yes, it is a movie which asks you to rest your brain but these are essentials for any movie and without which your heart does not go for the characters.

Thanks to Sajid Nadiadwala, he has given full freedom to the debutant, Sabbir Khan and has made sure in giving a rich product with more glamour and glitz than any other movie in Bollywood history. Cinematography by Vikas Shivaram is brisk but gets naughty most of the time. Action choreography by Spiro Razatas is impressive. Dialogues by Anvita Dutt Guptil are impressive but are not everyone’s cup of tea. Music by Anu Malik is fair and Kyun stands out as a quality number but the execution has too much of the ‘Tanhaae’ hang over. ‘Om Mangalam’ by RDB has been shot well but its timing in the film makes it only half as effective. The editing is crisp. Choreography by Vaibhavi Merchant has nothing much to gaga about as she uses simple steps and finishes her job.

Acting wise Akshay Kumar once again gives his best and his comic timings are spot on. He does the stunts quite well and fits the role of a stunt man quite effectively. Kareena Kapoor has acted well too and looks quite hot almost all through the movie. Aftab Shivdasani hams and is a complete let down. Amrita Arora looks hot and does a decent job in the acting department as well. Vindu Dara Singh makes you laugh but only occasionally while Javed Jaffery lightens things up with his usual antics. Kirron Kher is impressive in spite of her insipid role. Then comes a big list of special appearances, Brandon Routh - decent, Denise Richards – good, Sylvester Stallone – who gets to flex some muscles for a forced fight sequence and also a small sequence in which he gives an award to Akshay. Boman Irani has been wasted.

Overall it’s a decent entertainer, which would be enjoyed more if you grace the theatres with your friends than family. The movie is sure to get a huge opening and lack of opposition would ensure its hold at the box-office for quite a while.

New York

Instantly the innocents were tortured sans any clarifications pertaining to 9/11 incident. It’s out and most of imbecility that American Security Forces had rippled down their lives. They paved the way for turning them into terrorists. Who bears the fault? Kabir Khan elaborately blends the heart touching reality with interesting elements. He has precisely delineated the sufferings of an innocent tortured in solitary confinement that merely soaks our eyes with this picture.

Exactly there have been flicks churned out by World famous auteur on Post 9/11 trauma out of which Kabir Khan strikes Gold. A Brilliant attempt by Kabir!!!

On the pars, there are more entertaining factors set at the backdrops of college campus of fun, amusements and love. And you’ll keep singing appraisals for every star-cast on screens. Know what? It’s their biggest magnum opus in the career.

Although, it’s a pure drama that wouldn’t keep audiences adhered to seats, it has right elements. An appropriate mix of best factors does work it out perfectly. John Abraham tops-on with a different attempt as a playful Sam and a serious guy who’s so dumped-down with tortures. Kabir Khan has well handled the psychological imbalance of his characterization. On the pars, Katrina Kaif has got full-fledged space for spelling her adeptness. Thank God! She has finally done a great job. So, who’s the man of honor? Neil Nithin Mukesh is extraordinarily mind-boggling with his gesture and emotes stunningly to every situation. Getting apart from these characterizations, Irrfan has a substantial role to perform right throughout the show. Sandeep Srivastava has offered him plenty of heart-binding dialogues. Especially the one about finding fault with both USA and Sameer for making wrong decisions has a convincing thought.

Musical score by Pritham is top-notching and Kabir Khan has well-placed every song. In most of the portions, the song keeps continually going amidst of dialogues. On background score, Looks like he didn’t strain much as throughout first half it’s more and more off the ‘Hey Junoon’ Prelude. Cinematography is yet another embellishing factor with handy works of Grading (Color improvisation in post production) by Colorists. And again, posing ‘Philadelphia’ as ‘New York’ is a smart attempt by Kabir...

On the whole, New York is a collection amongst best shows of Bollywood. Although, there’s certain drift in pace during post-intermission sequences, the climax is gripping.

Distinctly, its Kabir Khan’s handling of difficult script and Neil’s outstanding performance that wins laurels for this film.

Muthirai

Not too long that we griped about the lack of movies that keep the turnstiles busy, comes Muthirai, packed with action, sentiment, love and comedy good enough for two movies. Director Srinath knows his onions only too well and as a result, the racy story is further strewn with countless twists – some drab, but most of them surprisingly convincing fuelling the pace of the movie ensuring that there’s never a dull moment in the script.

Muthirai’s story is a tightly knotted web that unfurls during the course of the movie with the help of plot aids, significant with such fast-paced movies such as double crosses, treachery and felony.

In an ugly political feud, Anand’s brother Saravanan gets shot and Anand slips into a coma, by the power-hungry Ponvannan who is next in line for the Chief Minister position. Much to his chagrin, the killing is secretly filmed and when he learns about it, the chase for the video begins. With that begins the script to fly and with only very few stumbling blocks the movie races at the speed of light.

Daniel Balaji and Nithin Sathya are petty thieves who steal passports, credit cards and pick pockets. While Lakshmi Rai is an ill-fated girl who is tricked to marry Daniel Balaji, Manjari catches up with Nithin during his adventures at a ladies hostel. All these characters accidentally cross roads with Chetan, who owns the killer video, and drive the movie to its conclusion.

Twists, like bolts from the blue, packed in every nook and corner of the script unfold rather unexpectedly and since you are not at a loose end, it leaves no time for you to think before another one takes over like it’s a loop. Fifteen minutes into the movie, Rakhi gyrates her way into the script lip-syncing the raunchy number ‘Night is still young’ in her barely-there garb. That sets the tone of the movie and everything from then on is uphill.

Pardon the cliché, but the role does fit Daniel Balaji to a T. His killer looks (literally, that is) and the all-is-chill attitude works for the role. A satisfactorily done job is attributed to Nithin Satya. Of the ladies, Lakshmi gets more footage and scope while Manjari is confined to a few scenes and the rather tolerable Alagaana Neeyum song, in her voice. Talking of it, only the July Maadathil song speaks of Yuvan’s name and the rest of them just fade from memory as soon as the end credits roll on.

Director Srinath, Jeeva’s former Assistant, is the surprise in the whole package, who has earlier done comical roles in a few movies. His script saves the day for him and the nicely done screenplay does more than just that. It adds the required grip to the movie’s flow. The story is written by Anees Jeeva.

Saleem’s camera loses out chances in many scenes and ends up being just above mediocre. With a plot like this, the camera could just have enhanced the impact of the movie in more ways than one. Same way, despite Antony’s choppy editing attributes, the movie sustains owing to the other pluses.

Muthirai is fast and filled with oomph and all that is required to keep you on your toes over the weekend at the theatres. With the stretched-tight script, neat direction, fast men and glamorous women, Muthirai might just be the kind of entertainer you missed for a little while at the box-office.

Aayirathil Oruvan - Sound Track

Oh Eesa: Composer’s Mix

Now, why does Snoop Dogg’s Gangsta Rap piece ‘Lay Low’ cross your mind as you listen to this? Anyway, this song has a refrain that is straight out of an old CD which goes ‘Govinda hari Govinda’ and some English and Tamil lyrics. Bad articulation leaves you guessing the contents! But could catch the fancy of the young!

Maalai Neram

A song with a slight R&B touch to it, this mourns the disappearance of love from the life of a young lady. Bad articulation, again, from Andrea. Pleasant use of strings, though. We don’t get to hear anything to do with Siddhar Padalgal here! Why the mention?

Un Mela Aasadhaan

Oh dear!! This song sounds so very like ‘adadaa vaa asatthalam’ from Sarvam. Were both Yuvan and Prakash ‘inspired’ by the same source? We don’t know! Anyway, Dhanush doesn’t sound bad and the instrumental interludes and the percussions are easy on the ears.

The King Arrives

Soft, majestic music that hints of an imposing presence. How it translates on the screen is what we have to see.

Thaai Tinra Mannae

This song is a very dramatic piece as it incorporates varied musical pieces into it - a javali-like bit from Nityashree and a mournful solo bit by Vijay, and both dissolve into harmony at the end in a soft rhythmic melody. Stands out for the subtle use of percussive instruments. Though the song appears to be in Vakhulabarana raga, we have shades of Nattakurinji raga after the fourth minute when we hear some delicate mridangam and ghatam. A soft ‘thanam’ on the veena, three and a half minutes into the song, balances the crescendo notes of Vijay. ‘Kalambakam’ is pronounced wrongly. A well put together number.

Pemmane

Very powerful verses that simply jolt you-especially the phrase ‘uyir kizhindhom!’ Hats off to Jayashree and the veteran singer Srinivas for investing this number with such deep pathos. Conceived with a touch of Subapantuvarali raga, this song speaks of the agonies of forced relocation. Again a very suggestive use of drums.

Celebration of Life

This instrumental piece that starts off pensively and then breaks out into a faster tempo has a fine ‘period’ feel to it. Very thoughtful combination of instruments.

Thaai Tinra Mannae

This song has different lyrics as it is laden with heavy pathos. Vijay, as well as the flute, tabla and other instruments (do we hear the Yaazh?) combine to bring out a certain amount of wistfulness to the song. Slow paced. Vijay would do well to polish up the soft ‘la’ and the harder ‘la’ sounds and the Tamil-specific ‘zha’ sound. An impossibly long number, at over seven minutes.

Indha Paadhai

The song seems to be slightly introspective. So we have suitably subdued strings and rhythms. Doesn’t seem to hold your attention though, unless it has been shot effectively.

Oh Eesa (Club Mix)

Thankfully rather easy on the ears. Nicely paced.

Verdict:

The sleeve note includes a contest form which asks the listener ‘which six of these ten songs are likely to feature in the film?’ Happy guessing, then! Selvaraghavan seems to have taken great pains to bring in delicate authenticity to the music. And the songs seem suitably slotted into the story. Let us wait for this movie to unfold.

Thoranai

Thoranai has a very simple story, the kind that used to be very popular in Hindi cinema during the 70s, the tale of long lost brothers reuniting. However, the basic plot that has been made into a movie many times does not automatically mean that Thoranai is not worth a watch. The makers have their intentions in the right place; to make a full length entertainer with minimum fuss. Also, the fact that this theme had been cast aside for quite a few years makes its comeback a bit interesting. The real question is whether Saba Ayyappan has managed to weave a good commercial mix around this simple premise or not.

The comic scenes, handled by Santhanam, Paravai Muniamma and Mayilsaamy should be able to impress sections of the audience. But it is tough to appeal across the board to all people. Certain scenes evoke laughter, like the spoof on the yesteryear duet featuring Santhanam and Muniamma. There had been a lot of talk about how Vishal was going to try his hand at comedy in Thoranai. But, barring the scene where he dresses up as Lord Rama and performs a gag to escape from a tight situation, there is nothing else. Even that scene does not have the desired impact. But, it is the romance that fails to leave any impression whatsoever. The chemistry between Vishal and Shriya is totally non-happening. The movie for a large part keeps oscillating between the main plot and the side tracks, frequently interspersed by songs which prevent the central theme from gaining momentum. That is the major drawback of the Thoranai. That apart, the key scene where Vishal identifies his brother could have been better. Also, the means of identification is fetched straight from the annals of cinema (birthmarks, family songs and other similar things).

Vishal is his usual self in Thoranai. The script doesn’t give him the scope to exhibit his skills in comedy. The dons, Prakash Raj and Kishore have walked through their roles with ease. Prakash Raj especially has done similar roles a huge number of times, so there is nothing new on offer. Apart from the main comic stars, there is also M.S. Bhaskar who appears as Prakash Raj’s sidekick and induces a few laughs. Shriya unfortunately is there just for the songs and the glamour. This statement is a bit clichéd but the actress has done nothing else since the days of Sivaji.

Technically, Thoranai is a decent fare. Priyan’s camera has captured a few good visuals, especially in a couple of songs ‘Pattuchcha’ and ‘Vaa Chellam’, the locations are scenic. Music by Mani Sharma is middling. The fights have come out well, as in most Vishal films.

Overall, Thoranai is a film that has been made with the right intentions; to entertain. Quite apparently there has been a conscious effort to incorporate all regular commercial elements to appease the masses. Debut director Saba Ayyappan (also in charge of story and screenplay) has not made full use of a great opportunity. Thoranai does entertain, but a tighter script and better execution could have yielded far better results.

Kanthasamy - Soundtrack

Expectations are sky-high for this long awaited movie, especially from Vikram fans. Here he pairs with Shriya Saran. Produced by Kalaippuli .S.Thanu and directed by Susi Ganesan, this film has music by Devi Sree Prasad (raring to go after his ‘Villu’ success). The lyrics have been penned by Viveka. The audio release function held recently was a grand affair where an adoption of 30 villages and a donation of a marriage hall were also announced along with the audio release! Shot on an expensive budget, this movie Kanthaswamy has scenes in Tanzania, Kenya, Italy, Mexico and Switzerland. We have Krishna, Ashish Vidhyarthi, Vivek, Prabu Ganesan and Santhanam essaying roles along with the lead pair. The film is supposed to have a ‘Robin Hood’ feel to it! Let us wait!

Excuse Me

A fun song with infectious rhythms where the girl goes purposefully after an unwilling boyfriend. Suggestive lyrics, of course to the accompaniment of guitars and keyboard stuff. Vikram has carried it off rather well. Suchitra is her ebullient self.

Mambo Maamiyo

A kind of rock and roll meets twist meets Caribbean rhythms –kind of song! Fun, nevertheless! Lovely interludes from the guitars and violins liven up this boisterous duet no end. This is supposed to have been shot in Mexico with Mexican dancers. (the rhythm is testimony) Vikram is quite stylish here. His fans are going to love it.

Ithellaam Dupe

Well, what can you make of this very, very offbeat crazed-out number? Just freak out, will you? Gives us an amusing glossary of many kinds of words ( especially those to do with wives numbers two and three---etc;) and after a breathless round up of each set, we hear the refrain’ Kandhaswamy dhaan toppu’!! and the fiery electric guitar adds its own ‘dhum’.

Kanthaswamy Theme:

The rhythms for this song are supposed to be by the ‘Murugan Temple Team’, with Susi Ganesan supplying the ‘kozhi’ sound and Rita the female vocals. A very catchy theme song with lyrics that are so carefully worded that the song may well refer to Lord Muruga too! Again a treat for Vikram fans.

Allegro

Technically an ‘Allegro’is a classical piece played in a speedy lively manner. This is certainly an explosive dance number which starts off with a gentle soprano bit and gallops from there. With Shriya dancing to this song, (shot in Italy with Italian dancers) it is bound to be a visual feast. Fine effort from Rita. Plenty of sunshine notes from the trumpets and trombones!

Meow Meow

A very old ‘mettu’ masked in attractive modern rhythms. Priya is husky and seductive and Vikram has nothing much to essay. The guitars and violin have a field day! Could be a hit right away.

Kanthaswamy( DSP Mix)

A neat remix from Devi Sree Prasad. We have some additional rhythm work here.

En Peru Meenakumari

A song intented for 100% titillation. With Mumaith Khan gyrating to it what else do you expect? The first line from the old Chandrababu hit ‘Bambara kannale’ keeps weaving in and out of this song sung in her usual robust fashion by Malathy.

Verdict:

Vikram’s USP is that he never takes himself seriously, and it is always reflected in his song sequences. This lively album too has a huge fun quotient attached to it. If the film also manages to walk the tightrope between comedy and action without degenerating into a farce, then we have a sure hit on our hands.