Harish Film views

Director: Selvaraghavan Selvaraghavan's films post Pudhupettai, for reasons best known to him, traverse between goose bumps inducing and vein popping moments. While the ingenious plot in the second half of Aayirathil Oruvan overshadows its shortcomings, Mayakkam Ena disorients me by juxtaposing between nerve wrenching silly moments and heart drenching emotional sequences.  Over the period of these two movies, having observed the inconsistency of Selva's narrative grammar, I became prepared not to be bogged down by the leads' forced comic moments with their supporting casts. Accepting his narrow minded approach to acting for what it is, that which can be convincingly portrayed only by Danush, this time around I also didn't bother about the uniformly terrible acting his casts were going to display. Also, the incomplete backdrops, blind eye to details or shallow grandeur that goes in vain weren’t my concern. Because, I realised, in a Selva movie, the tools for...

Director: A.R.Murugadoss With a title like 7aum Arivu (7 th  sense) if you thought the movie is going to be insanely smart. You are partly correct: it is insane, although it is not bad. A film is a piece of art that captures your imagination and holds you in its control till you are watching it and even beyond it at times. It need not have logic to convince you, but it should create a perception of having logic. In plan words, the film should make sense even in its craziest moments. But in order to make sense some writers forgo the novelty and freshness in approach that is needed to grab the attention of the audience. If a film can do away with these two perils any movie can connect with its target audience regardless of what the writer tries to convey. 7aum arivu is one such movie that was marketed to be made with the same intent, that of creating a perception of logic without forgoing the novelty and fun part. But till intermission one couldn’t find enough interesting materi...

Director: K.V. Anand When one ought to communicate through paper, he/she sometimes scribble few words (knowing that will make the point) or write in detail or go for pictorial representation. It is left to the discretion of the writer as to which form he/she should use given the content. Problem starts when the writer giving it all, tells the reader to filter what he/she wants to take: if you want photos – here they are, if you want hints – here they are, if you want long drawn explanations – here they are. Well, won’t that be a hindrance, you might ask. Given the premise of journalism in the film KO, it is but natural for a journalist to analyze a point in every possible angle. But just because the journalist invested a lot of time in analyzing the various aspects of a single point should he/she publish it all? Won’t it hamper the flow and affect the scheme on the whole – just like how ‘he/she’ acts as a speed breaker as you read through this article. You can’t question the logic ...

Director: K.S.Ravikumar When asked what he knows, the over enthusiastic Murugan alias Aadhavan alias Madhavan like an adept who knows it all yet humble, starts rambling on for 10 reels about varies intricacies in cooking and then as one would expect, at various scenes throughout the film he demonstrates that he knows everything from enacting a monkey (the stunts; not Anand Babu), to yoga, to acting like Shivaji, to various forms of dancing and if you aren’t satisfied he does a Rajini ala muthu style and even shells out a sentimental scene for the sake of it akin to Varanam Aayiram; ultimately ending up proving yet again that none has the speed and grace of MGR to enact the “Naan aanaiyital” and when the cool dude sure-shot assassin walks out of his yacht with anger that he missed his target and being insulted for that, the wanna be cool act acclimates to great heights. If that is not enough we have the yesteryear overacting queen reprising her caricature, while the Thara without any sp...

Director: K.V.Anand Cast: Suriya, Prabhu Take a story which deals about smart smuggling, but this has to reach the masses so cast the hottest stars in the town and make them prance in glamorous outfits, do breath-taking stunts, add sentiments and finally flavour it with bawdy comedy which borders chauvinism; but then the script is about smart smuggling, so lets add science say chemistry facts in to it; for this to be believed the hero has to be educated so lets make him do MSc. Comp. sci., but isn’t he a smuggler? Then let’s make him do distant education. Will the audience accept this? Then for their sake, let’s make him speak madras slang in two scenes and peter english in another two scenes. The screenplay has to be tight- then let the audience think that the bad guy out smart our hero every half an hour and at the end of those scenes by flash back technique we show who is the smartest. Isn’t this script heavy for the audience? Then let’s add a revenge angle to the story line by k...

Mission accompolished! Published in Nxg - The Hindu Director: Gautham Gautham proves with this film that even with a poor screenplay you can make a lovable film if you are sincere in what you want to convey. Leave the fact that the film doesn't have a flow, leave the fact that emotions are conveyed through words rather than visuals and get ready to be swept off your feet by the examples set by daddy as to how a dad should be. Story-wise the film is basically the recollection of memories of Suriya, exploring various stages of his life, where his dad has helped him move ahead after he learns that his father has passed away. It is accepted that Suriya is only recollecting various incidents in his life, but while narrating, the seamless flow that is required is missing; result the film doesn't show anything more than what was shown in the trailer. It is disheartening to see the most important sequences in the film being handled amateurishly. Example- the k...

Director: Jeeva Jeeva seems to have done the same mistake which his bollywood counterparts are doing: making a sleaze and chic film by compromising the script. The film has an ages old storyline whose treatment which promises to be different at the beginning fails so badly that you wish they had made a typical Tamil film instead. Ravi, a doctor by profession leaves for Russia a fortnight before his wedding to attend a medical conference. By circumstance he is trapped there by the local police on the charges of murdering their commissioner's daughter. The rest of the story revolves around how the protagonist succeeds to clear his name.   Few comparison between typical tamil cinema and Dhaam dhoom; the hero instead of singing a dapankuthu sings a rap for his intro, instead of running around the local streets the hero WALKS in the streets of Russia while the police chases him in motorcycle and car. But don't worry its still is a tamil film, this they prove by making the hero fly i...