Harish Film views

Director: Mani Ratnam In the poem ‘Kaatru Veliyidai Kannama’, the poet describes the beauty of kannama, how it mesmerizes the lover, captivates him to his core and becomes the torch for the darkness within and around him. VC, the protagonist of the film, Kaatru Veliyidai, takes off from the poem in spirit. He is mesmerized by the mere presence of Leela. Such is the power of Leela that the moment she lights a torch into the eyes of VC, the player gets play ed by the ethereal aura of the rightfully named Leela. Mani Ratnam, here seems to be more interested in interpreting the poem in its various facades. He starts off this ambitious vision with self-indulgence.  Thus, VC, who gets mesmerized by the beauty of Leela, wants her to be his anchor, the human embodiment of his poetry, the breeze that comes along with the air that surrounds him and ultimately the light to the darkness within. No wonder Mani makes the protagonist apologize through a poem, reminisce her through the ...

Director: Suseendran It is customary to show the demonic activities of villainous groups, so that by the time we loathe them, we not only feel comfortable when the hero stands in front of them; we think it is justifiable to admonish them. 'Nan Mahan Alla' would have had that thread when it was cultivated in the heart of the director. But tamil cinema having ripped that formula and pinched it in to the blood of every moviegoer, novelty is a must; especially if you are back after delivering a quality product like ‘Vennila Kabadi Kuzhu’. What better way to entice the audience, than spell binding them with the audacity of the illicit activities that the gang carries out; more importantly the sheer depth in details of them. But in doing that, Suseendran creates a film which meanders through the life of the hero half heartedly only to heighten the power of the antagonist. Half heartedly because, while even a phone call that one of the antagonist casually makes in the prologue aid t...

Director: Selvaraghavan What remains of a thousand people after their Chola king dies of failure, carry him to sea, whilst (we have to guess) the Indian army (!!!) commanded by the last of the Pandiyas sleeps. They scarify their life to empower the only one (Aayirathil Oruvan), who had escaped the wrath of their tormentors earlier, to continue their battle; for Pandyas may have won the battle but not the war; ending the movie ala Dark Knight style. The problem is not what Selva wanted to say, it’s how he has chosen to say. The Cholas on their escape had set up 7 traps, but those “traps” are shown to be a kid’s play which Reema like a superstar with just 2 pistols in stand-at-ease pose crosses. The frivolous execution continues, as sun’s ray hits a pillar creating a shadow that falls on the same side as sun, forming a Nataraj shape to reveal a map, leading us to more such juvenile attempts filled with songs that are meant to be concatenated with the flow, but end up being concocted du...