Vijay Antony always has an interest in making a socio-political statement through his film, and this one has a lot of socio-political arguments.
Kodiyil Oruvan is a Tamil political action film directed by Ananda Krishnan and produced by Infiniti Film Ventures and Chendur Film International. The film stars Vijay Antony and Aathmika. Vijay Antony also edited the film while the music is composed by Nivas K Prasanna.
The movie starts with a flashback story which later connects to the current scenario and the story then moves in a progressive way, the hero is reaching his goal and suddenly he has been encountered something unexpected, which deviates his goal into something bigger.
Vijay Antony made a good impression by playing the role but the space given for Aathmika was quite too short and unnecessary and that's what always happens in most south Indian films where the heroine always shares a little screen time. The movie has an interesting storyline and a piece of adequate background music and a surprise at the end. Overall, Kodiyil Oruvan is not a waste of time.
Only often do we come across movies that leave a lasting effect on us. Bollywood has produced several so-called patriotic movies just to cash in the sentiments of people but Shoojith Sircar plays differently here. And that makes Sardar Udham a memorable yet painful experience.
Sardar Udham tells the story of a revolutionary freedom fighter who chased down and assassinated Michael O'Dwyer in London to avenge the 1919 Jallianwala Bagh massacre in Amritsar. Sardar Udham isn't just made to inject patriotism in us but also to educate us about the horrific 1919 massacre and the man who shed blood to avenge it. Shoojith Sircar makes no mistakes nor does he take any fake cinematic liberties to depict Udham's life. The focused and recurring non-linear style of storytelling takes us through the journey of the fighter and the injustice the country has gone through. This film is the slowest of the slow-burning film of the director and he never rushes to any point instead tracks the incident in a steady and straight path.
The remodelling of 1930s London street and the entire pre-independent era is so meticulously constructed with utmost passion. Avik Mukhopadhyay's enigmatic frames are never out of place and the superior visuals add more horror to the incidents. I wonder how someone could make a movie so well crafted and detailed at the same time break all stereotypes. Shoojith Sircar makes sure his British characters are not mere caricatures and leaves them enough space to make their mark.
Without Vicky Kaushal, the movie is soulless, an absolute masterclass performance by the actor who fills the martyr's shoes with ease. Sardar Udham Singh was his destiny and the actor's game-changing performance is gonna attract accolades for sure. Shoojith Sircar exceptionally pulls off the horrendous massacre in the final hour that leaves us with a lump in our throat. The disturbing, gory visuals exhibit the amplitude of the crime with conviction and haunt us even after the credits roll.
I really wish they explored the Bhagath Singh episode a bit longer. For some of you the overstretched narrative might sound unsettling. But Sardar Udham is a craft you need to witness with utmost patience. This cinematic version of India's unsung hero stands top among the historical dramas made in India. Congratulations Bollywood you finally have a winner!.
The movie provided a glimpse of showcasing an aspect that has not been covered by many sports biopics in Bollywood rather than the simplistic approach of portraying an underdog story Rashmi Rocket progresses to initially showcase a journey of an athlete and move on to shed light on the regressive controlling and binary notion that comes with gender tests.
Rashmi Rocket focuses on Rashmi played by Taapsee Pannu who grows up in Gujarat is given the nickname of Rocket due to her fast pace when she grows up and becomes a tour guide of the area she is motivated by captain Gagan Thakur played by Priyanshu Painyuli to showcase the world her gifted talent of agility and pace barking upon immediate success Rashmi met with animosity within her own team politics from influential figures that curtail her growth and finally the infamous gender test that solidifies in the minds of the public that she was not a woman within the confines of an athletic federation the court case in order to uplift her ban forms the second half of the film and how it transpires to educate the viewer and expand their thought process of what constitutes a woman be it the clothes she wears the colour of her skin the decision she makes or more importantly her testosterone levels.
Taapsee manages to effortlessly go under the skin of her character and make you root for her. The dedication and hard effort she has put into building an athletic body for the role will leave you speechless, especially in the close-up views of her sprinting on the tracks. Her talent as an actor has been proven without a shadow of a doubt by her filmography and the concerns that each of them has raised. Rashmi Rocket appears to be the latest addition to the list, this time criticising the inequitable and outdated practice of gender testing on female athletes. Taapsee looks stunning during and after her medical examination in the flick. She successfully conveys Rashmi's emotions of befuddlement, fury, and helplessness, particularly in the emotional passages, with sincerity. "Kuch toot sa gaya hai andar," she says Gagan (Painyuli), and you know exactly what she means as she fights with her whole identity and existence being questioned by everyone around her.
Sadly, Amit Trivedi's music does not impress. No song, whether it's Rann Ma Kutchh, Zidd, or Ghani Cool Chori, manages to stay with you. The background soundtrack is also uninspiring, failing to raise some of the usually exciting passages. The editing, especially in the first half, might have been tighter. Aniruddha Guha's script and Kanika Dhillon's extra dialogues aren't exactly hard-hitting, but they do contain a few sparks here and there. In terms of directing, Khurana seemed to be unsure whether he intended Rashmi Rocket to be a sports picture or a courtroom drama, and it shows in the execution.
Udanpirappe is the most recent film to attempt to join the list of Tamil films that have shown a brother-sister connection. The film opens with a gang of thugs chasing Vairavan (Sasikumar), a ruffian whose life revolves around his family, through a hamlet near Pudukkottai. He gets to say a few lines about farming (which has become somewhat of a must for heroes in Tamil cinema in recent years in films set in small towns), which are backed by an outstanding background soundtrack by Imman, though it does remind us of a few of his earlier works.
As the title suggests, Udanpirappe is focused on the relationship between Vairavan (Sasikumar) and
Maathangi (Jyothika), who had previously had unpleasant difficulties and have been separated from one another as a result of what has occurred. As they strive to solve the problems, other ones arise, and what happens next is the story's central theme.
Era. Saravanan gives the picture an old-school vibe and dives deeply into the character's emotions. The first half of the film is highly hectic, and it does not waste time establishing its characters one by one; instead, it goes with the flow and gets the ideas through about why the conflicts amongst the characters arose. However, the film has some flaws in the second half, with pacing concerns surfacing. The thrilling closing stretch, on the other hand, is guaranteed to appeal to the public and have a lasting impression.
In the film, Sasikumar gives a mature and appealing portrayal, performing everything asked of him with great conviction. The performer makes a good first impression, which works in the film's favour. Jyothika, on the other hand, is cast in a magnificent role that is a complete departure from her second innings performance. Her second-half performance is particularly noteworthy. Samuthirakani is excellent as the stern instructor, and the cast is well-led by Sija Rose and Soori.
Velraj's cinematography is excellent throughout the film, giving it a very realistic sense. Imman's music doesn't have any amazing tunes, but his re-recording works.
The film Thalaivii is a biopic based in the life of Jayalalithaa, popularly addressed as 'Amma', the film focuses on the journey of the celebrated and popular individual from her young days of acting her budding romance with mgr her introduction into politics urged by the love of her life the unfortunate demise of the political figure and acting legend the hurdles jaya faces in order to become the political heir of the party dealing with the vitriol of the gatekeepers mostly men that constantly protected the vested interests of ngr and finally her rise to prominence to become what we all know and remember her as.
Arvind Swamy has used prosthetics and makeup but it is uncanny how similar he looks to MGR being privy to vintage Tamil cinema and just through all the MGR footage that come across swami looks like an absolute spitting image of the legend. On the other hand, Kangana’s acting is over-the-top. She goes way overboard in her emotional scenes. Her close-up shots are cringe-worthy. But she does have some good moments during a dinner scene at her house when she talks about how much she loves MGR.It goes on to the extent that she is manhandled and as the scene takes place, she absurdly narrates about being treated like Draupadi in Mahabharata.
The film gets repetitive after a point. It constantly switches between acting, politics and the love story between Jaya and MGR. Apart from that, the film makes Krishna’s references when talking about love and medu vada in a petty fight. The latter reference actually gets pretty nasty. Raj Arjun, the villainous assistant to MGR, is powerful. His constant face-offs with “Jaya” or Kangana Ranaut are something to look forward to in "MS Dhoni: The Untold Story". And of course, he shines as an actor much more than Kangana.
Thalaivi was expected to do well at the box office, but it sank faster than expected after the inevitable death of its star. Kangana Ranaut as Jayalalitha tried her best to hold the film together, but her efforts were not enough. The second half of the film was chaotic and rushed; trying too hard to spread a message of The most absurd point of the movie is when Jaya gets plump out of nowhere. While she is seen as slim, trying to walk on her own in one scene, right in the next, she is seen standing with the bandage on her neck, a plump face and giving out orders to people.
While the film was already hard to follow because of its ridiculous and absurd scenes, Vijay and Kangana Ranaut had another surprise in store for the audience. The film ends on a random note, where Kangana practically threatens people to call her Amma or… if that is how Vijay wanted people to remember amma.
Verdict:
Avoid Thalaivii if you want to retain good memories of J. Jayalalithaa. The only reason to watch this film is Arvind Swami, without who, even Kangana Ranaut cannot stand out in the film.
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