Member Reviews

Vettaiyan brings together two cinematic legends—Rajinikanth as Athiyan, a top cop delivering swift justice, and Amitabh Bachchan as Justice Sathyadev Bramhadutt Pande, who questions the very foundation of that justice. Director TJ Gnanavel sets up a thought-provoking premise that wrestles with themes of morality, justice, and redemption, but unfortunately, the film struggles to deliver a compelling narrative.

There are always visual and grammatical cues to determine the origin of any kind of cinema. In India, it differs with language and region but there is one kind of image that is not exactly the pride of Tamil cinema. Simplistic and overused in the last thirty years, its progenitor is probably director Shankar though the image draws power from the long history of Tamil Nadu in post-independent India.

In among the best stretches of Vettaiyan, the friend of an accused—both hailing from the slums—is being interrogated for his assistance in facilitating the latter’s escape, and the police eagerly slap their biases on them. Director TJ Gnanavel quietly, and subtly captures the indignation of these two young men at various times, as they square up to the police forces. It takes a great line about friendship from Athiyan (Rajinikanth) to restore a bit of faith in the young man’s eyes.

A couple of weeks ago, we saw the release of Dharmaveer 2, in which a deceased political hero, Anand Dighe, was used to glorify and popularize Maharashtra’s current Chief Minister Eknath Shinde. Now, the same kind of propaganda has become the core of another Marathi movie. Titled Yek Number, the film aims to glorify Raj Thackeray, the chief of Maharashtra Navnirman Sena (MNS).

Shiboprosad Mukherjee and Nandita Roy’s Bohurupi delivers what it promises: unadulterated entertainment. It is fun watching this mad cat-and-mouse game. The film is lavishly shot, and most importantly, made with care. It excels in almost every department with Shiboprosad’s skillful acting hogging the lion’s share of the limelight.

Avee Sharma, a sexologist, is traumatised after breaking up with Shruti at the cusp of marriage. While he gradually comes to terms with it, he indulges in a no-strings-attached relationship with a patient – a married woman Rekha. Later, he falls for a neighbour Nikita. However, she hides a secret from her life that could derail their equation. Meanwhile, Rajat, a psychologist, opens him to a new perspective towards love.

Amar, who’s yet to come out as gay to his family, is off to London to meet his uncle. Over a flight, he falls in love with a flamboyant Prem. Despite initial friction, the two are inseparable and hit it off as a couple. As Amar returns to India, his conservative family is desperate to get him married. Prem decides to surprise him at the event and when they make their relationship official, all hell breaks loose.

Nine years after SS Rajamouli’s Baahubali – The Beginning left viewers curious about why Kattappa killed Baahubali, a spate of films have been mounted ambitiously, with scope for sequels. This has turned out to be a double-edged sword. While filmmakers get the scope to present in-depth character delineations and build the world in which the story unfolds, there has also been a tendency to overstretch the narrative. A few questions are left unanswered, with the hope that the audience will wait in anticipation of a sequel.