Manam Koththi Paravai

Director S Ezhil of ‘Thullatha Manamum Thullum’ fame is back after a brief sojourn. He comes with a movie that is light-hearted, entertaining and hilarious and at the same a little cliched. With Siva Karthikeyan at the helm of affairs accompanied by a slew of comedy artistes, he has managed to come clean.

‘Manam Koththi Paravai’ is about romance, friendship and some emotions. The hero is simple guy who resembles boy next-door and there are no needless knots in the storyline.

‘Manam Koththi Paravai’ blends romance and humor and is no doubt a family entertainment. Giving company to Siva Karthikeyan is debutante Athmiya. The likes of seasoned campaigners like Singam Puli and Illavarasu give solidity to the script. The only lacunae seems to be the uncles of the heroines who speak from their belly.

Ezhil has won half the battle even before the movie could hit the screens as he managed to get in his team music composer D Imman and cinematographer Suraj Nallusamy. Both do a good, clean job complimenting the story and don’t try anything overboard stretching for some effect.

Kannan (Siva Karthikeyan) is a callous youth who falls for his neighbor Revathy (Athmiya). Her father and uncles are known ruffians in the village and flex their muscle for anything and everything. Kannan’s father (Ilavarasu) is a building contractor and he is assisted by his son in his business.

Kannan loves spending time with his friends (Parotta Suri, Singam Puli and ‘Deiva Thirumagal’ Kishore). When Kannan decides to open his heart to Revathy, her wedding is arranged with an influential man.

Enters Kanna’s friends from Mumbai (Sreenath and Chams). Coming to know about his romance, they kidnap Revathy. But all hell breaks loose when she says that she has no interest on Kannan. The rest is a battle laced with humor.

Siva Karthikeyan peps up the proceedings with a splendid show. His simple looks compliment his character. His one-liners are witty. Athmiya is good-looking and does give a decent show. She hogs the limelight. Singam Puli sparkles with his humour and so is Parota Suri. Srinath, Venniraadi Murthy, Ravi Mariya, Vanitha among others play their part well.

Imman’s songs especially ‘Po Po Po…’ and ‘Oorana Oorukulae…’ are catchy and foot-tapping. Suraj Nallusamy’s camera captures the lush green locales of the village well. Dhina’s choreography is good.

On the whole, the movie may resemble the likes of ‘Kalavani’ and ‘Uthamaputhiran’. But forget the lengthy second half and some cliched sequences, ‘Manam Koththi Paravai’ will stick to your hearts.

Department (Hindi Movie)

Film: "Department"; Cast: Amitabh Bachchan, Sanjay Dutt, Rana Daggubati, Abhimanyu Singh and Madhu Shalini; Director: Ram Gopal Varma; Rating: ***
Shoot at sight. Point blank. In different ways that's exactly what Ram Gopal Varma (RGV) and his characters do in "Department".
While his cop heroes Sanjay Dutt, Rana Daggubati and their hazily sketched compatriots (one of whom looks like Deepak Tijori) go on a cleansing rampage against socio-paths, RGV goes on his own trip, shooting characters at angles you've never seen them being shot. They don't always look fetching with their stained teeth and dirty nails showing up in embarrassing close-ups. So, who said life in cinema is about postcard pictures?
Welcome to RGV's world of muck and mayhem.
The one definite thing that must be said about RGV is that his exploration of the nexus between the law and the underworld is ceaselessly seeking new modes of storytelling.
"Department" is one breathless surge of aggression and violence. Shot with cameras that capture the actors at their quirkiest and most candid, the film is not for those who think cinema is all about style. RGV left his stylish days behind in "Rangeela" and "Company".
Repeatedly and mercilessly RGV dismantles all conventions of pretty storytelling and aims for the jugular. The camera angles are often much too casual to be considered 'cinematic'. But breaking rules is a given in RGV's cinema. He breaks them in "Department" in a noisy rush of agitated images that go well with the edgy fidgety characters.
Not all the characters work. Vijay Raaz as a whiny dhoti-clad gangster and debutant Madhu Malini as a tartish sharp-shooter are a scream. The talented Abhimanyu Singh has a tough time trying to maintain an equilibrium between the two unintentionally comical evil doers. The dialogues these gangsters exchange try so hard to be real they end up being howlers. It's like eavesdropping on a conversation between two pathologists.
The camera, manned by no official Director Of Photography (and it shows), goes through the character's legs, into their nostrils, over their armpits…in this film about cops who do their own thing.
"Department" is a brutal film. There's no room here for emotions. Even when Sanjay Dutt playing a senior cop goes home his wife, played by Laxmi Manchu, speaking in a strangely loud tone, he talks to her in unsentimental tones. There's more feeling in the two cops, Sanjay and Rana's buddy-buddy talk, in the line of duty.
There's a long history in cinema of cops striking a rapport on the beat. Sanjay and Rana are no Danny Glover and Mel Gibson. But then this is no "Lethal Weapon".
The action here is a strange mix of street aggression and stylized stunts. While scenes of Rana chasing goons through claustrophobic crowded areas of Mumbai are vintage Varma, the climactic fist-to-fist between Rana and Sanjay proves a battle of unequal titans. One of the two actors being just too agile for the other.
What grabs your attention in this oft-told tale of the cops resorting to extra-constitutional means to 'cleanse' the city is the frenetic pacing. The characters are constantly on the move.
Even Amitabh Bachchan, while taking sardonic jibes at a 'system' that is corroded, is seen restlessly circling Sanjay or Rana, depending on which of the two the wily wizened politicians is provoked into action.
Not surprisingly Amitabh's netagiri provides the liveliest interludes in the proceedings. He seems to behaving the most fun even when saddled with dialogues that must have sounded far funnier on paper than they do in their delivery. Among the rest of the cast, Rana with his restrained ruggedness stands tall.
What "Department" delivers is yet another RGV product that takes Hindi cinema's crime genre away from conventional storytelling. There are no punctuations except exclamation marks, no speed-breakers except songs, which are terribly screechy and grating with Nathalia Kaur's item number hitting rock-bottom, and no way out for these restless law-enforcers than to take the law in their own hands.
The world of "Department" is anarchic, destructive and apocalyptic. The narrative format imposed on the world of gangsterism is freewheeling almost chaotic. Violence and death are written into the DNA of the characters.
"Department" tells a virile story with no patience for sappy humbug. It's not meant for those who think lovers laughing their way into death, as they did in "Ishaqzaade", are the last words in ruinous relationships. In "Department", the characters share a far more intimate bonding with their guns than with their friends.

'Dammu' (Telugu)

Film "Dammu"; Producer: K.S.Rama Rao; Screenplay-Director: Boyapati Sreenu; Music: M.M. Keervani; Camera: Arthur A Wilson; Dialogues: M. Rathnam; Cast: Jr. NTR, Thrisha, Karthika, Kota Sreenivasa Rao, Nasser, Brahmanandam, Ali, Bhanupriya, Thanikella Bharani and others; Rating: **1/2

After giving two unsuccessful films at the box-office, Jr. NTR's "Dammu" was expected to turn the tide for the actor, who is known for his fierce dialogue delivery and top class action and dances. 

The trailers of the film and the speeches made by NTR and director Sreenu during the audio release function of the film had also aroused lot of expectations but unfortunately the final product does not match the hype created around the release.

The plot of the film is inspired by Dharmendra-Hema Malini starrer 1972 film "Raja Jani", that was remade as "Adutha Varisu" in Tamil with superstar Rajinikanth in the lead. 

The screenplay lacks freshness and all the sequences are written to highlight the hero and his real life family background. Even granting that such eulogical references to the film hero's dynastic background is acceptable in Telugu films, "Dammu" has a greater level of flattery of the Nandamuri family.

Ramachandra is a peace loving young orphan, who desires to make good money and have a settled life. He meets Ashwini and it's love at first sight. But he has to show Ashwini's father how rich he is. Meanwhile, a Royal family from a distant village wants to adopt a youngster as a legal heir. Ramachandra goes to the palace and he gets adopted by the family.

However, he learns that his adopted family is at loggerheads with another influential family in the neighbouring village. Now it is up to Ramachandra to get justice for his village without being violent. 

What are the challenges and dilemma he faces in accomplishing his goals leads to the climax of the film.

NTR plays a larger than life role in "Dammu" and his dynamic performance, action and dialogues are the mainstay of the film. The film boasts of a lot of action, which might not impress the family audiences.

The film lacks engaging comedy elements despite the presence of artists like Brahmanandam and Ali. 

The emotional sequences in the second half does not gel with the narration. The two heroines Thrisha and Karthika have lesser scope to perform.

Nasser plays the villain's role to perfection. Kota, Bharani and Bhanupriya make an impact despite smaller roles.

The film is rich in production values and that is the prime reason for the film's enhanced quality quotient.

"Dammu" may not be for those who are against too much of action and violence. But if you are a Nandamuri fan, then there are lot of elements in the film that you can enjoy. Perhaps this factor may be the key for the success of the film.

'The Avengers' (Hollywood)

'The Avengers'; Director: Joss Whedon; Actors: Robert Downey Jr., Chris Evans, Mark Fuffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Tom Hiddleston, Samuel L. Jackson; Rating: ****

Film: In a multi-hero film it is tough to do justice to each character. Imagine a multi-superhero film? Yet to the delight of movie lovers, second-time feature director Joss Whedon proves himself to be a superhero as he pulls the impossible with fun, humour and unbelievable panache in "The Avengers". 

SHIELD director Nick Fury (Jackson) manages to assemble six superheroes when Loki (Hiddleston) threatens to destroy the Earth. Sadly, strong personalities don't make a good team and our superheroes fight with one another. 

It is only when everything seems lost, that our superheroes realise that alone they might be lost, confused souls, but together they become something they never thought they could be - the invincible avengers. 

The film is so engaging that despite some flaws, you choose to ignore these. It is witty, smart and funny, with enough comic-book humour and elements of delight for everyone from a five-year-old to an 85-year-old. 

So, everything you can imagine in a film with multiple superheroes - great action, good costume, witty writing, good subplots and most of all, the superheroes fighting one another - is there in the film. It's been designed for success and this design works like a charm. 

Not one character has been given extra attention while giving enough time to establish the characters of the two who don't have a separate film yet - Black Widow and Hawk Eye.

"The Avengers" thus become a surprising example of too much being put in one film, yet it working out in the end. 

The long-winding, extended climax is an absolutely delight. The length is just perfect. Any shorter and it would have not done justice to the characterisations and any longer would have made it boring. 

Yet, you do miss a few elements while a few others jar. A cameo by Natalie Portman (from "Thor"), like that of Gwyneth Paltrow is missed. "The Hulk", who so far we learnt couldn't control his anger, in the climax suddenly develops it becoming an adorable green monster who's as strong as he is cute. A little on how he got there, would have been better. 

Tom Hiddleston as Loki, the evil but vulnerable villain outdone by his megalomania, does the best job of "acting". 

"The Avengers" is a watershed film because it is a new concept. It is the culmination of the build-up of multiple films - two "Iron Man", "Hulk', "Thor" and "Captain America". This culmination also marks the beginning of a new franchisee. 

Thus, this multi-hero film itself becomes a metaphor and a tribute to the literally thousands upon thousands of people who worked in unison in the films mentioned above to lead to this very satisfying end which is also a beginning. 

Each one of them showed, like the film's main theme of brotherhood, what it is to work together for a common goal. Perhaps in it lies a message for real life, that our governments could do the same with the world. For even in real life, planet Earth is in desperate need of saving with no superheroes in sight.

'Tezz' ( Hindi)

Film: "Tezz"; Starring: Anil Kapoor, Ajay Devgn, Zayed Khan, Sameera Reddy, Kangna Ranaut, Boman Irani; Directed by: Priyadarshan; Rating: ***

What do you do when a country, a culture and their purveyors wrong you irreparably? You plant a bomb in a speeding train and hold the establishment to ransom.

Taking a cue from Hollywood's most watched bomb-maro-bomb rush-hour excursions into plunder-land "Tezz" springs forward a nicely-packaged expertly-cut he-dunnit. And that's a very different genre from the whodunit.

Here we know Ajay Devgn is the closet terrorist. But since his fans won't like it, Devgn is, with due respect to Mira Nair, a reluctant terrorist... how reluctant, we won't reveal fully. 

Devgn has a back story with screen wife Kangna Ranaut, who in keeping with her character's British domicile, sports blonde hair. No, this is not a joke.

Luckily, Priyadarshan's plot has a lot more going for itself than its leading lady's hair-to-stay problems. The director creates a taut cat-and-mouse game between 'terrorist' Devgn and cop Anil Kapoor who in true Hollywood style, is on the verge of retirement from service when duty beckons.

There are enough men on duty on both sides of the law here to fill up one section of Tihar jail. The narration allows elbow-room for an army of actors laden with anxious motivations and tense expressions to match, all hurling like the speeding train towards an uncertain nemesis. Luckily, the plot finds itself a convincing finale. And we can go home feeling all is not lost for the slick action genre in Bollywood.

There is hope.

There are some jaw-dropping action sequences here. Some of them, like Devgn and Kapoor's fist-to-fist in the grand finale and the search for Devgn in a hospital's car park, are so expertly executed they make you forget how far Bollywood lags behind in the action genre from its firangi counterpart. But then again some of the stunts like the one where passengers from the bomb-threatened train climb into a safe train, are done clumsily enough to bring us down with a thud.

Curiously, Zayed Khan and Sameera Reddy who play Devgn's accomplices in the terror crime are given one extended heart-in-the-mouth chase sequence each. They show remarkable agility in their given space. Ditto the film's technicians. Thiru S. Appan's camera looks at London with keen anticipation.

Aditya Dhar doesn't come up with one memorable dialogue except, "Teri Maa Ki..." when Devgn while negotiating his ransom money with train executive Boman Irani drops his cellphone.

"He's Indian, not Pakistani," Boman confidently informs cop Anil Kapoor with a straight face.

The absurdities don't swamp 'Tezz'. True its title, the tale of a bomb and a Boman trying to diffuse the crisis, whizzes by at breakneck speed.

Priyadarshan's tackles what's a new genre for him, with pleasure and aplomb. Ajay Devgn, Anil Kapoor, Boman Irani, Sameera Reddy and Zayed Khan furnish a flavour of slickness to a story that holds your attention till the end.

Parie' (Kannada Movie)

Film: "Parie"; Producer: BDT Abhinaya Chithra; Screenplay-Direction: Sudhir Attavar; Story: Sampanna Muthalik; Music: Veera Samarth; Camera: Anant Urs; Cast: Rakesh Adiga, Nivedhitha, Harshika Poonachcha, Naga Kiran, Sathya, Sharath Lohithashwa, Mandya Ramesh, Sreenivasa Prabhu and others; Rating: *1/2

Director Sudhir Attavar had said before its release that "Parie" may start a trend of tasteful commercial entertainers. But seeing the sequences of the film, which boast of extra-marital affairs and physical intimacy, it looks like the director had some dubious intention to capture the viewers' interest. 

'Parie' is made by some Karnataka-based top software engineers working in the US. But their effort seems wasted mainly because of the director, who has been barely involved in writing the script or narrating the story on screen. 

He has not done enough to take a big responsibility of wielding the megaphone of a big-budget film, which relatively has new entrants. "Parie" is sure to embarrass the family audience.

His credentials in the Kannada film industry is that he has written two songs for two Kannada films out of which one was from "Savari" that had become somewhat popular. 

The story is about a Brahmin boy Bharadwaja, who loves a tribal Lambani girl Parie. He is heartbroken when the tribal leader announces Parie's marriage to another boy Valia from the community. 

A distraught Bharadwaja moves to the city to join Sumedha, the owner of a distillery company. As a worker in the distillery firm he impresses its owner, who starts loving him. But she is prepared to sleep with her business rival for some gains. Bharadwaja is shocked that Sumedha can do such a thing to hurt him. 

He is in for another shock when he learns that his father, notorious for his immoral habits, has become mentally unstable. He comes back to the Lambani where a mistaken Valia attacks him. Whether Bharadwaja unites with Parie or not is answered in the climax of the film.

Rakesh Adiga, who has shown lot of improvements in acting after his first film "Josh", was unsuitable for the lead role. Even the bubbly Harshika Poonacha as Sumedha lacks the maturity required for the character. 

Smitha a.k.a. Nivedhitha is a good actress, but she is used more to add oomph to the film as she is mostly seen in sexy attires. Naga Kiran is average. Sathya, Sreenivasa Prabhu fill in their respective roles.

Veera Samarth's music and camera work of Anant Urs lifts the film to an extent. Art work by Sathyu is also good. Other than these technical qualities, the film is a big bore.

"Parie", a badly narrated film, is a tedious watch.

Veer Samarth is the only music director who has unfortunately not tasted success in the industry despite being profusely talented in both Hindustani and Carnatic music. He is a music director of substance. 

It is his bad luck that despite composing some best tunes in the film like "Mugila maathu" and "Minuguthidhe", Veera Samarth ends up as a music composer of a bad film.

22 Female Kottayam Stereotyped!

ster·e·o·type (A widely held but fixed and oversimplified image or idea of a particular type of person or thing: "sexual and racial stereotypes".)

Stereotyping is an offence in some countries. In the US there is the Indian stereotype, in India there is the South Indian stereotype and in South India there are further regional stereotypes.  I personally hate stereotyping, because it is the mind product of limited exposure. People see a very small and finite number of a certain sect of people and arrive at a common description of them.  And I strongly believe that a group of people who are being stereotyped should not go on stereotyping sub-sects of their pool. 

“Mallu” (I simply hate the word) is a title given to the Kerala lot as a whole. People from other parts of our country make fun of our regionally biased English accent. I do agree that most of us have an accent when we speak English; if we have our southern English accent, the North Indian’s have their own equally ridiculous accent. Most disgusting is the fact that we have our own porn genre “Mallu Aunty”, “Mallu Lady”, “Mallu bgrade” and the list goes on. 

I wrote about all these stereotyping because, I just want to point out that all Aunties of Kerala are not two bit prostitutes. And we don’t deserve to be stereotyped; I mean no one does. 

However you try to defend the movie “22 Female Kottayam”, there is no doubt that it stereotypes a profession and a region; and that is just plain wrong. 

The characters in this movie are not well researched. The life style followed by the lead character is at times very contradictory. And not all Christian females from Kottayam drink alcohol; in the movie it seems that it is some kind of a standard for girls from that side. The only regional accent in the lead girl’s speech is when she uses the sound “bha” (fa). 

Fahad Fazil is excellent as always, but I fear that in the long run he will be imprisoned in this kind of roles for ever. Reema has done a decent job. 

I never expected this genre from Abu. It would have been very natural coming from Samir Thahir, Sreenath Rajendran, Lijo Jose etc. If everyone is going the dark way, then from where can we expect movies like Salt and Pepper? 

Quentin Tarantino’s Kill Bill, Sriram Raghavan’s Ek Hasina Thi and N. Sankaran Nair’s Cabaret Dancer are the 3 films listed as inspirations for the movie. I guess Ashiq Abu intentionally forgot to mention the more strickingly similar Meir Zarchi’s  I Spit on Your Grave.  Hard Candy by  David Slade might also make it to the inspiration list. I don’t find this movie to be a novel concept in Malayalam films, remembering the old movies like “Panchangini”, “Kallichellamma” etc.

Blood Money

Star Cast of Blood Money : Kunal Khemu, Amrita Puri, Manish Choudhary

Shekher Shukla, Mia Uyeda, Karan Mehra

Director: Vishal Mahadkar

Producer: Mahesh Bhatt

Music Director: Siddharth Haldipur, Sangeet Haldipur, Jeet Gannguii

Lyricst: Sayeed Quadri, Kumaar

Singers : Rahat Fateh Ali Khan, Clinton Cerejo,

Mustafa Zahid

Many films made by the Bhatt camp in the past have shown the lead character as an ordinary middle-class person aspiring big in life and getting caught in the web of the underworld. With Blood Money, the camp tries to make one more film, which again has the same subject as its central idea.

Blood Money is a story of Kunal (Kunal Khemu), who moves abroad along with his wife Arzoo [Amrita Puri] in South Africa to work for a diamond company. As the ambitious man displays his capacity to sell diamonds, the owner of the company Zaveri [Manish Chaudhuri] gives him one promotion after another. But whereas Kunal enjoys his success, as he makes it big, he has problems with his wife on one hand and with Zaveri’s brother on the other hand. Soon, Kunal also finds out that much of Zaveri’s business is illegal and with every passing day, he is becoming a part of it. On finding out that Kunal knows about the illegal part of his business and wants to destroy him, Zaveri lays a trap to kill Kunal.

In today’s time, to make a good film, you have to offer something entirely new to the viewers. Even if you are offering a stale deal to the viewer, you have to pack it in such a way that it looks brand new on screen. That’s where Blood Money totally losses out in impressing the viewers. Though there are some interesting moments, the viewer does not appreciate these moments too much because apart from these selective moments, you are not watching anything new and attractive in the film.

The first hour of the film is excellent. The screenplay of Blood Money showcases a young ambitious man in the most appropriate manner. Any young man will relate to Kunal in the first part of the film and see little bit of Kunal in himself. But then the way Kunal fights the underworld at the climax is most unreal. The climax of the film, where the lead actor keeps running despite being stabbed is not easy to understand either.

The director of Blood Money Vishal Mahadkar has dealt with certain aspects of the story pretty well. The tensions in the relations of the lead character Kunal and his wife on one hand and Kunal and Zeveri’s brother on the other hand get shown on the screen in a beautiful manner. The screenplay also successfully establishes Kunal as an ambitious man, But, all this is in the initial part of the film. A weak screenplay spoils the film completely in the climax.

Apart from the direction, the music and cinematography of Blood Money are good.

Kunal Khemu is excellent in the film. The powerful performance in Blood Money will help him establish as an actor in the industry. Amrita Puri also matches Kunal in the film with an equally good performance. Apart from the lead pair, Manish Chaudhuri, Sandiip Sikcand and Teeshay also give good performance and leave an impact. But the role of Mia Uyeda and Karan Mehra are very small.

You can say that Blood Money starts off well but a weak story and screenplay makes the film lose its way. Though, it’s a good attempt, the film could have been much better.

'HOUSEFULL 2'

Film: "Housefull 2"; Starring: Akshay Kumar, John Abraham, Ritesh Deshmukh, Shreyas Talpade, Randhir Kapoor, Rishi Kapoor, Asin, Jacquelin Fernandez, Zarine Khan, Mithun Chakraborty, Boman Irani, Johhny Lever; Directed by: Sajid Khan; Rating: ***

Gags galore. Laughs? Well, not as many as you'd expect in a 180-minute marathon mirth machine. Somehow, the jokes get choked in the comic ritual of repetition. Once you figure out who's who and who's ha-ha in the farce fest, the attempts to cram as many characters into every frame as humanly possible begins to take its toll on the comic equilibrium of this tale of intermittent titters and some genuine laughs.

So what's "Housefull 2" about? Wrong question. Beyond a point, it's only about keeping the embers of satire alive by hook or by over-cook. Somewhere down line the witticism wears thin. But there are comic actors of terrific aptitude holding aloft the thinner segments in the farcical fabric.

Just look at the lineup. Real-life brothers Randhir and Rishi Kapoor on screen for the first time together. Wow wee!Each time they appear on screen the theme from Raj Kapoor's cinema plays slyly in the background. As brothers turned enemies sharing a wall of history in 'Great' Britain, the Kapoor brothers take much longer to thaw and embrace one another than the other actors. 

The plot is propelled forward by pairs of hostile actors who come together by the mid-point…Asin and Jacqueline playing blathering bimbos who also happen to be warring cousins, seem to find no pleasure in their characters beyond swooning in their screen-lover's arms once too often. Akshay Kumar and John Abraham (the former getting the comic timing right, the latter trying so hard the effort shows) hate one another because at their college dance John caught his girlfriend with Akshay in the closet.

Once out of the closet the fun quotient never really stops for Akshay. He is in his rogue's element running helter-skelter between dacoit-turned-English aristocrat Mithun Chakraborty and his Man Friday Johnny Lever.

The male actors get the sur of the steep satire right. But the ladies, they're a little lost in the melee of mirth. Asin who has the meatiest role among the girls is listless. Making 25 faces in every frame doesn't constitute money's worth acting.

Sajid Khan shoots the ladies in exotic locations. The camera is never voyeuristic. The mood is often slapstick. But the gags never cross the limits of vulgarity. The verbal exchanges are largely free of double meanings. Yup, this comedy could be watched by the family without the dialogue writing band-bajaoing Papa and Mama's censorial rules.

It is interesting to see how Sajid Khan employs old traditional Bollywood conventions, like a flashback where two friends swear to give away one another's kids in marriage when the time is right, and an incredibly lengthy and pointless fight sequence where Dara Singh's son Vindoo jumps out of a wheelchair and gets beaten up by our bunch of belligerent heroes.

Such archaic formula-baazi is synthesized with more contemporary concepts of cinematic entertainment. All in all you come away from "Housefull 2" with a feeling that the vast cast seems to get the mood of riotous fun. They seem to have such fun that the audience can't help getting infected by their non-stop party mood.

"Housefull 2" takes the comic vein further than the first Housefull film. Sajid's plot, characters and situations keep the chuckle fest vibrant and alive till the end. This is at times a wicked and funny farce with sparkling comic talent displayed by every male actor.

ARAVAAN' (TAMIL )

Film: "Aravaan": Cast: Aathi, Pasupathi, Dhanshika; Director: Vasanthabalan; Producer; T. Siva; Storwriter: Su. Venkatesan and Vasanthabalan; Composer: Karthik; Cinematographer: Siddharth; Rating: ***

Vasantabalan, who made a name for himself by sensitively handling human lives and emiotions in his films, has come out with "Aravaan", based on a novel by Su. Venkatesan, who won a Sahithya Academy award for the novel. The film was in the making for a long time.

Vasanthabalan has added his own flavour to the story that is set in 18th century Madras Presidency, as Tamil Nadu was then called. The movie is not about kings and kingdoms. It is not even about the British rule which was spreading its roots all over India during that period. "Aravaan" talks about ordinary people and their lives. It revolves around a few villages and communities, including the one which thrives on looting. 

The story begins with a set of people led by Komboodhi (Pasupathy) set to steal some jewels from a rich family. The group belongs to Vembur village, known for stealing. During the course of one such heist by his gang, Komboodhi finds Varipuli (Aadhi), a lone robber, whose whereabouts are suspicious. Fascinated by Varipuli's courage and amazing talents, Komboodhi adds him into his team.

Varipuli claims that he is an orphan and wins over the hearts of the Vembur inhabitants with his brave and good deeds. He once saves the life of Komboodhi, who gets some clue about Varipuli in the process.

Varipuli is hunted by a group of people belonging to a village called Mathur and it is Komboodhi's turn to save him. Before we get to know if he could save Varipuli from the clutches of death, we get to see a flashback that reveals Varipuli's past. His original name is Chnna and he is belonged to Chinna Veerampatti village, known for brave young men engaged in guarding the people from all kinds of dangers. 

The village is at loggerheads with neighbouring Mathur. 

An unfortunate incident in the village pits both villages against each other. 

Circumstantial evidence makes Chinna Veerampatti culprits, though they have no connection with the incident. Both villages set for a bloody clash but an intervention by the local king finds a compromise. He says that a young man from Chinna Veerampatti village should be sacrificed in the temple to bring peace. 

Chinna, like Aravaan in Mahabharat, is ready to accept the verdict to avoid blood bath. But turn of events saves his life however, people of Mathur are hunting for him with more vengeance. It is here Komboodhi tries to save him.

Kudos to Vasanthabalan for treading on an unusual path. He has got his homework right. The story is substantial and the script ensures smooth flow. 

Boht the director and the scriptwriter have given attention to the details to portray the period well. The culture of the people has been shown well with precision. The dialogues are apt.

Vasnathabalan could have done better in the scenes that lead to climax. The way Aadhi escapes from the death looks dramatic rather than realistic. The sex worker angle seems to be imposed. 

The length of second half tries our patience. Too many sub plots mar the impact. But the director has managed to ensure that the overall impact is unaffected. 

The voice against death sentence echoed in the film seems to be out of place, as the movie doesn't deal with death sentence but sacrifice (balidaan). 

Aadhi enjoys the challenge of featuring in a period film. As the brave Varipuli, he proves his mettle. He has justified the confidence the director has placed on his acting prowess. 

Seasoned Pasupathy gets into the skin of the character. His body language, expression, and voice are just amazing.

Others including Dhanshika, Archana Kavi, Singam Puli, Thirumurugan and T.K. Kala among others have added value to the fare. 

Cinematographer Siddharth contribute to the overall experience by his angles and colours. But some of the scenes lack authenticity. 

Singer-turned-music director Karthik's background score jells well with the script. The song "Nila" sounds good. 

"Aravaan", the people's history, is worth a watch despite some shortcomings.

'TITANIC 3D'

Film: "Titanic 3D"; Cast: Leonardo DiCaprio, Kate Winslet and Billy Zane; Director: James Cameron; Rating: **** 1/2

Since "Titanic" originally released in 1997, the first question that comes to one's mind is of reasons to 'revisit' the film. The second question is about a film that may have won maximum Oscars, but whether 3D is good enough reason to not buy a DVD instead? 

Vivacious Jack (DiCaprio) travelling third class on Titanic falls for the beautiful but lonely Rose (Winslet). As the ship hits an iceberg, a battle for survival is waged even as the jealous, industrialist fiance Cal (Zane) bays for the blood of the two lovers. 

Titanic, the film, as the ship in 1914, has become stuff of legends so it's pointless to recount the obvious. Let's try and see the invisible.

The most striking thing about 'Titanic' is the immaculate and almost painful detailing. Like Stanley Kubrick, James Cameron delights both the novice and discerning viewers with the detail in every door knob, every headgear, every marking on every china-plate and every expression on actors faces. 

It is thus the mother of all disaster movies not because it is based on a real incident but because of this attention given to so much detail. That is perhaps the reason why, among many other probables, Titanic became first among the classics to gain a 3D restoration. 

The already immaculate detailing is enhanced by 3D, increasing engagement and thus the viewer's experience. 

Beyond its technology though, 'Titanic' is literally a masterpiece of metaphors. The most obvious and overarching is that of the class segregation in society. Titanic becomes a microcosm of our planet earth and its social, structural divisions. 

Even physically the ship represents a class pyramid, with the majority in the lower decks filled with the have-nots, aspirational class forming the base while the higher decks of rich, hedonist and have-all class forming the pyramid's small but affluent, tip. Cameron scathingly points out the hypocrisy of the latter even as he celebrates the giving, caring and sacrificial spirits of the lower class. 

"Titanic" is also a very feminist film. Set at a time where women were thought to be nothing better than decorative pieces, it pits two perspective: one where the woman has everything physically at the cost of her freedom and the second where she may not have any worldly riches but has love, beauty and freedom. Rose vacillates between the two perspectives, till finally going with her 'heart'. 

Thus the story of 'Titanic' might seem linear and juvenile, but like his later film 'Avatar' Cameron hides layers and layers inside its deceptively simple, sugar-coated shell. And though the acting of our lead pair may not be up there, but their chemistry and youthful and innocent exuberance carries the film through. 

Oscar-winning producer of Titanic Jon Landau had told IANS two week back when he was in India to promote the film, that James Cameron had himself supervised every one of the nearly half a million frames that had to be converted to 3D and $18 million and over a year spent in the same. The effort shows as 3D enhances the brilliant detailing, adding an extra shine to an already bright film. 

In 1997 people had gone to watch 'Titanic' multiple times. Watch it in 3D on the large screen - on the 100th anniversary of the ship's sinking - and you'll go see it another time for the magic is not only still there, but is enhanced by 3D. 

'CHAURAHEN'

Film: "Chaurahen"; Cast: Victor Banerjee, Roopa Ganguly, Ankur Khanna, Soha Ali Khan, Karthik Kumar, Shayan Munshi and Zeenat Aman; Director: Rajshree Ojha; Rating: ****

The four stories, originally written by Nirmal Varma, come together in a mysterious melange of pain, longing and tentative redemption in "Chaurahen". In her other film "Aisha", director Rajshree Ojha gave us no clue of her affinity to such an intimate contact with the deepest recesses of the human heart. "Aisha" ended up being as shallow as its Jane Austin-derived protagonist. 

Dare we say the characters in "Chaurahen" are as thought-provoking as the writer-director's vision of a life in the metros? Under the bustling soundtrack (from Rabindra Sangeet to Carnatic sangeet), there's an all-pervasive stillness at the core of the stories that crisscross so effortlessly in "Chaurahen". The characters are all living with ghosts, reluctant and afraid to let go of their past and live in the present.

Each of the four stories is steeped in nostalgia, pain and a final redemption (the airport finale feels fake). 

With amazing clarity and an arresting economy of expression, Ojha brings forward these lives scattered across three cities trying to come to terms with their past and present, making an effort to focus on that beam of light which is visible only if the pain of existence is seen to be a variable circumstance in the wider scheme of the universe.

Ojha's film concentrates on getting the characters to bare their soul without flashy acting or flamboyant moments of self-revelation. In my favourite segment, a young gay NRI (played evocatively by Tamil actor Karthik Kumar) visits his parents (Arundhati Nag and Nedumudi Venu) in Kerala after the death of the family's elder son. The sequence where he confesses to his sister (Suchitra Pillai) that he has "someone" in Vienna and that someone is a he, could easily have become an occasion for high-pitched drama.

Throughout, Ojha deals with the heightened emotions at the lower octave, letting the characters assimilate their emotions in the sounds, flavours and sights of the cities that they so tellingly inhabit. In the dramatic moments Ojha's narrative is stubbornly muted, at times audaciously playful, daring her characters to take life too seriously.

A rare and charming synthesis of drama and normality is achieved. There are no awkward moments even when the characters are caught at their most awkward times of self-revelation. 

When the distinguished Mr. Bose (Victor Banerjee) flaps his fading libido in the company of a fey foreigner, played by Charlie Chaplin's granddaughter Keira - a complete non-actress - the narrative opts to zoom in on the dignity and grace that Mrs Bose brings to her pain rather than on the mess that the unlikely triangle creates.

Indeed, as a woman trapped in a sterile loveless marriage Roopa Ganguly emerges with the strongest performance of the film. The neglected wife is a favourite archetype of films set in Bengal. Roopa's portrait of desolation reminds us of Madhabi Mukherjee in Satyajit Ray's "Charulata". 

Victor too is flawless in depicting the rather-regrettable Lolita-fixation of a bhadralok. 

The rest of the brilliant cast is also near-perfect in bringing their characters face-to-face with their conscience. 

Soha Ali Khan and Ankur Khanna, playing a couple that must separate because he insists on living with his dead parents, Karthik Kumar as a closet gay being forced to live his parents' dreams for his dead brother, and Zeenat Aman as a lonely single woman at a bar being courted by a soldier, seem to have been cast in roles that they were born to play.

"Chaurahen" is deep, layered, luminous literary yet light-hearted. The characters are burdened with the ghosts of their past, and yet they manage to search out a sense of desirability in their present. 

The film is located in three cities, but is actually shot straight in the heart.

And if you are wondering how Tobias Datum's cinematography shoots on location in the heart, then you only need to look at the characters in "Chaurahen" who are captured in postures that go way beyond the body language.

This is a film so rich in unstated relevances that you wonder why dialogues for cinema were ever invented. Or why cinema for that matter, was invented if not to take us into places of the heart that are barred in Bollywood.

'NUVVA NENA'

Film: "Nuvva Nena"; Cast: Allari Naresh, Shriya Saran, Sarwanand, Vimala Raman, Brahmanandam, Raja, Ali, Srinivasa Reddy, Kovai Sarala and others; Director: Narayana; Producer: Vamshi Krishna; Cinematographer: Dasaraathi Sivendra; Composer: Bhims; Rating:***

Allari Naresh and Shravanand, the jodi of Krish directed "Gamyam", teamed up for the wholesome entertainer "Nuvva Nena". If you are watching the film without any expectations, you are sure to find that it rocks. Debutant director Narayan shows clearly that he has something in him to make a fun-filled entertainer.

Frankly, the story of the film does not offer anything new. There are umpteen number of films where two guys are eyeing the same girl. But what makes the proceedings in "Nuvva Nenaa" quite interesting is the fact that each sequence looks compact and yet sensible. It is not loud either.

The director has also incorporated some commercial elements by focusing on punchy dialogues and some of they may not appeal to class audience. But still the film's comical elements will enthuse the viewers. The cat and mouse game between the two protagonists is sure to entertain the audience.

Avinash, a small time thief, who moves to Hyderabad from Amalapuram with all the loot along with his sidekick to avoid being booked for his crimes. Then there is Anand who is suffering from some psychological problems. 

Anand is admitted at Nandini's nursing home in Hyderabad. Both Avinash and Anand falls in love for Nandini. 

Avinash later learns that Anand is only feigning health problems to spend time with Nandini. Both of them start wooing Nandini.

Meanwhile, an underworld don Aaku Bhai also falls for the charms of Nandini. 

Who will get Nandini ultimately forms the rest of the plot. To add the confusion, a nurse in the hospital falls in love with Aaku Bhai.

Allari Naresh has given a creditable performance as Avinash, while Shravanand surprisingly delivers entertaining comic performance.

Shriya Saran looks more like a fashion diva in the role of a psychiatrist, Vimala Raman, who has done and item number in the film, has nothing much to do.

Brahmanandam and Ali are very good in comedy sequences.

"Nuvva Nena" is a light-hearted comedy which is enjoyable despite some flaws.

AGENT VINOD'

Film: "Agent Vinod"; Starring: Saif Ali Khan, Kareena Kapoor

Directed by: Sriram Raghavan; Rating: *** 1/2

Believe me, it's really a small world. Even though a film purporting to be as epic in proportion as "Agent Vinod" travels all across the world to capture some of the most never-seen spots in the world, the plot - an intelligent clever, urbane and wry melange of Bourne and Bond, "Farz" and "Mission Impossible", finally finds its most assured resting-place in apana jahaan Delhi.

The last half hour where an international terrorist outfit attempts to blow up Delhi, gets the grammar of an espionage thriller so riveting and so right, you wonder what took director Sriram Raghavan so long to get there.

"Agent Vinod" is the kind of meticulously crafted spy drama where cerebral considerations mesh into more earthy demands of commercial Hindi cinema, like item songs in smoky bars, shootouts in dust toasted-brown locations that are as treacherous as they are daunting and, wonder of wonders, a clumsily-choreographed Mujra which doesn't quite fit into the smooth storytelling. 

Smitten more than we can eschew.

From its opening in a Taliban-infested area, there is no dearth of intrigue in "Agent Vinod". Agents, counter-agents, moles and molls, open-air flea markets and shopping malls jostle for attention in a script that appears to know its John le Carrre as well as its Nick Carter.

Raghavan spins a delicious yarn of guns and growls, but blessedly no gadgets. The action is crackling. The soundtrack is a chirpy mix of cheesy retro (RD and Asha Bhosle "Meri jaan tune kaha" from the film "The Train" pops up unannounced) and contemporary techno sounds.

The plot, perched precariously on the brink of self-indulgence, never spins out of control.

Clearly Sriram and Saif adore the spy genre. We can see the fun they've had in doing this film. But beneath the boys-having-fun mood is an undertone of reverence for all the espionage films from our own "Agent Vinod" in 1977 to Hollywood's Mission Impossible series.

Holding the restless plot in place is Saif's clenched and controlled performance. He desists from playing the spy to the galleries. He is urbane cool, yes. But he doesn't enjoy shooting the enemies for his country and really, patriotic jingoism is left far behind in the race to save civilisation from a nuclear catastrophe. There's a job to be done.And no room for fornication and fun.

Agent Vinod must be the only spy film from India where the Indian flag is not saluted or even mentioned in passing in hushed or shrill tones. This guy with a funny name would rather get along with the job .

Saif's performance is unfussy, no-nonsense and largely humourless. The end-title when he attempts to do a funny song seem so out of character, you wonder why the spy is trying so hard to be comical when we like him Martini-dry .

Ambling from one exotic location to another with the irradiant Kareena Kapoor in tow, Saif is a portrait of restrained heroism. He gets much-needed support from a cast of actors who seem to have been chosen without a second option. Every player knows his job and does it without looking distracted or self-important. 

Raghavan's direction is deep-focussed on the inner world of people who live on the edge. There is no room for romance or emotions. In the only meaty sequence that she has, Kareena moves us to tears when she tells Saif she wants a normal girl's life. Significantly Saif eats as she weeps. 

No, he isn't rude. Just honest. Life doesn't just go on. It goes on uncaring about those moments of tearful stock-taking which moviegoers would like to think of as the essence of life.

For all its sharply-defined interludes of counter-intelligence manoeuvres, "Agent Vinod" tends to get long-winded, though miraculously the narrative never gets out of breath. On the contrary it takes our breath away towards the end when in a climactic bomb-defusion end-game that is reminiscent of Mani Shankar's "16 December".

The globally-shot material is edited by Pooja Ladha Surti with more room for the narrative to sprawl and recline than necessary. Really, how much of the disconnected derring-do can we take before we throw our hands up in unresisting surrender?

The action sequences by Peter Heins and Parvez are sometimes heart-in-the-mouth. Other times they seem to have been put together on the editing table.

Life's like that. You are either swept away in circumstances beyond your control. Or you create situations that you choose to be swept away in.

"Agent Vinod" is not quite the overwhelming experience that you would want a global espionage thriller to be. More thoughtful than thundering, more la Carre and less Bond it nonetheless take the spy genre in Hindi to a new level of finesse. Finally, the cool quotient in Raghavan's chic spin on the espionage thriller is so high that you forget Bond and all his bloody brothers. 

Saif imparts a dry devilish dispassion to his spy's part,. He doesn't get time to tell Kareena how much he loves her. 

That's for the best. We already know that.

'MAGADI' (KANNADA )

Film: "Magadi"; Cast: Deepak, Rakshitha, Suresh Chandra, Padmavasanthi, Shilpa; Screenplay-Direction: Suresh Goswami; Producer: B.M. Harish; Music: Rajesh Ramanath; Camera: Ramesh; Rating: *

"Magadi" is a pain in the neck for reviewers as much as for viewers. The title and the film's poster itself had indicated that the film may lack any fresh elements and be a run-of-the-mill project. But it beats even normal expectations.

Many weakly-knit sequences in the film make the viewers angry.

It may well be the worst film to be released in the last three months and you pity an actor like Deepak, who did a promising role in "Shishya'. 

The story revolves around Magadi and Pavithra, two childhood buddies who were separated due to circumstances in their younger days. The one thing that binds them is a song "Naavaaduva nudiye Kannada nudi". As a youngster, Magadi used to sing it to impress Pavithra.

When they grow up, Magadi starts working with a don, while Pavithra is being looked after by a cruel-minded prostitute.

Situations lead Magadi to protect Pavithra in the house she lives in as she faces trouble from some hooligans. The song unites the childhood buddies. What happens later when the two lovers want to unite and settle for a marriage forms the rest of the story. 

With such a silly story, it is difficult for any actor to rise above the meaningless script and give a good performance. 

Deepak tries to act, but is handicapped clearly by the film's content. However, he is good in some action sequences.

Malayalam girl Rakshitha is wasted in the film and she has only a few songs and sequences.

"Magadi" also shows how a large number of Kannada films made with under-equipped writers and directors are bleeding the industry. Replete with shortcomings, it is a badly performed, directed and written film, weak in its technical values. 

A stretched narration of a non-existent story, stereotyped dialogues and boring song and action sequences make you yawn in the theatre.

Director Suresh Goswami has not only failed to write a good script, but also uses his available technical crew in a haphazard manner.

Even the characterisation of the hero and heroine is not well defined. As for the other characters, most of them shout in all the sequences - the director seems to have allowed them full freedom to do whatever they feel like.

Rajesh Ramanath's music is also ordinary, and the cameraman also fumbles in his work.

Even if you have lot of time and are an ardent film buff, "Magadi" must be avoided.

'MUNJAANE' (KANNADA)

Film: "Munjaane"; Cast: Ganesh, Manjari Phadnis, Malavika Avinash, Raghavendra Joshi, M.N. Lakshmi Devi, Rajendra Karanth; Story-Screenplay-Music-Lyrics-Dialogues-Direction: S. Narayan; Producer: Bhagyavathi Narayan; Camera: Jagadish Waali; Rating: **

It seems that S. Narayan enjoys burdening himself by stepping into various departments of filmmaking at a time. But it doesn't work.

Despite an average response to his musical talents in his previous attempts, Narayan continues to dabble in music composing and also takes up the job of writing and directing films. The result is "Munjaane" - a musical hotch-potch.

With multiple responsibilities on one's shoulder, it's hard to put together a creatively sound, dependable script. Therefore, Narayan happens to have written his script with a lot of 'inspiration' from many past films.

Some sequences seem to be straight out of Tamil films like Bharathi Raja's "Kizhakke Pogum Rail" and Agathian's "Kadhal Kottai". The bus in "Munjaane" replaces a train featured in the other films.

The story revolves around Manu Murthy, who helps his father in his Mysore-based business. Once he reads a small poem written on a bus and instantly likes it. He responds by writing his appreciation just below the poem. The poem is written by Pavithra, a girl from middle-class environs in Davanagere.

The bus becomes a medium for Manu and Pavithra to record their emotions. Gradually love blossoms through this exchange of romantic notes written on a bus. But Manu and Pavithra don't come face to face until they decide to reveal their identities and contact numbers when the rain washes the written messages. They exhaust all the options to find each other. 

By sheer coincidence, both Manu and Pavithra marry each other because of compulsions in their family. But the lovers who are married now, prefer to stay apart and maintain distance because they can't get over their feelings for their mystery lovers. How this knot of suspense in the two protagonists gets cleared, forms the climax.

Narayan has tried to include some double-meaning dialogues in the film which may look a little offensive to sensible family audience, but they might also appeal to front-benchers. The comedy sequences in the film are of utter bad taste.

Coming to the positives -- it is the quality of some dialogues which may appeal largely to film fans. There are a lot of emotional sequences in the film. Though they are predictable, some dialogues are genuinely heartwarming. However, some illogical and worthless sequences follow immediately after, and turn them into dampeners.

The biggest flaw in the film is the climax. It looks as if the director who is also the story writer, does not know anything about networking sites like Facebook. So the way the climax unfolds is utterly laughable.

The director has made a wrong choice for the heroine too. Manjari Phadnis does no good to the movie.

However, Ganesh saves the entire film by his brilliant performance. He has certainly excelled as an actor, but there's little he can do with such a senseless story.

Malavika Avinash overacts, and Narayan, who is also in the film, has just done an encore with his usual double-meaning dialogues and bad facial expressions.

The songs are badly picturised with too much of graphic work spoiling the effects of good visuals. Jagadish Waali, who had done wonderful camera work in "Shyloo", does average work in this film, and the editing is ordinary too.

On the whole, it looks like Ganesh's performance is the only saving grace of "Munjaane". Otherwise it is another average fare.

'The Devil Inside' (Hollywood)

Film: "The Devil Inside"; Cast: Fernanda Andrade, Simon Quarterman, Evan Helmuth; Director: William Brent Bell; Rating: * 1/2

When "Paranormal Activity" came in 2007, the premise and shooting style was so simple (compared to even the "Blair Witch Project" that had outdoor shots) that its effectiveness shocked more than the scares in the film. That genre has since been made stale by innumerable copies, including two more Paranormal films. Yet, to find a film that tries to be the next Paranormal, yet fails so miserably, makes it more of a comedy than horror. 

A young woman, after the death of her father and learning that her mother had killed three people in cold blood during an exorcism 20 years back, goes to Italy to find out what really happened to her. She meets two priests and discovers a world of devils and exorcism she did not know existed. 

But can she help her mother?

To be fair to the film, it has its moments of chills. Yet, its greatest drawback is its strangely abrupt and totally devoid of scare ending that leaves a lot to be desired. It is one of the most absurd endings in cinema which lays to waste an otherwise decent build up. 

Even two minutes of extra, scary footage of either the woman walking away unscratched or even killing in cold blood the other two person in the car, would have helped get the film double the audience compared to what they would have got with this senseless ending. 

Obviously they were hoping to leave it to a sequel to solve the mystery, but by doing this they have ensured that there would perhaps be no sequel. But then, you never know. 

The film obviously would have made more money then was put on it. There is hence a chance that there would be a sequel, no matter how bad this was. After all how much does it take to make a found footage film?

Then there are other loopholes like the unfinished story of the mother. What happened to her? Was she free of the devil inside her completely or only transferred a few to the other while a few managed to stay on inside her? There are too many unanswered questions, few scares for its own good and the film does not seem to have any devil inside it.

'The Iron Lady' (Hollywood)

Film: "The Iron Lady"; Cast: Meryl Streep, Jim Broadbent, Richard E. Grant; Director: Phyllida Lloyd; Rating: ****

The test of democracy is when a woman has as much right to a position of power as any man. Yet, if you look into the history of the western world, you'll realise that most aren't true 'democracies'. For most of them, including the US, has had no woman ruler. A notable exception, though controversial, is Britain's Margaret Thatcher. 

Thus beyond the politics of that woman, lies the politics of gender against which she rose and captured the world's imagination. In the same vein, beyond the politics of the film "The Iron Lady" lies a film about ambition, of a woman in a man's world. And in that respect, this is one tough nut of a film, just like the lady it portrays. 

Yet this biopic of Thatcher steers clear of any controversies and instead skims the surface in an attempt to truly show her as the 'Iron Lady'. It is this attempt that works for the film, but distorts its politics and intention. 

There is no denying that Thatcher was every bit of the lady of conviction the film portrays. But conviction itself is not a guarantee of correctness. If it were, we'd be worshipping Hitler, and Bollywood would be sweeping global film awards. In hiding much of Thatcher's bad politics, which is perhaps the reason why Britain is in such a soup, that the film tries to ameliorate her past. 

Yet beyond the film's covert intentions lies a woman who dominated world politics like few men have done, played by a woman who has dominated the space inside the four walls of a picture frame like few ever have. And therein lies the casting coup of the new millennium. 

With 17 Academy Award nomination (three wins) and 26 Golden Globe nominations (eight wins), both more than any man or woman, Meryl Streep is clearly the 'Iron Lady' of cinema.

And in portraying the Iron Lady of politics, she exactly shows why she is who she is. The film is indeed a complete Streep show from the beginning to the end.

There are other very good actors, but all of them pale in front of her domineering presence so much so that when you see her on screen, it is as if it is not Thatcher that is on the prowl, but the unstoppable Terminator himself. 

On another side, the film also shows the other side of a woman desperate to rise and control everything around. You cannot seek to control so much and not break up in the process. Thus her hallucinations, and moments of dementia are like the price she has had to pay to be an woman with ambitions higher than a man's in a patriarchal world. 

This battle of wits between this lone woman and men around is the high point of the film. It is also captured evocatively in beautiful montages like the one of being the only sandal in an ocean of shoes or being the only blue dress in a sea of black men's coat, or being seated in the furthest seat from the man in power, et al. 

These, and many other deft touches, force you to forget the politics of the film, and focus on the politics that both made and broke the woman being portrayed. And that in itself is a great triumph for any film anywhere.

'Carnage'

Film: "Carnage": Cast: Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly; Director: Roman Polanski; Rating: ****

The truth, as we all know is mostly that which we are completely unaware of. "Carnage" takes an absolutely innocent incident to show us that what we know of ourselves and our relationships with those around us, is not how it really is. 

After their son knocks two teeth of a classmates, Alan (Christoph Waltz) and Nancy (Kate Winslet) visit the victim's parents Michael (John C. Reilly) and Penelope (Jodie Foster). What begins as four mature adults sorting out a children's issue politely ends up becoming an emotional carnage as things spin out of control and the four people turn children, fighting and screaming worse than kids. 

Despite having two couples, who should be ideally fighting in unison, there's changing of favours, ganging up of seemingly opposite factions even when by the end we have everyone for himself and herself. 

It's not surprising that the world is in such a bad shape because you and I are not that different from these four people. 

The strength of the film is its sharp, witty, incisive and hilarious writing. Based on a play by French playwright Yasmina Rezait, it takes an innocuous conversation that slowly spins out of control as everyone's controls falls apart and their true nature and hypocrisies are revealed. 

The two couples become emblematic of every couple in the world. You are bound to find your partner in one of the four characters who inhabit the film or in a mix of their idiosyncrasies. 

Though "Carnage" stops short of taking the problems beyond what you see between the two families, you realise that the squabbles of our world is no different than the hilarious squabbles of these four people that will often have you laughing - after all, uneasy lie the mouths that deliberate. 

To know how you can confine a film inside a room for two hours, and yet ensure that the viewer does not leave his room, watch this film. You will know that in such a scenario, what should really work in your favour, is the casting. 

Everyone is good in the film but it is the two women - Jodie Foster and Kate Winslet who steal the show with their believable and inspiring performance. 

"Carnage" is in the tradition of cinematic adaptations of good plays and though it does not reach the brilliance of an "A Streetcar Named Desire" or "Who's Afraid of Virginia Woolf" or "Sleuth", it will indeed remind you of them. Therein lies one of its greatest strength.

'Paan Singh Tomar' (Hindi)

Film: "Paan Singh Tomar"; Starring: Irrfan Khan, Mahie Gill; Directed by: Tigmanshu Dhulia; Rating: ****

Some films are meant to run that extra mile to go beyond being a mere cinematic experience. As we see names of real-life athletes who died unsung flash across the screen at the end of "Paan Singh Tomar" we realize what we've just witnessed in the past 190 minutes of taut playing-time is not just film. It's a treatise on what destiny has in store for people who do not conform to socially-acceptable definitions of success.

Indeed Irrfan Khan as Paan Singh Tomar typifies that criminal neglect of all athletes in our country barring cricketers who, as we all know by now, are grossly overrated sportsperson.

Tomar was a steeplechase runner. Not that it made any difference to his destiny. In the army for the long innings Tomar, we are told, took voluntary retirement to look after his family and land in his native village.

This is where Dhulia's riveting screenplay, where not a moment is squandered in self-indulgent editing, gets truly astounding. Abandoning the manageable hurdles of the steeplechase Tomar took to the gun to avenge the wrong done to his family. 

There are hurdles, and hurdles. And some impossible to overcome.

The two lives of Paan Singh Tomar, in the army as a celebrated sportsperson and as an outlaw on the run in the Chambal valley (not on a horse, please!) are brought together in a stirring blend of the brilliant and the haunting.

While Dhulia's earlier works suffered for the lack of a suitable budget "Paan Singh Tomar" is technically a polished piece of cinema with the editing (Aarti Bajaj) and background score (Sandeep Chowta) adding a dimension beyond the drama of the driven athlete.

The film is shot by cinematographer Aseem Mishra with an intriguing blend of a bleeding authenticity and a poetic resplendence. Indeed, Tigmanshu Dhulia's training as a racounteur of a tale of social injustice and damnifying outlawry, harks back to the director's association with Shekhar Kapoor's "Bandit Queen". 

In portraying Paan Singh's leap from celebrated athlete to wanted bandit, Dhulia avoids the ostentatious brutality of the circumstances that made Phoolan Devi a social outcast. "Paan Singh Tomar" has very little on-screen violence. It's the heart that bleeds profusely and invisibly in almost every frame.

The unspoken question, why do we treat our athletes so shabbily, trails the narrative, as does the other larger question of social inequality and the subversion of law. 

Unlike other films with a strong social message "Paan Singh Tomar" never stops being a truly liberating cinematic experience. Of course much of the credit for the film's sledgehammer effect goes to Irrfan Khan's central performance. As Paan Singh Irrfan is in one word, flawless. There is not a single shot in the film that he gets wrong. He follows his character's destiny with an intuitive alertness that leaves no room for ambiguity in the interpretation of the character's complex life. And it's not just about getting the character's spoken language and body language right. Irrfan goes way beyond.

Would the other grossly overrated Khans of our cinema kindly watch Irrfan's performance?

The dialogues range from the t to the refreshing. Comments on subordination and oppression are often laced in laughter. God knows we need a sense of humour to survive the progressive rampancy of socio-political injustice . 

The beauty of watching Irrfan transform into Tomar is the seamless leap the actor takes into the character. Irrfan is blessed with first-rate supporting actors, many of whom we haven't seen much on screen before. They add to the film's high level of authenticity by just not looking like and speaking their lines like actors.

The scenes showing Irrfan running with other actors are beautifully captured as moments of metaphorical significance. Somewhere down the line the scenes showing Tomar jumping over hurdles on the race track merge into the larger picture to tell us, life on field and life outside the race track have one thing in common. You have to keep running, no matter what the odds.

Paan Singh Tomar is a terrific edge-of-the-seat entertainer. The synthesis of two genres-the sports film and the dacoit drama-is done with such confident ingenuity that we hardly realize when one ends, the other begins.

"No one gave a damn about me when I won medals for the country. Today when I'm a baaghi(rebel) everyone wants to know about Paan Singh Tomar," Irrrfan says caustically.

Hopefully after this film we'd learn to care for our unsung heroes a bit more.

Oh yes, a word on the stunning soundtrack. From snatches of old Lata Mangeshkar melodies to radio announcements on Nargis Dutt's demise, time passages are achieved through incidental snatches of voices caught in mid-air.

Life's like that.You never know what you will experience in that raga we call existence until a snatch of a line hits you from a distance.