There are several tags that Kollywood uses to classify its films. The most exasperating of the lot has to be, ‘a fun, family entertainer’; especially when most of the films that come with this tag are neither fun, nor entertaining. Vishnu Vishal’s Silukkuvarpatti Singam is the latest to join this illustrious list of comedies that attempt to operate on the Sundar C formula from his Ullathai Allitha days — some mindless attempts at humour with a chaotic climax. This template has been refurbished so many times that Sundar C himself should considering putting it to rest (given it still brings us films like Kalakalappu 2). And yet, we continue to get films with different characters that revolve around the same-old structure. Continue reading “Silukkuvarpatti Singam Review: Another ‘fun’ film that isn’t fun”
Vishnu Vishal terms Ratsasan as one of the best in his filmography. “The audience will definitely walk out saying that it is a good film,” he assures. Vishnu has teamed with Ram Kumar again, after Mundasupatti, in what can be termed as his comeback to the content-oriented cinema that he is generally known for.
Excerpts from a conversation: Continue reading “I never thought I could be a hero: Vishnu Vishal”
If I had to pick two fascinating things about Ratsasan, it had to be the film’s editing and the sound design. Ratsasan’s nifty cuts and sound cement the ‘effect first, cause later’ strategy that the cameras and screenplay adopt. One might say that this is the usual modus operandi for a thriller. Well, it isn’t just about the turns that the story takes but also about how they are revealed. In one particular sequence, a suspect holds a police officer at gunpoint in an attempt to escape. As he backs into a lift, we hear a shot and the lift opens to reveal both men on the ground. The suspense lingers a second longer before we get our answer. And Ramkumar’s answers are effectively simple for the part. Take a chase sequence where Kaali Venkat, a cop, is in close pursuit of the killer; the former is on a bike while the latter is in a van. How does one lose the trailing cop? Ramkumar comes up with another ingenious solution – stop the van abruptly. Continue reading “Ratsasan Review: Technically admirable but emotionally distant”
To enjoy Kathanayagan, there is just one word – don’t take the movie seriously; in fact even the movie doesn’t claim to take itself seriously as well. This makes the smaller jokes more appreciable — like when Vishnu Vishal meets Catherine Tresa. Catherine just randomly stops Vishnu on the road and offers him a lift. After the mandatory boy meets girl song sequence, Vishal says ‘nice imagination but unwanted song’. These small digs at themselves tend to invoke a wry smile.
Another one of these instances is when Vishnu is on his way to office. It’s his first day and he decides to board a crowded bus. As he gets squashed while maneuvering through the crowd, he grumbles “Sir, first day office”. With another its “Iron panna shirt” and also goes to says “Sir, naa ambala sir (I’m a man)”. More than his sequences with Soori, these conversational oneliners invoke more humour.