Saturday, July 13, 2013

Sahasam - Plot holes galore!!

A great piece by Jayasimha that unleashes the plot holes and bloopers in the movie Sahasam.


Disclaimer:
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This is not a review . With due respect to the unique director Chandrashekhar Yeleti, I don’t intend to question his directorial skills, this is a brief analysis of the plot holes in the movie - Saahasam. This content is meant for movie critics and reviewers. For an ordinary movie goer, the following content may look inappropriate. Please read the following after watching the movie :)
                                                                                                         - njayasimha@gmail.com




I am an ardent fan of treasure hunt theme and this excitement made me watch the trailer of Sahasam a repeated number of times to know “what could be the story of this movie?”. As a result I wrote the following article (published in one of my friends blog) about my guess on the story of the movie Sahasam:




I am glad that more than 90% of my prediction has come true but what has disappointed me in the movie is its drag in the narration and a numerous plot holes. These are some unanswered questions. Please feel free to reply if you got answers:


1. When the main character believes in “Naadi kaanidi naakoddu, Naadi annadi adogoddu”, why does he rely so much on luck (by buying lottery tickets)? You can claim that something is yours when you earn it by working hard. What comes by luck is not yours. When he was so excited dreaming of 10 lakhs as reward, then he can negotiate for huge money when the terrorist asks for the locket. The contrasting point here is, if he believes in that dialogue then he cannot aspire for lottery money. This dialogue is justified at the end though, because he takes many pains to earn his ancestor’s diamonds.


2. Gopichand’s father doesn’t know what his father was doing? He even quotes that his father had an old cycle. I agree that if he doesn’t know about diamonds but at least the profession of his father should have been known.


3. How the heck the old bag containing the diary and the papers related to Suman’s property was hidden in the old house in Hyderabad? Suman hadn’t visited this house. Even if you take it as granted that Suman came to the house and hidden it in the rooftop, why the hell, he doesn’t inform his son/any other relative directly that he has property in pakistan and his son is sole owner after him? From the diary, his intention was to make sure his property reaches his son then why to hide it in the roof?


4. Suman gives the locket but not the diary having info about treasure. C'mon!!


5. The artificiality factors -

a. Taapsee organizing a camp to invite people to visit temple in Pakistan.

b. Calling friends by seeing Yellow Pages (in the times of FB, Twitter, WhatsApp etc). 
On top of that, she says "Neeku devudante ishtam kada anduke adugutunna" - Hilarious :D

c. Parents giving permission to a girl to go to Pakistan with a stranger to visit temple.

d. Only one person accepts to visit (though his intention was different). Director should have sent at least 3-4 people and by seeing the danger with terrorists, those people should have returned and Gopichand should have carried it forward.

e. Ali’s character was introduced as a head of a security agency, but his behavior was like a regular resident.

f. The Hinglaj Devi temple was shown deserted without any devotees or pujaris though it was told that it was a famous temple.


6. Suman narrates that he saw the secret entrance only once but the traps to treasure were laid during the Kanisha dynasty time. So, how does Suman solve the traps to enter the door present in the well? Suman crosses the bridge, cracks the ‘sound room’ mystery to enter the place - a pillar with swans - that leads to the repository of Kanishka's treasure. He does all this without an iota of knowledge about the hidden dangers and comes out effortlessly.


7. This plot point has a missing logic. To open the box having the map, you need the Garuda locket which acts as its key. It is shown that while searching for the box (having map), one Britisher, David, died inside the cave (with locket on him). But how did he enter the cave? He can enter only if he sees the map and does the 5 stage alignment of the round rock present inside Hinglaj Devi temple. This is a major blooper in the film.


8. Any treasure hunt movie should get into the business as soon as it creates a quick premise but here there is no intense moments till the last 30 minutes of the movie. At some time after the interval, it feels like its not a hunt for treasure but villains hunt for Gopichand to get the locket..!


9. When Ali narrates the rules of Buzkashi sport, Gopichand was lying unconscious. He doesn't know the rules of the game that the game is won if the dead lamb is kept in the circle. When he wakes up, he rides the horse (quick learner!) and then, in an utmost heroic way, he puts Taapsee in the circle and says its your rules. He is not only quick learner but also good listener in unconscious state of mind..!


10. I didn't understand why did the director/story writers create the shortcut pipeline (that gets opened when appropriate weight was kept on swans) to the main treasure room? The main entrance to the treasure is just one room behind..! They show lot of machinery cranking when swans move. If the answer is to send all the things then how did a big golden statue went through that shortcut pipeline? If the answer is to send only small jewellery then why to maintain so much machinery when the main entrance is just behind it. OK..got it..Kanishka might be lazy enough to open the main locker every time to keep small jewellery? :)


On an ending note, I highly appreciate Chandrasekhar Yeleti for attempting this genre and the last 30 minutes in the movie proves his real talent. The writers of this movie deserve a special mention for sketching the traps and the way to solve them.This appreciation is again for last 30 minutes only...:)

Sunday, June 2, 2013

Movie Review - Iddarammayilatho (Telugu) - romantic-action-musical-thriller!!

Verdict - Watch it for chic visuals and sensitive performances that shower loads of entertainment.



Pack your bags. Start on a trek. Reach the top of a cliff. Feel on top of the world. Get your dose of cliffhanging moments. Take a break. And after that when you crave for more, you are dumped into an abyss. You survive and struggle to find a way and reach to the top again. Then it's 'alls well that ends well.' Wait, there's more to it. There is some fuel that may trigger the next series of happenings, may be in a sequel. In a nutshell, this is the movie-watching experience of Iddarammayilatho.  


In his latest offering, director Puri Jagannadh picked a different fork. He took a different route of entertainment for most part of the film. His hero stays the same - like a sphinx, filled with conviction. The comical moments with Brahmanandam are piled on and at times unsolicited. Allu Arjun looked stylish than ever. The heroines looked beautiful than their usual self. Thanks to the magical wand of Puri. Amala Paul is soothing as a traditional Telugu girl and Catherine Tresa is sizzling in her character. Both are near perfect in their roles.

The movie starts with a strong premise and fixes the plot element. Then it takes you to a different terrain. Cut to multiple flashbacks, and riding the crest wave of entertainment, it peels multiple layers to reach the interval. The pre-interval fight sequence is to die for. The way Allu Arjun juggled multiple emotions and the tear drop rolling down his cheek followed by a blood gushing brawl are the crux of the film. Let's make way for the 'stylish star.' He's walked an extra mile showing his acting prowess. The way the lead characters are carved is another reason to cherish. This in turn brought out good performances from them. Post interval, the movie slackens for some time. Forced comedy adds to the injury and you taste boredom. It again picks up momentum and culminates in an enthralling finale. 


It seems Puri Jagannadh has cherry-picked his crew members, so that resulted in a hatke treatment of the film. Amol Rathod's cinematography makes it a visual treat. The film can be called a perfect advertisement for the tourism department of Spain. Apart form the technical aspects of canning the scenes; the frame composition is classy and creative. This coupled with slick editing of S R Shekhar is more welcoming. Brahma Kadali enhanced the visual appeal with some nice set pieces. The stunt coordinator Kecha Khamphakdee fired all cylinders making the action sequences the most sought after ones in the film.   

Among the new breed of composers Devi Sri Prasad is considered an epitome of melodious consonance and this makes him a talent nonpareil. The intoxicating Violin Song has already made its way to become this year’s most enslaving song. Devi strikes gold again with his core competence of churning mass numbers – Top Lechipoddhi – which makes it difficult to ground your feet while watching it on screen. The BGMs are apt and, in recent times, for this genre of films they are one of the finest ones. The seductive violin and the addictive guitar stays with you for sometime, but some songs fail to impress. Had Devi pushed the envelope, this film would have been registered as a 'musical'. There was plenty of scope for music but he couldn't capitalize on this one. 


In terms of entertainment, this movie is satiating. It pinches for a while that most of the story is predictable but the twists and thrills make it a perfect watch. It has a few unflinching moments and few unpretentious ones, which balances out the film. Albeit the movie hovers in the middle road of average and above-average, it deserves nothing short of a thundering applause. Puri Jagannadh brings on surface his fervent and enduring side. 

Bottom-line: Iddarammayilatho will undoubtedly be this year’s most memorable ‘romantic-action-musical-thriller.’ 

My Rating: Expectation – 7/10; Reality – 6/10 




Tuesday, May 14, 2013

Maestro Ilaiyaraaja – 37 years of Musical Magic or Magical Music!!

An encomium on Maestro Ilaiyaraja – by Sowmya Suresh

The Invincible Musician who made his debut in Annakili this day 37 years ago has made all our lives so beautiful, meaningful, enjoyable, blissful with his astonishing, divine, unparalleled creativity. Let me start this humble tribute to the MAESTRO with a beautiful slokam sung by the Master himself from the title song of the Malayalam movie Aalolam.


(Sung by the Maestro and Sri Jayachandran)


At the fear of sounding immodest, I would say this Genius revolutionized Tamizh film music. Hailing from a tiny hamlet of Pannaippuram, Maestro used his magical wand to create many leitmotifs. He stretched the horizon of background score in cinema. It was then people started identifying background score and learnt that music is not all about just composing songs. A fancy term called BGM was coined in that era. Needless to say, audience thronged cinema halls just to hear these BGMs that added soul to the film’s body.

Master of all he surveys, he ventured into Indian classical, WCM, Pop, Jazz, Folk etc with ground breaking results. A composer who could mesmerize everyone with his lilting tunes, his strings tug at the heart strings and a whole generation still swear by HIS compositions. A Composer nonpareil, the Wizard has managed to extract the best out of his singers and musicians while unearthing some outstanding gems.


Superlatives become mandatory to describe, analyze and appreciate the music and background score by Maestro. The BGMs are seemingly different and add scores of embellishments to the film.The music creates the tone that’s essentially required for the movie and in turn gives an exponential rise to its aesthetics. The classical touch of Raja sir exudes in every piece and every scene. HIS music in films elevates the mood consistently. The songs give the required flow for the film to qualify as a “Musical.” The BGMs speak volumes about the emotions involved. When he uses some of the music pieces that are instrumental versions of the song tunes, he ensures to use them in varied proportions aiding the situation in the film.

Over a span of 920 movies, many devotional albums, around 4500 songs with countless BGM score, Preludes & Interludes that have left the listeners in awe. The flute, an ocean of Strings section including Violins, Violas, Cellos, Double Bass, Guitars & Bass guitar, Veena, Piano, Brass section and all the percussion instruments have just dazed us in every single song of HIS! The instruments have bowed down to the Master's command, HIS music notations and the end result is sheer ecstasy. I bow down in reverence to the musicians who have played / have been playing and the singers who have sung/ have been singing for this Genius till date! _/\_


On this wonderful day, I wanted to list out my most favorite 37 songs ! It does sound absurd to shortlist my favorites from the Ocean of HIS compositions.. Nevertheless, I am listing out some songs below that flashed in my mind while I was typing this tribute.

Malayalam: 

1. Paadoo Sakhi Paadoo - Chaitram (A gem that went unnoticed since it was a part of an unreleased movie!) There are many precious gems like this from Maestro that went into oblivion either because the movie was a damp squib or the song didn't make it to the movie's final cut or simply because all the other songs in the movie ended up mighty popular.
  
2. Alli Ilam poovao – Mangalam Nerunnu

3. Shivakaru damaruka – Kochu Kochu Santhoshangal

4. Ponveyilile - Oru yaathramozhi

5. Poo Kunguma poo - Raasathanthram

6. Thaaraapadham – Anaswaram

7. Kaiyettha – Vinodha yaatra

8. Kunnatthae Konnakyum – Pazhasiraaja

9. Aruna Kirana Deepam – Guru

10. Hridhu Baedha Kalpana – Mangalam nerunnu

Telugu:

1. Madhana Lathika Haare - Aalapana (Friends, Please listen to this astonishing marvel. Unfortunately, this gem didn't appear in the movie!)

2. Priya Priyaththamaa Raagalu - Killer

3. Kaliki Maenilao - Sankeerthana

4. Yenaadu Vidipaoni - Sri Kanaka Mahalakshmi Recording Dance Troupe


Kannada:

1. Anuraga Yaenaythu - Nee Nanna Gellalare

Tamizh:

1. Sreedevi en vaazhvil - Ilamaikkaolam

2. Vaanin devi varuga – Oruvar vaazhum aalayam

3. Rojappoo – Agni Nakshatram

4. Raajathi Raaja un thandhirangal – Mannan

5. Vaanam Engae - Nenjilaadum Poo Ondru (Watch out for the chorus portion in this song)

6. Kalyana Maalai – Pudhu Pudhu Arththangal

7. Anjali Anjali Anjali – Anjali

8. Oorellaam un Paattu thaan – Oorellam un paatu

9. Naan enbadhu nee allavao – Soorasamhaaram

10. Vaanavillae – Ramana

11. Puththam Pudhu Poo Pootthadhao - Dhalapathi

12. Kalaivaaniyao Raniyao – Villuppaattukkaaran

13. Alli Sundaravalli – Kanngalin vaarthaigal (A very stylish composition)

14. Meendum Meendum – Vikram

15. Devanin Kovil – Aruvadai naal (A tear jerker)

16. All the time I think of you - Naadodi thendral (the orchestration & the string arrangements in this song never ceases to amaze me )

17. Isaiyil thodangudhamma – Hey Ram

18. Vecchaalum Veikkaamappoanaalum – Michael Madhana Kaamarajan

19. Ennullae Ennullae - Valli

20. Pooyaeru Kaonum - Thiruvaasagam

Hindi:

1. Aa Gaya Kaoi Sapna - Kamagni

2. Dilwaale Raath hai Jahan - Mahadev


Sir, Thanks so much for giving us enchanting music that emanates an air of serenity. We are beholden to you and your music remains immortal. Your presence made this place a land blessed by heavens! Let's all celebrate this genius and HIS music forever.

In the first charanam of the song Manikkutti Kurumbullaor (Movie: Kaliyoonjal, Malayalam. Music: Maestro), there is a line, "Nee Endae Aathmaavin Aanandha Madhuram" ... How true!! Avaradhu Isai Namadhu Aathmaavin Aanandha Madhuram allavaa! :)


My humble Pranams to our beloved MAESTRO "Isaignani" ILAIYARAJA _/\_  _/\_