Petta

Rajnikant starrer Petta is all human, unlike his releases of late. And I think the audiences are lapping it up. The Rajnikant of yore, the common man's hero from amongst themselves. Revenge and avenging murder, mayhem is nothing new to Tamil cinema but there is something more to this in Petta, an offering by Karthik Subbaraj.
A hostel warden is what Rajni portrays when the movie opens. The wide canvas that a hostel and college allows a movie maker is well exploited but it keeps track of the story and every scene more or less contributes to the progress of the story. Thankfully no slapstick which stands in isolation of the main plot. The story is thick with matter and characters of all hues, of emotions that range from filial, maternal, paternal to communal and revengeful. Dwelling more on the story will be a spoiler for those who have not yet seen the film.
Vijay Sethupathy in a villains garb shines. Nawazuddin Siddiqui, the other baddie also spews villainy. M Sasikumar, Bobby Simha, play the second line characters and Trisha, Simran,as the two leading ladies, get a minuscule portion of the film in which to perform. That they were ex-leading ladies of Rajnikant helped. All three, are still fit and since they have aged remarkably gracefully, look good enough on screen to woo you. I wish the next national award for make-up goes to the person who has done Rajnikant's make-up.
Much can be read into Rajnikant's recent foray into politics and Petta. The climax tells you much. There could have been two ways to end the movie. One, the conventional and sentimental way as all traditional movies end and the other, as it ends in Petta. Many scenes are straight out of the political circus that we see around us. That all's fair in love, war and politics can be read into the climax. The hero says that, in fact.
The movies and politics are so inextricably welded together in Tamil Nadu that the climax may well turn out to be a precursor of alliances and breakups. In short, Rajnikant does not want to make his political preferences clear. That's what I gathered.
 Oh...we actually went to see the movie because our own Manikandan is acting in it. His role is very small but he has done that very well. He could have been used better. Nevertheless an opening in Tamil cinema is great for Manikandan. It never drags and the cinematography is magical.  Good suspension in disbelief.

'96 tugs at your heart

Ah…….’96…..a movie which gets right into your heart and beyond. How love comes about and what it does to nubile hearts…told so sensitively and with empathy. C Premkumar, a cinematographer turned director’s maiden effort may change viewing attitudes of audiences. No mindless orgy of violence, or heroism for heroism’s sake, expensive settings and costumes, song sequences in alien land with pronounced trick photography or forced comic sequences.  It’s as close to realism as possible. The full houses even in Kerala speak of the people’s connect with honest sentiments. First timers always put in their 150 per cent effort. Premkumar certainly has.

The movie has flashbacks intelligently scattered at opportune moments, just when you were wondering what…..An ordinary middle class school and a loving bunch of high school kids. A shy boy and a pretty girl who can sing. They harbor feelings for each other but don’t make it very obvious. Classmates are in the know.  The sweetness of the film lies in the way these aspects are handled…cut to the present…a burly man touching 40, leading a rough and tough life, who is a photographer and a teacher, coming by his old school amidst work. Memories rekindled, classmates contacted and a reunion organized.

Twenty two years melt into nothingness as the buddies (class of ’96) meet. The old sweethearts who were abruptly separated while still in school also meet face to face. At this juncture, it would not be fair to not talk of the bgm that brings out their heart rending feelings. Music is by Govind Vasantha, of our own Thaikkudam Bridge. Throughout the movie, music is a huge value addition. The story is told in simple, apt visuals, from the heart, of the heart. 

Vijay Sethupathy as Ram is lovable in the lead and Trisha as Janu has a lot of scope to emote which she does very well. She appears in just two sets of clothes as the story is played out in a single night. Her expressive face says it all.

The younger version of Ram is played by Adithya Bhaskar and that of Trisha, Gouri G Kishan. These teenagers get a permanent place in your hearts. Not a scene lags and the script ensures that you are right in the midst of the action. Even the short role of the teacher is so realistic and well directed. Young Janu, full of innocence, yet individualistic, gets to put across a gamut of emotions which she does with elan. Both of them though newcomers, come out in flying colours.

Devadarshini acts as one of the classmates. Her daughter Niyathi, who looks just like her, plays the younger version. Gouri, of course, is not related to Trisha but her smile and demeanour is convincingly Trisha junior. So many scenes stay with you long after you leave the cinema. To list them would spoil the viewing experience of those who have yet to see the movie.

’96, sweet, simple and nostalgic, leaves you stuck in college or school.