Kaththi (Music)

A man who never ages. And a man who composes coming-of-age tunes. Ilayathalapathy Vijay and Anirudh’s first time combo for Kaththi, the music is out now. Here is my review of the album, does this knife shine?

Pakkam Vandhu : Singers – Anirudh, Hip Hop Tamizha, Lyrics - Madhan Karky and Hip Hop Tamizha ( PICK ) 

The exciting combo of Anirudh and Hip Hop Tamizha come together for their hat trick number – Pakkam Vandhu Konjam Muthangal Thaa. Anirudh starts off the album with a bang, bringing in an innovative fusion of a club tempo with Indian flavors of the pipe and mridangam. Hip Hop Tamizha’s lyrics are lovable in the first half, heart-hitting in the second. The mixing is top notch for this number which will be a regular at the discotheques hereon.

Paalam : Singers – Shankar Mahadevan, Shwetha Mohan, Lyrics - Yugabharathi

Beginning on the beat of a Punjabi parade, this track moves onto a Carnatic tune and finally ends with a kuthu rush. Anirudh tries to infuse too many Indian genres into the same song which ostensibly take away the essence on the whole. Shankar Mahadevan and Shwetha Mohan cash in with their lively vocals, yet Paalam is a step below the other songs in the album.

Kaththi Theme ( The Sword of Destiny ) 

An energizing theme which is short and superb. However, the ‘Kaththi Draw’ bit at the end could have been done away with.

Selfie Pulla : Singers – Vijay, Sunidhi Chauhan, Lyrics - Madhan Karky ( PICK )

Though Selfie Pulla drives itself on a tune which is quite familiar for a ‘Vijay’ soundtrack, the star is in dashing form in front of the mic. His voice modulation is on another level, which makes this track such an enjoyable listen. Madhan Karky’s lyrics propel the song even higher for this is one track which will go on to be one of the biggest hits in 2014. Facebook and Twitter, likes and shares aplenty!

Bad Eyes ( Villain Theme )

Anirudh once again grinds a snazzy beat with an Indian instrument, this time the veena. The result is an astounding theme. Kickass!

Nee Yaaro : Singer – KJ Yesudas, Lyrics - Yugabharathi ( PICK )

In hindsight, Anirudh’s peppy tunes usually appeal to a bigger audience, but the lynchpin of his albums are the melodies which turn out to be a delight in the long run. Nee Yaaro finds its place on those lines, a soulful rendition with a simple tune which will create the necessary aura in the film.

Aathi : Singer – Vishal Dadlani, Anirudh, Lyrics - Pa. Vijay ( PICK ) 

After the success of their first song together, Vishal Dadlani and Anirudh join hands for another track which is competent to the first. Anirudh smartly uses the ‘Sword of Destiny’ theme here as the rap portion, and it does grab the attention pretty quickly. An instantly likable number, sure to climb up the charts soon.

A Vijay film needs chartbusters and Anirudh provides that and more. Kaththi is an album with fresh and enjoyable music which is sure to strike gold with the masses. Putting his talents to best use, Anirudh has churned out an arresting album which will be lapped up by Vijay fans. The celebrations begin, never to cease.

VnA - Voltaic and addictive.

3.75 / 5

I (Music)

The biggest film of the year, ‘I’ has its music release today. With AR Rahman in control of the department, the expectations are sky high for an album filled with chartbusters. Do we get what we deserve? Read on.

1. Mersalaayiten : Singer – Anirudh, Neeti Mohan, Lyrics – Kabilan

The youthful vocals of Anirudh come together with Rahman’s electronic tune, set to ‘local’ lyrics. The Atari-ish jingle and the Arabic string interlude are the best parts of the song, which has a heavy dose of autotune. The song lacks AR Rahman’s magical touch and sounds bland and repetitive post the halfway mark.

2. Ennodu Nee Irundhal : Singer – Sid Sriram, SunithaSarathy, Lyrics – Kabilan ( PICK )

AR Rahman brings in a fusion of light drums along with the accented voice of Sid Sriram for this lilting melody. Though the lyrics are ordinary, the instrumentation haunt you while the vocals do take it to level respectable. The back end of the song features a lovely chorus which ends it on a high.

3. Ladio : Singer – Nikita Gandhi, Lyrics – Madhan Karky

Two of AR Rahman’s contrasting tunes intertwine themselves for Ladio, which is an international dance number made for Amy Jackson’s fashionista intro in the movie. Nikita Gandhi’s modern vocals take this over, aided by MadhanKarky’s trendy lines. The instrumentation is on the lines of a pop number, and doesn’t hold onto you once you are done listening to it.

4. Pookale Sattru Oyivedungal : Singers – Haricharan, Shreya Ghoshal, Lyrics – Madhan Karky ( PICK )

If you came into this album looking for that one flawless track, here it is. The lovely vocals of Haricharan and Shreya Ghoshal along with the mesmerizing tune provide a heavenly feel on the whole. The rendition is near perfect with melodious orchestrations which do not get too loud at any point. A superb melody which deserves a click on the repeat button. Must laud MadhanKarky’s magical lyrics and AR Rahman’s droplet sounds that add an enjoyable essence to the song.

5. Aila Aila : Singers – Aditya Rao, Natalie Di Luccio, Lyrics – Madhan Karky ( PICK )

One of those ARR numbers which sound prosaic at first but grab your liking later. AR Rahman’s innovative tune comes to the front more than anything else, but a special mention has to be given to Natalie Di Luccio, who has struck the jackpot which her rendition which is highly appealing. The song has a lot of towering moments, which will surely set the screen ablaze with the colourful visuals.

6. Ennodu Nee Irundhal (Reprise) : Singers – Chinmayi, Sid Sriram, Lyrics – Kabilan ( PICK )

If you loved the first version, you are bound for more. Chinmayi croons this one with all her heart, along with the instrumentations which possess more strings this time. Sid Sriram comes back for more, but the best part of the song truly is the female vocals from the word go.

7. Mersalaayiten (Remix) : Singers – Anirudh, Neeti Mohan, Lyrics –Kabilan

The album ends on a lifeless rehash of the first song. The music is rushed and the drums are infused even harder, with the true plus points of the song taken away without a trace. A disappointing remix, solely for the dancers at the club.

I is by no means a bad album. But by AR Rahman standards, it is a little underwhelming on the whole after a flurry of impressive albums. Nevertheless, we have a decent fare to which Shankar can open up his visual talent to. Let's wait and see.

Satisfyingly impressive.

3.25 / 5

Aranmanai

Horror comedies are a good genre to watch on the big screen, if packaged with the right ingredients and showcased in a decent manner. Sundar C does just that with Aranmanai, by picking a good script with a strong cast as the spearhead.

Though Aranmanai follows an already treaded path in terms of its screenplay, Sundar C manages to fit in the right elements to appeal to most sections of the audiences. There are cheap thrills, slapstick comics and women objectifications on one hand. But on the other, there are strong performances, appreciable commercial writing and some laugh worthy scenes with Santhanam at the centrestage. The best part of Aranmanai is the fact that it is a film with the female characters at the forefront, and the male ones underplaying themselves in the background.

Sundar C does hold on to revenge as the central crux but yes, it is the way he puts things on screen which do the trick. After a wavered first half, the film turns well at the halfway mark and moves at a likable pace in the second. Belted with a standout performance from Hansika and a glamour bonanza from Rai Laxmi, Sundar C ropes in the right person in Andrea to play the matured role. Vinay and the director himself are just propellers in the story, nevertheless they have their own moments at the right times. The rest of the supporting cast are adequate, importantly Kovai Sarala and Manobala who bring the roof down along with Santhanam.

Technically, Aranmanai just passes muster with average cinematography and fine editing. The VFX is an eyesore, resulting in a big setback to the film. Bharadwaj's music too, mars the effect that Sundar C has created with his colorful picturizatons. However, Karthik Raja's re recording is acceptable with the usual ooohs and aaahs.

On the whole, Aranmanai might not scare you much. Nor does it have something out of the box. But it successfully sets out doing what it intended to. The three girls in the movie might just be the icing on the cake. Go for this one if you liked the last flick in the genre - Yaamiruka Bayamey.

Passable palace.

2.5 / 5 

Amara Kaaviyam

Jeeva Sankar stepped on the dais with Vijay Antony's Naan, a tautly made thriller which was a runaway hit at the Box Office. Come 2014, and we have Amara Kaaviyam, his second film as a director. After attempting to make a thriller in his first, the cinematographer cum director flips onto the romantic side with this one. Does this turn out to be as poetic as it is publicized to be? Read on to find out.

Amara Kaaviyam is one film which tries too hard to be a poem on celluloid. When it tries to be detailed, it ends up being slow. When it tries to become intense, it turns melodramatic. And there are many such turn-offs. The whole film is based on a core idea which was brittle to my eyes. The first 45 minutes were underwhelming to say the least, and albeit the film picking up from there, the end result isn't something on the positive side. Jeeva Sankar's script is totally devoid of comedy, which in the right amounts could have really changed things for the better. It is a series of middling events in the lives of two people in love, which fail to hold your attention. 

Coming to the casting, Arya's brother needs to improve a lot. Though his facial makeover fits into the role of a schoolboy, he is stiff in the acting quotient and truly needs to get better. The team could have been appreciated if they had found a heroine who looked a tad younger. Instead, they have zeroed in on this lady who looks 2 times elder to Sathya. However, Miya comes up with a performance which deserves a special mention. Her facial expressions are top notch and she is one of the actresses who will make a mark here, flying in from God's own country. The rest of the cast are apt, be it Ananth Nag or the the lead pair's parents.

One really wishes that Jeeva Shankar continues as a cinematographer and steps into bigger projects. His camera pans through the lush green locales of Ooty, canning in some brilliant shots in the process. Amara Kaaviyam is a visual delight, no doubts. The art direction is decent, taking good care of a film set in the 80s.

Ghibran's music is the linchpin of Amara Kaaviyam and adds life to the film. Albeit his mesmerizing songs not receiving superb picturizations, his background score is haunting and is one area in the film which is flawless. Pity this talented guy for not being a part of a worthy film, although being honest to his profession all along.

Amara Kaaviyam is said to be based on a true incident. Unfortunately, neither the happenings leading to the incident or the incident itself is something which will raise your eyebrows. The much hyped climax is a let down too. If Nayanthara wept after watching this, I'm afraid the reasons might have been different.

Irumbu Kuthirai

Amongst a flurry of young directors making notable debuts comes Yuvaraj Bose, with a film with bikes as its backdrop. Irumbu Kuthirai is Atharvaa's next outing after the highly coveted Paradesi which bought him tons of appreciation and accolades. So I walked into the film with zero expectations. This is what hit me.

So mister Yuvaraj Bose had an excellent actor in Atharvaa. Two gorgeous girls. A fierce villain. A big budget and a strong technical team. And then, he comes up with this. Irumbu Kuthirai is one of those films with everything going right only until the director decides to screw it all up. To be frank, the story is something with decent potential to be carved into a good movie. But it is the director's shoddy screenplay and amateurish execution which makes a mockery out of all the goodies given to him. Right from the first frame, you can look for novelty with a magnifying glass and you'll still fail badly in finding it. Be it the comic scenes or the romantic track, there is absolutely nothing which will widen your eyebrows except for the premise. The story moves in all predictability, except for the last 20 minutes which is your consolation prize for spending an hour and a half, squirming in your seat.

If you clicked on my review and expected to find the plot of Irumbu Kuthirai, read here - Atharvaa is a cold footed biker. Why and how does he turn into a skilled biker? Well, that's about it.

Priya Anand is cute, Lakshmi Rai is hawt, Jegan is funny at times and Devadarshini emotes beautifully. With a cast like this, one does realize the heights this film could have gone to aided by some smart paperwork and level headed treatment. But that is a far cry. Quoting examples, there is an emotional scene just when the mercury seems to be rising. Atharvaa starts the bike, a song begins. Atharvaa stops the bike, the song ends. In fact, here is one movie where all the five songs are of no use to the main script. The fight between the protagonist and the villain at the end is so forced, the IQ of a 5 year old is sufficient to arrive at the final result. I felt like waiting for the marks of an exam where I had just written my name on the answer paper.

One of the things I'm really waiting to talk about is the music of the film. Except for Ange Ippo Enna Seigiraai, there is not one track in the film which is watchable onscreen. The songs don't even have an iota of innovation in them, for I really wished to have someone hand over a remote to me. The background score is directly ripped from the prized compositions of Hans Zimmer and Skrillex. Sample this, the very first shot of the movie has 'Lost but Won' from Rush playing in the background. Give this man a medal.

So is there something that actually works in Irumbu Kuthirai? Yes. In technicalities, the film is lion range. Cinematography by RB.Gurudhev is stunning with a Hollywood-ish color tone and bright visuals. Gopi Amarnath has been roped in for the action sequences and he too has done complete justice to bring out the best with the camera in hand. Credits to the editor for trimming down the film to a crispy two hours, with interesting transitions and flash cuts. These are the saving graces of this iron horse, kudos guys!

Films like Irumbu Kuthirai don't get me red. They disappoint me, for what a wasted opportunity they turn out to be. People don't come to the theatres to see six pac abs, colorful songs and speeding bikes. They come to films of these types with just one notion - to forget the outside world for a couple of hours and get 'entertained'. Irumbu Kuthirai is nowhere close to that.

Corroded bike.

2 / 5

Kaaviya Thalaivan (Music)

AR Rahman. The name is enough to send off a impacting ripple all throughout the world. And when the composer has an album release lined up, everyone slots their ears in the right position. Kaaviya Thalaivan is his next album, which has just hit the racks today. Here we are with our music review of the album, which is said to be a first of its kind from the composer. Does it really live up to the hype? Read on.

Vaanga Makka Vaanga : Singers - Haricharan, Dr. Narayan, Lyrics - Na.Muthukumar

The introductory song in the album which talks about the theatre group 'Mathura Sree Balashanmughanandha Nadagai Sabha'. Haricharan's voice takes over the song right from the word go, in perfect sync with the lyrics. After a slow start calling one and all to the play, the use of the drums shift the song to an intense level. Soon come the morsing (extremely rare these days) along with the strings which add the heavenly feel to the song. Na.Muthukumar's lyrics depict the different aspects of a theatre group with an eagle eye. The composer's brilliance comes into play by bringing in the vintage sounds of a drama along with a tune which will appeal to one and all. Brilliant!

Aye Mr.Minor : Singers - Haricharan, Shashaa Tirupati, Lyrics - Pa.Vijay

Here, AR Rahman brings in his flute to the forefront, unlike most of his other songs where it is left dwelling in the background. When the sweet vocals of Shashaa Tirupati begin, the beat changes to that of a mesmerizing 1980s number. Both the male and female rendition work in tandem with each other, adding the 'darling' flavour to the song, just as intended. Rahman's interludes are grand, with the use of strings in the right places. And when it comes to the lyrics, one must laud Pa.Vijay for his rhyme which is the final topping to make this a relishing delight.

Sandi Kuthirai : Singer - Haricharan, Lyrics - Pa.Vijay

AR Rahman at his naughty best! His play with the instruments make this a fun track to listen to. Be it the little chorus bits, natural sounds or the cartoonish pings, this track is foot tapping on the whole. Watch out for Haricharan's magic in the second half, where he goes on a streak of mentioning the animal offsprings, which are smartly written by Pa.Vijay. To top it all, you have the interesting use of the xylophone at vital parts of the song. Much like a piece in gratitude to the legend, MSV.

Yaarumilla : Singers - Shweta Mohan, Srinivas, Lyrics - Pa.Vijay

Another song which begins with the flute. Shweta Mohan's flawless rendition is the linchpin of this one, which does take some repeated hearings to get onto you. The amalgamation of the soft sufi-ish tabla, captivating vocals and the neatly written lyrics are a joy, but they all come to a pause when Rahman unleashes his divine weapon through a lilting chorus lead by Srinivas, halfway through the song. The rhapsodic vocals do make this track a truly charming one to say the least. Sweet!

Sollividu Sollividu : Singer - Mukesh, Lyrics : Pa.Vijay

Rahman. You keep asking him for more, and he keeps gifting you. Sollividu Sollividu is Rahman's revisit to his own Sakthi Kodu, on a classical terrain. A song where the mythical character Arjuna pleads toLord Krishna, asking him to stop the war. Mukesh's talent blooms out in epic proportions, and he must be appreciated for his diversity which is evident in this track while differentiating between Karna and Kanna, also the moving Karnamotcham at the end of the song, leaving you in tears. If this song doesn't create an impact on you, I don't know what will.

Thiruppugazh : Singer - Vaani Jayaram, Lyrics - Saint Arunagirinathar

This little but pivotal song comes off from the Thiruppugazh itself, written by Saint Arunagirinathar. A completely classical bit, sung to perfection by none other than Vaani Jayaram. Rahman keeps the instrumentations minimal along with the timely use of chings, but this is otherwise a song which is dominated by the charming rendition.

Alli Arjuna : Singer - Haricharan, Bela Shinde, Lyrics - Vaalee

Written in length by the late Vaalee, this is a ten and half minute long play which has been delivered in the audible format, beforehand. It occurs in eight parts, as highlighted.

Haricharan starts off with Vandhanam Vandhanam which is the welcome song to the play, belted with nadaswaram and melam sounds. InYaadhavanam, Haricharan narrates the romantic episode betweenArjuna and his love Alli. The music is mostly basic, leading to a light drum beat at the end. Rahman brings in his talent in Alli Varugiraal, which speaks about the beauty of Alli, and the man's reactions towards her. Alli responds through the voice of Bela Shinde in Priya Sakhiyae, aided by a  minimalistic tabla beat which stays tamed to the rendition. The tune gets heavier as the song moves on, transforming into a perky beat. In Kanna Kanna, Arjuna asks Krishna for help to get him united with Alli. The flute stays dominant here, musically. Naan Annathooviyil is a short poignant track where the challenges are thrown against Arjuna. Up next are the Gettimellam sounds, which are the usuals in every marriage. Rahman saves his best for last with Nenju Porukkudhillayae, which is lion range in terms of the lyrical verses. Drums come into stunning use here, finishing the album on a high. Haricharan does conquer the vocals for the long space of ten minutes, and this is surely a breakthrough in Indian music for both the singer and the composer. Take a bow!

To sum up, Kaaviya Thalaivan is nothing less than a musical masterpiece. If you haven't noticed, there are no picks as I have had a really hard time trying to figure out which is the best song in the album. Every song blossoms out in flying colors, with its own share of uniqueness and grandeur. Rahman must be definitely appreciated for his wildly exclusive choice of musical instruments which are nowhere to be seen in this computerized musical universe. At the same time, the importance given to the vocals too is something to look out for. Kaaviya Thalaivan is a pinnacle in Indian music, an album which proves that Rahman is not just about electronic finesse, but has a sea of classical knowledge streaming through him. If the film even provides half of what the songs have, we are in for a treat. Thank you, dear Rahman.

Treasure this forever, world class stuff! 

5 / 5

Anjaan

14^th August 2014. 2pm. I book my tickets for Anjaan, but there lies a dilemma within me. After all those doubts, discussions, confusions and computations, I drive myself to the theatre, only to hear that the movie is on. There’s a curve on my face, and I go into the theatre happy, smiling like a little kid with a bucket of popcorn. What I get, is this.

Anjaan is a film which bangs onto the screens with a huge noise. The heavy publicity, colourful posters and the pre-release buzz had all put the expectations on a see saw. When the film started off with some impressive title design and an intriguing theme track, the crowd went berserk. But right there at the end, there were a few gloomy faces walking out of the cinema hall. The film kicked off on a positive note, with Suriya taking all the attention. Right from frame one, this man is in full form when it comes to action, dance, dialogue delivery or just that daring look. The first half runs away with an interesting intro, the supercute Samantha and some neatly made action sequences. Lingusamy’s trump card is played at the interval scene, which brings out what he is truly capable of. The stage is set for a fast and furious second half. But to everybody’s disappointment, it doesn’t end up being what it intended to and finishes off at the cliff of a pit.

Lingusamy’s paperwork is decent. It is the execution which ticks off the fun. Well written scenes clubbed with interesting twists could have rocketed Anjaan to another level. Unfortunately, his packaging which sticks to the age old formula of fights, songs and punch lines is a bummer. Captivating tidbits like the coin spin and a transformation do not rise up to what it has to be. In the second half, there is a fight every ten minutes, each time with a different character. Good dialogues are used time and again, taking away the impact.

Anjaan is driven by its main leads, Suriya and Samantha. The duo together make it a gala in the combinational scenes which are enjoyable. However, the Suriya – Vidyut relationship hasn’t been given its importance, as we are left pondering as to how it came into being in the first place. Vidyut is tremendous talent, and the ease with which he performs his stunts are laudable. The rest of the cast is mostly alien, filled with Bollywood actors with bad diction. Soori, oh no.

There are two departments in Anjaan which are flawless. One, the camerawork. Two, the music. Santosh Sivan’s cinematography cuts through the locales of Mumbai with a bang, as his camera does the talking in the stunt sequences. I cannot leave without mentioning the combined shot of a bird catching its prey and the goons getting caught. Anjaan’s lens has witnessed true professionalism. To be honest, Yuvan has thrown eggs at his haters with his BGM. The score adds life to the film, he has totally nailed it. The songs however, deprive the flow of the film in the second half. On the flipside, the length of the film is a big turn down, and requires immediate trimming.

Anjaan is not a bad film. I’m just sad that hasn’t turned out to be the film it could have been. Suriya carries this on his shoulders just like he always does, but you do need some help from the others if you wish to churn out a stellar product. The don here is dapper, but his story? Good. And that’s about it.

Dapper don, who is dumb too.

2 / 5