Ponniyin Selvan 2: Mani Ratnam's Epic Vision Comes To Fruition |
With PS2, the filmmaker completes his outstanding condensation of Kalki's epic, imprinting larger-than-life flair on the best aspects of the novel. |
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| | Cast: Vikram, Aishwarya Rai, more | | |
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‘DISARMING’ is the catchphrase of Mani Ratnam’s Ponniyin Selvan 2. The second and final part of his adaptation of Kalki R Krishnamurthy’s Tamil magnum opus of the same name, a historical fiction based on the Chola dynasty in 10th century begins with a young prince-in-training disarmed by the beauty of a young girl, one who sings Andal’s “Thiruppavai” at the temples — Harini’s “Aazhi Mazhai Kanna” doing wonders for the film’s opening. Script and dialogue writers Ratnam, Jeyamohan and Elango Kumaravel give a robust backstory to Aditha Karikalan and Nandini, how they fell in love when they were young, and how they were subsequently ripped apart. But the film is replete with a war of dialogues and charm that one character uses over the other to disarm him or her, either physically or psychologically. — ADITYA SHRIKRISHNA |
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U Turn Skids, Splutters & Stalls On Its Way To A Crash |
HINDI FILMS have a thriller-shaped problem. The pattern has been persistent: using the genre as a shorthand to trick the audience. What they do is trick, unfairly so, because most of them do not possess the ability to outsmart nor do they share the intent. If this sounds like a sweeping sentiment, there are reasons for it. In the recent past, the number of compelling Hindi film thrillers can be counted on one’s fingers, and it is not entirely incidental that the more commercially viable ones have been remakes. In that sense, Arif Khan’s U Turn achieves the impossible. It is not just a remake of Pawan Kumar’s 2016 work, a film so popular that it has been remade in seven languages — Malayalam, Sinhala, Filipino, Bengali and as a Telugu-Tamil bilingual — but personifies everything wrong with Hindi filmmakers’ treatment of the genre. — ISHITA SENGUPTA |
| Polite Society Isn't Interested In Minding Its Ps & Qs |
A TEENAGER lashes out when her 20-something sister falls in love. She feels betrayed and threatened. They were rebels together. Now she is convinced that her sister has succumbed to the conventions of companionship. She is also convinced that the Prince Charming isn’t exactly the Prince Charming everyone thinks he is. She can’t understand why nobody else sees the red flags. She can’t fathom why nobody else believes her. So the disgruntled sibling sets out to sabotage the grand wedding. As a result, she has emotional showdowns with her sister as well as the groom’s family. But she doesn’t give up. It’s the most trying phase of her young life. This is the storyline of Nida Manzoor’s Polite Society. At first glance, it sounds like a familiar tale of coming-of-age angst. But the genius of this film lies in its stubborn defiance of genre etiquette. — RAHUL DESAI |
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The Song of Scorpions Is A Potent Reminder Of Irfan Khan's Genius |
IN Anup Singh’s The Song of Scorpions, the setting is the unending sand dunes of Rajasthan and the pace is hypnotically sluggish. Science here has not dented the hold of superstition. A young girl, Nooran (Golshifteh Farahani), has the gift of curing the sting of scorpions. When she sings, the poison ceases to spread and people stop to look with an admixture of admiration and awe. Among them is Aadam (Irrfan), the camel trader who has been smitten by her for years. A widower, he tries shamelessly wooing Nooran, much to the dismay of the locals. Nooran, however, snubs him. She is more absorbed in becoming a healer, much like her grandmother Zubeidaa (Waheeda Rehman). — I.S. |
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