VEERAM

‘Thalai, Thalai, Thalayo, Thalai’ - VEERAM

I am probably one of the few people from the industry or otherwise who has had a rather personal interaction with Ajith though he will always remain an enigma to me. He is a very caring person who can easily worm his way into one’s heart with his intoxicating and amiable personality. It is almost impossible to get him out of your system once he gets in. After all these years ‘Thala’ Ajith as he is known today has matured like old wine. His sheer screen presence is really daunting. I wonder whether Ajith remembers our trip to Thirupathi, when he was simply ‘Ajith’!

Here’s my take on ‘VEERAM’

Back story: - Ajith and Ajith alone! Tamannah and the rest are of little or no significance to this film!

Directed by: Siva, Camera: Vetri, Music: Devi Sri Prasad, Edit:Kasi Vishwanathan, Producer: B.Bharathi Reddy, Stunt: Selva, Dialouge: Barathan

Budget: NA

The story, backdrop and setting (Screen play), has nothing new or novel. The script and screen play tailor made for ‘Thala’ Ajith!

The first half after a few minutes of speedy and cursory introduction of the characters the director immediately turns the camera on to Ajith and then on it is Ajith all the way! Even when Thala is standing as a bystander the camera pans on him every now and the on him either holding a child, simply smiling, reading a paper, or just walking tailor made and cut for his ardent and passionate fans. Ajith’s sheer screen presence, delivery of punch dialogues, acts of compassion, charity and benevolence forms the backdrop of this story. The story is about Ajith’s undying love for his four brothers (their names are of no significance. Let me just call them B1,B2,B3 & B4. Ajith does not want any one of them to get married for fear of breaking the brotherly bond. Santhanam is the only other player of significance in this film. He is ‘once’ again a lawyer (Deiva Thiru Magal)  and Ajith’s sidekick. His comedy interludes are a welcome relief. He and the B’s want Thala to get married to clear their own route! Enter the heroine Tamannah, though I could not clearly understand her profession it has something to do with cleaning and restoring the village temple which includes painting wooden figurines, a P.E.T.A activist, who totally believes in Ahimsa! In fact her father (Nasar)  is Gandhian in his own right. Let me get back to Thala! Ajith is cast in a unique hero/villain combination in this film. He simply cannot stand wrong doings and goes to any extent to stop it, not with a broom like Kejriwal but with any available tool from a wooden baton, pipe and a sickle. He therefore adds many enemies on the way who want to finish him off but here and Ajith and his little brothers (in their own small way) outsmart all the available goons’ forms the major portion of this half.  Ajith’s falling in love is linked to a comical childhood flash back revealed by Ramesh kanna. A few more romantic interludes laced with comedy, more violence and gore and, a couple of songs bring the first half to a close.

The second half continues the same way most of the times but this time all other characters are blown away into oblivion by the director and it’s a Thala Ajith’s film right till the very end. The WOW factor being a repeat scene from ‘JILLA’(the sleeping Nassar replaces a sleeping Mohanlal and Ajith replaces Vijay in the car). The highlight of this half being the running train fight sequence which has been shot well and Ajith has given his best and taken significant risks. But once the train stops and we are on the platform it is once again back to ‘masala’ time big time. The climax beats a ‘La Vijaykanth’ film to a pulp!

Characterization of Ajith, by the director has gone to Himalayan lengths to showcase Ajith. In fact in this film he can be referred as ‘SUPER THALA’! In fact even adds a couple of dialogues to narrow his age difference with the heroine. Ajith dons a ‘Veshti’ for most part in the film. The director has also captured the suited and booted Ajith in the song sequences. Ajith has added another significant mannerism to his collar flicking one-‘the casual Veshti lift and fold! The fans roar and cheer every time he does that. His endearing smile is put to good use along with his intense anger by delivering his punch dialogues in the customary ‘Thala’ tone and voice. His total devotion to his brothers is highlighted by the ‘Modi and the chai wallah’ story. The other mass side is also cleverly brought to fore by the local ‘Mappu’ factor. Ajith was no great shakes when it comes to prancing and dancing and definitely age has caught up with him but he tries his best to pep up his slow motion dance sequences with new facial expressions like the local folded tongue routine, quirky shoulder jerks and fancy hand movements. Ajith fans lap all this up and more. The film comes to an end with one seeing Ajith in all the viewers almost till you reach the car park.  This is truly a one man show which probably only a Rajini film can be compared with!

The suspense factor, the entry of Ajith Kulakarni.

The only surprise element being Ajith entering from behind the ‘Caution’ board sign.  Clean shaven Ajith in the latter part of the film. The brothers and Santhanam wooing Tamannah on Ajith’s behalf.

Additional points of interest Other than the action scenes Santhanam comedy puts everyone else’s presence in the back burner.

Art director I somehow felt that this department was of no significance in this film.          

The not so convincing part The logic quotient is totally junked and thrown overboard in this film. Nassar and his family’s magical transportation to a safe location like in Star trek. Ajith bashing up more than a dozen goons, then effortlessly airlifts them only to throw and kick them into bushes. Feeding goons to their hearts content and having them bashed up while Thala reads the newspaper amidst total chaos. Thambi Ramaiah’s over acted comedy scenes. The brothers’ and Tamannah obliterated into insignificance in the second half. Nasser wasted as usual. Rohini Hattangidi’s to supplement Tamannah’s role as a fair skinned Hindi import grandmother. The heroine christened as ‘Kopuran Devi’ to evoke a few laughs or did it have some hidden significance? Unbelievable fight scenes just to lift the heroes image. Censor board continuously condoning all the blood and gore and granting a ‘U’ certificate.

D.O.P Vetri, has fully understood the job at hand and focused his camera on Ajith and Ajith alone. Nothing else really matters!

Music by Devi Sri Prasad music and Back ground score is adequate. ‘Jing Chikka’ being the ‘fun’ and foot tapping number.  

Editor Kasi Vishwanathan had really nothing much to do. Less said the better.

Finally to sum it all up:- Director Siva’s ‘Ode’ to Thala Ajith!

Left right & Centre:-

On my right of right a playwright and a drama director: ‘Sorry sir, this film is not for me ’

On my right again an executive: ‘ Ajith screen presence is great but too much of violence and gore. I just cannot tolerate it any more’.

My director friend:-  ‘This is a much better film than the other (?)’.

Bottom Line:-  This film deserved a better title ‘AJITH’! (Invincible)

Until next time,                                                                                        

Director Haricharan

Chennai

10/01/2014