New Delhi: If OTT has immediately benefitted when it comes to viewership owing to lockdown, the result of the scenario has additionally served digital content material effectively. A bunch of movies and internet sequence drawing plot concepts from lockdown have flooded OTT platforms. You have a brand new occasion within the Tamil anthology, Putham Pudhu Kaalai (interprets to A New Dawn).
Five well-known filmmakers down South have collaborated to direct a narrative every on this episodic movie. These movies should not have any hyperlink with one another besides the truth that all 5 are set in opposition to the backdrop of lockdown. Overall, the thought clearly was to make a feel-good industrial movie that reaches out to the most important potential viewers, drawing benefit of OTT’s burgeoning international attain, so not one of the 5 tales probe any side of human relation too deeply.
The first of 5 tales, Sudha Kongara’s Ilamai Idho Idho (Youth, Here We Come), units a lightweight temper. Francis Thomas and Shruti Ramachandran’s writing is evenly paced because the widower Rajeev (Jayaram) invitations girlfriend Lakshmi (Urvashi) to stick with him for a number of days. Twist within the story comes when lockdown is out of the blue introduced at the same time as Lakshmi remains to be at Rajeev’s place, and his daughter and son-in-law arrive. A not-too-heavy narrative scores primarily as a consequence of Kongara’s simplistic storytelling. The director makes use of a youthful set of actors (Kalidas Jayaram and Kalyani Priyadarshan) to enact Rajeev and Lakshmi each time they really feel younger and romantic in one another’s firm. The charming little rom-com is enriched by good performing and attention-grabbing use of music (GV Prakash).
Gautham Vasudev Menon directs Avarum Naanum (Him And Me), a narrative a few younger woman (Ritu Varma) who comes to stick with her grandfather (MS Bhaskar) amid lockdown. The two have been estranged for years, and the story (Reshma Ghatala) strikes alongside predictable strains to relate how the woman uncover her ‘thaata’ all over again, and misconceptions are cleared. Strictly, it is not a story that demanded the backdrop of lockdown, but the film is well shot (PC Sreeram) and the two protagonists share a few remarkable moments.
Anthology films have a dead giveaway. The placement of your film often becomes an indication of how appealing it is, compared to the others in the collection. In a film comprising five stories, for instance, it doesn’t take much to realise the placed bang in the middle could be the weakest link.
Suhasini Maniratnam’s Coffee, Anyone? would seem to face that disadvantage, although the film has been co-written by Suhasini along with her husband, the masterly Mani Ratnam. You find the odd Mani Ratnam trademark moment as two sisters (Anu Hasan and Suhasini) visit their mother, who lies in a coma. Much to the disapproval of the two women, their father (Kathadi Ramamurthy) has brought their mother home when hospital care would perhaps seem practical. The film tries to make a point about the power of love and familial bonds to heal, but ends on a rather contrived note. Also, you don’t spot any reason why this story should be set in the time of lockdown.
Andrea Jeremiah brings alive the fourth story, Reunion, directed by Rajiv Menon, who also co-writes along with Adhithya KR and Krishnaswamy Ramkumar, and functions as cinematographer. Vikram, an affluent surgeon (Gurucharan), lives with his mother (Leela Samson) and their life is about to be thrown in a turmoil when Sadhana (Andrea), a bar singer and an old friend of Vikram turns up. The young doctor returns from hospital to discover he has come in contact with a Covid patient, so he isolates himself in the house. With lockdown announced, Vikram’s mother suggests Sadhana stay with them, and the girl agrees. Of course, there is a twist about Sadhana that pushes the plot. Menon uses music (Nivas K. Prasanna) to subtly define Sadhana’s past bond with Vikram, as well as take the story forward. Watching Reunion, it would seem like the story needed a longer runtime to come alive. Menon does adequately while narrating his tale in the short format, though he fails to add an impressive punch in the end.
Anthology movies typically reserve the most effective for the final, and this absolutely occurs right here. Writer-director Kartik Subbaraj’s Miracle is a winner all the way in which, a superb parting shot. A few smalltime goons (Bobby Simha and Ok. Muthu Kumar) are in dire want of cash. Amidst lockdown chaos they determine a crooked solution to get their hand on a giant stash. Of course, there’s a catch in what occurs subsequent. Miracle is the type of story you do not wish to reveal a lot, besides that it’s good, humorous and ironic. Shreyaas Krishna’s digital camera makes attention-grabbing use of vibrant hues and darkness to carry alive varied phases of the story, and the movie is deftly minimize by Vivek Harshan.
No matter the way you react to the remainder of the tales, Miracle is assured to depart you in a merry temper.
Putham Pudhu Kaalai manages to entertain inside the limitation and challenges of the quick movie format. Although not an excellent effort, the movie general is an entertaining, and positively value one watch.
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