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APR 21, 2005 – IT’S PROBABLY NO COINCIDENCE that Ilayarajaâs dynamic score for Mumbai Xpress draws on jazz elements, for the movie itself is structured like an elaborate jazz composition. It has masterful slapstick riffs, it has what appear to be spur-of-the-moment improvisations, and if a few of the notes it hits are off-puttingly self-indulgent, it always manages to draw you back in with its maniacally free-flowing rhythms.
The thing, though, is that Mumbai Xpress only appears to be free-flowing. Itâs actually one of Kamal Haasanâs most tight-knit, most convoluted screenplays, where every pratfall, every pun, every preposterous moment seems to have been spat on, polished, and precisely positioned into an overall jigsaw pattern. The effort does show sometimes â notably in a song sequence that strives for a wistful happy-family feel, but ends up feeling very contrived instead â but the point is, itâs still effort; itâs still the painstaking work of someone who clearly cannot inhale or exhale without challenging himself (and his audience) with everything he does.
The director is ostensibly Singeetham Srinivasa Rao, but itâs Kamal whose fingerprints are all over â in the irony that a morally-loose mistress is named Ahalya, in a gag about a man lying next to a child that skirts with suggestions of paedophilia, in the scene of a ladyâs pallu falling off and being hastily set right by another woman who clearly doesnât want her nearby husband to get any ideas, in the absence of a conventional romantic track thatâs instead replaced by an utterly unromantic union of convenience, in a characterâs use of a hearing aid that seems to imply the blissful state of being able to tune out the lies and deceit around him… Kamalâs conceits no longer just push the envelope; thereâs probably no envelope big enough to contain them anymore.
This is mostly good news, a little bad news. The bad news is that his relentless quest for The Next Great New Experience can get wearying â sometimes, you just want to breathe every now and then instead of, say, seeing more souped-up special effects at the end of an already long-enough chase sequence. Then there are the times when Kamal appears to have bought a bit too seriously into his own mythology, as when a character slyly references the unforgettable ânaalu paerukku nalladhu senjaa…â? line from Nayakan. And after Virumaandi and Vasoolraja MBBS, Kamalâs wide-eyed naïf here makes you wonder if he hasnât played one simpleton-in-a-world-of-scoundrels too many.
But the good news, I guess, is this: so what? So what if Kamal gets carried away at times if the result is so entertaining otherwise? Crazy Mohan didnât contribute to this movie, but his spirit definitely did â how else to explain the wordplay where Kamalâs stuntman character, Avinasi, is mistakenly called Pulikesi (like the running gag about name mix-ups in Tenali), the wacky parts inhabited by wackier performers (a money-minded, Telugu-speaking individual is right out of Panchatantiram), the uproarious moment where a grateful, bedridden patient touches someoneâs behind simply because he canât reach the feet? And a mostly in-form cast â Kamal, Santhanabharathi, Nasser, Vaiyapuri, Pasupathi, the young Hardik; only Manisha Koirala, at her most mannered, seems all wrong â gleefully milks every last laugh from the lines.
Yet Mumbai Xpress isnât exactly an all-out comedy. Like Pesum Padam, itâs the blues with belly laughs, a stack of serious issues coated with smiles. Avinasi gets pulled into a harebrained kidnapping scheme where everything that can go wrong does, but in the midst of all the rib-tickling, you sense a chill around the heart. Thereâs a sister who dumps her brother, a man who dumps his mistress, and a woman whoâs looking to dump someone interested in her welfare. Then thereâs a scene where a car stops at a traffic light, and two poverty-stricken girls approach the passengers for money â one appealing to their hearts through the baby sheâs carrying, the other appealing to their loins through the porn magazines sheâs selling. But best of all may be the presence of a horse, a monkey, a daredevil stunt driver, and a whole bunch of bumbling clowns â why, lifeâs a bloody circus, the film seems to say, as it unpeels the sad lot of the human condition, one laugh at a time.
IN THE EARLY EIGHTIES, the smash hit Thambikku Endha Ooru had a famous comic highlight â a scene where Rajinikanth sputters and stammers in fright upon encountering a raised-hood cobra. I thought of that when I saw Chandramukhi, which has a scene where he sputters and stammers in fright as he imagines encountering a ghost. It just wasnât funny this time around, and I wondered: Could it be that heâs aged and can no longer do physical comedy convincingly? Is it because weâve gotten used to his rags-to-riches epics like Padayappa and Annamalai, and such fooling around doesnât befit him anymore?
After the show, though, I realised the problem isnât Rajinikanth; itâs that this movie doesnât know what to do with its Super Star. Watching him do comedy isnât an issue; watching him do only comedy for almost the entire duration is, especially when the film isnât a comedy at all. When Rajini took eons after the collapse of Baba to decide on his next project, it appeared he was really concerned about what heâd play next â but whoâd have guessed heâd play Parthiban?
Parthiban, in case you havenât been following a certain kind of Tamil film, has perfected quite a comic routine with frequent costar Vadivelu, the kind that makes you smile simply by seeing them appear together, even before theyâve uttered a single line. Thatâs what Rajini is made to do in Chandramukhi, playing foil to Vadiveluâs occasionally-amusing hijinks that form three-quarters of the movie â looking at someone with a moustache and going, âEi meesai, come I say,â? or addressing a girl named Durga as Dargah. Yuks or yucks? You decide.
Actually, Rajini has a serious role here, so serious that heâs a psychiatrist whoâs the foremost student of â youâve got to hear this â the world-famous Dr. Bradley! And he uses his skills to fix a problem that forms the movieâs most interesting segment, one that involves a raja with a French beard, a headless Bharatanatyam dancer, and a monster of a computer-generated snake that looks like itâs lost its way from the Anaconda set. But all of this occurs at the very end â thatâs when you see that this isnât some aimless comedy, but an absorbing mix of past-life-mumbo-jumbo predecessors like Nenjam Marappadhillai, Madhumati, Manichitrathazhu and Aapthamithra. The happenings involve Saravanan (Rajini), his friend Senthil (Prabhu, completely wasted), and the latterâs wife (Jyothika), who enters a haunted mansion and sets off a spooky chain of events.
This isnât a thalaivar kind of tale at all, so P Vasu seems unsure whether heâs after chuckles or chills, and sometimes the two occur simultaneously â like when Rajini explains the eerie concept of psychic vibrations, and the camera jiggles for about five seconds, apparently to induce in us a sense of the vibrations. I didnât know whether to laugh or… laugh harder. But whatâs worse is how dated it all looks. Weâre in a golden age of choreography, thanks to the likes of Raju Sundaram and Prabhu Deva, so why would we still want to see the hero-heroine go one-two-three-clap? Vidyasagarâs good score ends up being served quite badly, especially Athinthom, where graceless dancers keep waving handkerchieves like flags to invisible bulls.
There are many faces on screen, but few leave an impression. (Sheela, of Chemmeen fame, appears to have been cast simply because someone thought itâd be nice to have Sheela, of Chemmeen fame.) Vadivelu and Jyothika do what they can, but the weight of Chandramukhi rests on Rajiniâs shoulders. He does an inspired bit of slapstick where he hears anklet bells and, seeing no one around, shakes his foot to check if thatâs where the sound is coming from. Besides, not many others can whip up such a storm in the fight sequences. (That, by the way, isnât a figure of speech. He twirls his leg round-and-round so fast, it generates a gust of wind that… whips up a storm.) In one of the inevitable dialogues that extol his character, someone remarks that Ravana had ten heads, but Saravanan has the equivalent of ten brains. If only the same could be said about those behind this disappointing movie.
Copyright ©2005 The Economic Times – Madras Plus
brangan
October 23, 2007
Thought it’d be interesting to dredge this out after all that discussion on Rajini 🙂
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rads
October 23, 2007
I don’t remember reading this review of yours, but it does come as a suprise that this Rajini didn’t ‘fly’ well with you 🙂
For me, though I kept kidding myself that whatever Rajini does is praise-worthy, this movie was like a sci-fi gone bad. I mean, even the graphics sucked. *shudder
ok. fine, so sue me all you Rajini fans. In my defense, I think he’s an awesome entertainer! Yep, that he is.
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t
October 23, 2007
“Mumbai express” is an underrated Gem which needs to age well. It’s a matter of time before the wine is brewed.
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Padawan
October 23, 2007
Ah! So you have been moving all of your old posts to this new home. But that will not leave us from asking for more tamizh movie reviews. Anything good coming in Diwali?
ATM music? I heard them once and it was not really that impressive. Will have to hear them again….
Watched Fracture (Anthony Hopkins)…awaiting a review from you. Did it release there in Chennai?
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APALA
October 23, 2007
I thought I was the only one who thought that Kamal Hassan proved his mettle as a creative, constantly striving artiste par excellence, yet again with Mumbai Xpress! Because the general public seems to have rejected it – I just can not understand why people keep rejecting films like this, Anbe Sivam etc.,!!
Anyway I am happy this movie worked for you!
Take and mix a bit of the essential ingredients of classics of Buster Keaton, Peter Sellers and Steve Martin – Indianise them by using a strong screenplay as a base
cook it in a humor ‘microwave’ and spray it with a nice tangy flavor of native accents and colloquial phrases a.k.a. one liners, embellish it with a (music) score that mocks and laughs at the performers on
the screen(!) – and that should tickle you, besides the movie itself!!- and you have a classic – MUMBAI XPRESS!!! – That sums up my thought!
Chandramukhi worked mainly becuase of Vettayan (a.k.a Mottai boss who (shaved &!!) saved Sivaji!), Jothika & Vadivelu! Mr. Saravanan was totally wasted! Well, any day, any place, any time, I would stand up for the Malayalam original with Mohanlal & Shobhana!
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Thamizhan
October 24, 2007
after seeing sivaji, i liked chandramukhi even more for a) giving screen time to people not rajni, b) having a story, and c) good songs and vineeth’s dancing. watching rajni only do comedy is a breath of fresh air, and a sign that he hasn’t died underneath the weight of all that “style”.
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naren
October 24, 2007
a regular reader here…but today i understand you also tend to be biased at times.You almost claim it to be too brainy a movie for all mass and class to appreciate.I beg to differ.It is almost a brainless stale movie. Made even worse by wooden expressionless axcting except fr pasupathy. I had a feeling like kamal never was interested in doin the movie at all. How can i explain this. in PKS (an awesome movie of his) in jus one scene (interaction with his thatha -kurangu maaari balti potukinae irukaen) he makes the audiece to hail him as a great actor, which of course he is. i had to wait for one such scene in Mexpress, only to return empty without any such scene or rather anything convincing and interesting in the movie at all. About chandramukhi and abt rajini everything is obvious. Jus don’t get how you people simply keep questioning that. It is a fact beyond any dispute that he is the supreme entertainer around here, in whatever manner you define entertainment to be.
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Deepan
October 24, 2007
Interesting to note that you liked Mumbai express , and even more interesting to note your juxtaposition with ‘pesum padam’ .
Infact, Mumbai express forced me to start blogging once upon a time(whackintheback.blogspot.com), and I wrote my first review then , and interestingly I had mentioned ‘pesum padam’ as well !
Sadly Kamal dint make such movies after that, and so ended my blogging days !
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raj
October 24, 2007
While naren goes to one extreme – the kind of criticism that perhaps condemned Sivaji Ganesan to the kind of over-dramatic movies he did in his time – I think Mumbai Express was too clever-by-the-half for its own benefit. The finest example to illustrate this would be the final scene where there is a word-play on the fact that the protagonist is called Mumbai Express. That was an insult to the intelligence of the viewers – because no way a Police man is going to make a mistake of that proportion, mistaking a Man for a train becausee you know and I know that that scene is going to pan out very dark in reality becausee policemen err on the side of caution not on the side of a gamble – now, don’t tell me I shouldnt look for logic in a comic caper – because thats what you have claimed it isn’t – unfortunately, I can only say that he tried but the failings were evident on many occasions, most aptly in the last scene as I mentioned. And i can quote other instances of similar lackadaiscal writing but this post will become an article by itself.
And yes, all this because it was Kamal – one wouldnt harp on this much if it had been mererly Singeetham(whose non-Kamal telugu comedies I have seen and let’s just say No comments!) or Crazy Mohan(his non-kamal movies – Jerry, anyone?)
Long and short of it is ME aspires to be Pesum padam II so BR is somewhat right in appraisal but it doesnt reach – by a long distance – the levels off dark, almost bleak humour that PP achieved – you know, despite all the laughs and almost happy ending, PP affects me a lot and I am left with a bleak feeling , which shows the brilliance of the movie. No such luck with ME – and if thats harsh, I believe that’s fair enough.
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raj
October 24, 2007
And yes, Vettaiyadu was atleast refreshing because finally, Kamal gave up his Chaplin persona after 3 successive movies on the golden-hearted-tramp-challenged-by-his-circumstances-and-coning-out-with-flying-colours-in-the-end. Thats a neat observation by BR.
That reminds me, BR, what is your given name, you are Baradwaj or Mr.Baradwaj?
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raj
October 24, 2007
And the post on Rajni style is gone. Recently, whenever I make a big comment, the post seems to disappear:-). Another of my conspiracy theories, BR? Atleast, I can claim that this happened recently with No Entry, with Pudhupettai and now the Rajni style articles 🙂
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brangan
October 24, 2007
Padawan: No news about Fracture. But Good German is out this Friday, and I’ll have a review for that.
Raj: It’s all there down below. You just have to search for it. Just don’t want the old posts to linger very long…
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raj
October 24, 2007
Still cant find ut BR. Where to search, the search window throws up Sivaji article when I search for “Rajni Style”?
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G
October 24, 2007
>Kamal’s conceits no longer just push the envelope; there’s probably no envelope big enough to contain them anymore
Mumbai Express WAS nice(saw it on a bus ride from my native place) but FOR Kamal nothing out of the ordinary. We fans WILL take him for granted when he makes movies like this.
Reason? 10 words: Kamal carrying a perfumed, gift-wrapped box of shit in Pushpak. 🙂
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raj
October 24, 2007
I found it
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G
October 24, 2007
APALA Says:
I just can not understand why people keep rejecting films like this, Anbe Sivam etc.,!!
I have a theory about this.
Everyone in his heart knows that if the stars align just the right way, that we too can be just like Rajni.
But there is no way anyone can pretend that he can become a Kamal. 🙂
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selva
October 24, 2007
buddy,
this is the first time I am reading your Chandramukhi review.. 🙂 your oneliners are gems esp the way you have described rajini’s way of generating the storm with his boots. LOL. I love the other scene in which he flies 180 degrees to rescue prabu.. uh yaaaa LOL
and the way he flies in the opening fight sequence to clear the dust in his shoes
p vasu should be bombed for making such movies. but yet the movie went onto become a blockbuster and I am still searching for an answer on this … how ?? why ??
Do u have any idea ? 😛 😛
It is sad to see the mass hero who generated lump in the audience throat with his dare devil stylish stunt sequences in movies ilke annamalai baasha, doing movies like CM and Sivaji 😦 😦
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selva
October 24, 2007
and I think some *ghost* is present in Manichitrathaazu script itself … that *ghost* ensures that the movie will become a blockbuster even if it is remade with a street actor in the 22nd century. 🙂 language too isn’t a problem for this ghost. I think the guy who wrote that script must be one of the most powerful scriptwriters in the world. His script has some supernatural powers.. 😛 😛
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G
October 24, 2007
Shouldn’t keep coming back so often, but one thing that I knew and understood back “then” while growing up but seem to take for granted now is just how shockingly young Kamal was when he did his great re-invention in the 1987-1993 time period. 33! F***!
Why the F are the lazy, fat actors of Malyalam and Amitabh always placed in front of him? 🙂
For perspective, through-out my ENTIRE childhood, Amitabh was nothing but an old tired has-been whose each and every film was hyped up but kept bombing badly at the box-office. Finally the public took pity on him and made Hum a hit.
And then Satellite TV happened and Prakash Mehra’s films on Zee FINALLY showed me what the fuss was all about. 🙂
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APALA
October 24, 2007
BRangan & Guys:
Found this interesting link. Though this talks about Hollywood – it can be related to our cinemas too!
Read it when you have time on the hand!
http://people.bu.edu/rcarney/indievision/other.shtml
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nithin
October 24, 2007
“Why the F are the lazy, fat actors of Malyalam and Amitabh always placed in front of him? ”
since when?..I havent heard of this so far..as far as i know,i always hear cinephiles rating kamal, om puri , nasser over any other indian actor..Ms are both great but they r da best from malayalam..Kamal is much more than just tamil..he is across different languages..i have seen only his hindi films..and few dubbed tamil films..still i could say he is one of the best..but the biggest joke was the most overhyped actor in the planet..if someone claim that he is even worth mentioning along these other great actors…then i would have a very low opinion of them(except for Rangan who i know is a big fan of this overhyped actor)…I have seen almost all films of bachchan…I have seen him ham, overact, underwhelm more than others..be it agneepath or black..he was good in deewar,AAA,MAH,and few handful of films..but no where close to the range of the greatest actors..sin to speak of this guy in same breath as other greats! maybe he is a superstar and good actor, not more than that.
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G
October 25, 2007
Nithin, I couldn’t agree more!
Amitabh should thank SRK from the bottom of his heart for legitimizing his career by copying him so closely.(Don and KBC)
He owes SRK an even greater debt for starting this silly “who is greater” war. By doing so, both have cleverly made the media forget the fact that in reality by now Aamir Khan is greater than both of them. 🙂
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raj
January 20, 2009
BR, MAnichitrathazhu isnt past life mumbo-jumbo. You have actually written that without having seen MCT. Very sorry. That is like Subash Jha reacting to Vikram’s Natl Award for Pithamagan – “I havent seen that movie but no way anyone could have bettered hrithik’s (brace yourself) Koi Mil Gaya”.
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udhaysankar
October 3, 2015
Well, looking back Chandramukhi seems coherent, focussed and even okayishly executed to Sivaji, Enthiran, Kochadaiyaan and Lingaa. The storytelling though weak is sincere and I am taken aback by the innocence of the movie. I still have vivid memories of my first viewing of this movie and remember being scared to death of Jyothika, when she says “Nethichudi” with her big eyes popping out.
Keeping my fingers crossed for “Kabali”.. 😀
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lakshmi
April 21, 2017
Revisited this post today just to reiterate that you are indeed… only a DOZEN years older than you were when you wrote these reviews!
Happy Birthday! 🙂
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