And the law of averages catches up with Vijay Sethupathi. It was always going to be tough for the actor to find, yet again, something as buzz-worthy and as much of a zeitgeisty sensation as Pizza or Naduvula Konjam Pakkatha Kaanom or Soodhu Kavvum – but at least Gokul’s Idharkuthane Aasaipattai Balakumara isn’t a lazy movie. It is, in fact, the opposite. There’s too much of everything – too much plot, too much mood, with three narrative strands infused with three unique sensibilities. The track with ‘sumaar moonji’ Kumar (Vijay Sethupathi) slips between his present and his past – the former involving a local dada named Annachi (Pasupathy), the latter about Kumudha (Nandita), the girl-next-door whom Kumar stalks loves. The vibe here is that of those other Vijay Sethupathi movies – zesty and irreverent and suffused with some form of cinephilia. In the middle of a song sequence, we break into bits of nursery rhymes – Ding dong bell, puss is in the well – set to the tune of the Jaishankar hit, Manam ennum medai mele, which, in turn, was set to the tune of the Dev Anand hit Sau saal pehle.
The second story zeroes in on Bala (Ashwin), a slacker sales-executive whose only interest is getting drunk with his friends. His angst about the difficulty in finding “cooling beer” in a TASMAC joint is hilarious, but otherwise, his escapades quickly become tiring. Here, the mood is tragicomedy. We’re meant to laugh at Bala’s shenanigans and we’re meant, also, to feel for Bala’s plight – he has a sister whose wedding is going to be expensive, a girlfriend (Swati) who’s looking to take their relationship to the next level, and worse, an ugly plot contrivance to tackle when, in his inebriated state, he’s involved in an accident (which throws into peril the life of someone we’ve met barely a minute ago). And from there, it’s just a few steps to one of the deadly sins of moviemaking: a big, fat message, whose only silver lining is that it isn’t offensively hectoring. Heaven save us from filmmakers who seek to change the society around them through comedies.
And the third scenario revolves around a big shot who’s knifed in that TASMAC joint, and it features the two characters who made me smile the most – a fanatical follower (Soori) of that big shot, and the big shot’s wife, a loony femme fatale with a fondness for oversized flowers and a tendency to speak as if auditioning for an erotic scene in a silent movie. The mood here is light, bordering on the surreal, and these scenes are funny because they aren’t enclosed in the emphatic quotation marks found everywhere else. Gokul wants us to know he’s an out-of-the-box thinker, so he hits every note hard, as if afraid we won’t notice. And yet, how radical is it, really, when the prelude to Sundari neeyum is used in conjunction with a Malayali woman whose boss has fallen for her? Or when a lighthearted “prayer” song cuts away to a tearjerker scene at a hospital? Oh, I was also taken by the antics of a character called ‘Sound’ Shankar. That name is funnier that most of this movie.
An edited version of this piece can be found here.
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KP
October 5, 2013
Soori is brother of the slain guy.
KP
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Vignesh
October 5, 2013
i watched in a very crap theatre with no ac, coupled with a unbearable sound system… and the film is the cherry on the top of all the bad experiences on that day…. the scenes where vijay sethupathi and his friend goes on searching for booze on middle of the night resembles quarter cutting – another movie where similarly the execution failed to show a good premise like this…. btw liked the kumudhaaaaa ringtone 😛
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venkatesh
October 6, 2013
Does anyone else remember the film from where the title line comes from ?
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Prashanth (@WothaDei)
October 6, 2013
Ahahaha. It’s been a little over 80 hours since I put up my review and so many people have given me a hard time for writing a very negative review. “But it’s a Vijay Sethupathi movie”, they said. Which is as heartening as it is scary. An intro scene where we see him from the back and wait several minutes before we get to see his face? I mean, has the hero worshipping already begun? Why wasn’t I told? He dances around in his opening song and then slow down a bit in front of a Kamal Haasan cut-out. I just noticed from the image above that even Rajini has been shown in some capacity. It was clearly intended to mean something, but what? Wait, don’t tell me.
I love Sethupathi as much as the next guy but I kept sinking lower and lower into my seat as the movie progressed. He’s as sincere as ever, but the material he gets to play with is so ordinary, it’s beyond him to make it work. I think even he understands how unfunny the situations and tries to salvage it by infusing too much energy. But he goes overboard with his “loosu paiyan” act.
Every other review I read said how good the message in the film was. How this wasn’t just a no-brainer comedy and offered audience something to take back with them. Oh, please. I cannot recall a more hypocritical movie than “Idharkuthane..” It’s a two-faced piece of crap movie that is only too happy to use alcohol for all the “jokes” and ungrateful enough to eventually turn against it. It’s a bit sad how people are okay with the film’s double standards.
“TASMAC la cooling beer vaangu da paakalam.”
Audience: Hahaha.
“Say no to drinks.”
Audience: Wow. What a message ya!
And they are killing me by calling it subtle. Sure, it is not offensively hectoring, but the last shot is a close up on a badge that reads “Say no to drinks” or something. How that is even anywhere close to being subtle, I would never know.
Like you noted, in one scene we see the film going all grim following an accident and, moments later, the music is back to its boisterous self. The jarring tonal shifts belittle the tragedy that the characters are trying to avoid. Nothing is sacred and everything is expendable in the name of comedy.
I am probably nitpicking, but if you notice the lyrics of that “Prayer Song”, it contains lines which a person like Kumar would never sing.
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Shivkumar
October 6, 2013
thank god for the honest review. i see unbelievably high ratings for this movie all over the internet. I think it is a loud mindless mad caper movie thats best forgotten !
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oneWithTheH
October 6, 2013
Finally, the intro song happened for VS. It was time, now that he is “mass”.
“.. too much of everything…”
– absolutely agree. The pre-interval was a frenzied mishmash that I could hardly make sense of. There was not enough quirk about the characters or dialogues, they simply keep coming quickly one after the other. Also, the actor who played Bala was inadequate I thought.
The 2nd half sort of pulled the film from abyss. Enough whack-a-dos to sustain interest – Romba Sumar Moonji Kumar(who’s the actor?), Suri and the scheming lady. RSMK was the best.
The last time I decided to watch a movie solely based on the actor’s previous work(and without reading any reviews) was Karthi’s Siruthai. Thankfully ITAPB wasn’t so much of a free fall for VS like the former was for Karthi.
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Arun
October 7, 2013
@ Prasanth, I too had the similar experience of slumping in seat probably due to combination of poor editing and slow pace. Definetely, slow pace. Also some scenes involving Suri did not add any value to the film.Even the comedy seemed a bit repeating. All said and done, this film remains a passable one although not as good as critics say. @ BR At any point, did you feel the movie was organic or atleast it was a decent non-linear one?
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Libertatis Amator
October 7, 2013
“It’s just a few steps to one of the deadly sins of moviemaking: a big, fat message”
Why? Why is it a sin to have a message in a film, even if only in passing?
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Rajeev
October 7, 2013
@Venkatesh – I guess it’s from ” Padikathavan ” ( the 2009 one ) .
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Prashanth (@WothaDei)
October 7, 2013
The non-linearity is just there for the sake of it. There’s no joy in watching these stories interconnect. And I suspect the multiple storyline element is what made Sethupathi choose this script.
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rajesh
October 8, 2013
The film had too many forced scenes, characters. That makes it a lazy film. Especially first goes directionless. In the scene, the lady is hospital (when the audience are afraid that it might be an abortion. Till end they didn’t say whether it was abortion), Swathi (Renu) and Ashwin (Bala) are taking emotionally and Bala is more worried about his love. That is the worst scene I have seen in recent times.
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Mambazha Manidhan 2.0
October 8, 2013
Now wonly I saw Raja Rani itself. And, already 2 biggies are coming next week : Vanakkam Chennai and Naiyandi like current booking. Aren’t movie releases supposed to be an event to anticipate and cherish? Even Bollywood has a structured release schedule.
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brangan
October 8, 2013
KP: Oh, my bad. I guess I switched off for a while…
Prashanth (@WothaDei): Enjoyed reading your angst 🙂 You write well.
oneWithTheH: That scheming lady saved the movie for me. I wish she’d had better closure to her character 🙂
Arun: See, non-linearity for the sake of it is nothing. And anyway, this is not *true* non-linearity. It’s just cutting between three narrative tracks, that’s all. There’s no time-line fracture and things like that.
Libertatis Amator: Yes, yes, yes 🙂
venkatesh/Rajeev: No, it’s a much older film, one of those faux-historicals whose name escapes me now…
rajesh: Yeah, the way that pregnant woman was introduced — so conveniently, just before interval, without even bothering to establish her as a character, because that would eat into the “thanni” scenes, no? — and the way she was shunted aside afterwards was particularly bad.
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venkatesh
October 9, 2013
BR: Rajeev : Wasn’t there a line in Guna like this ?
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Rajesh
October 9, 2013
@BR: May be Dir-Gokul unconsciously thought to give a Alaipaayuthey like accident (sadly didn’t even give that)
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Anoop
October 10, 2013
“Heaven save us from filmmakers who seek to change the society around them through comedies.”
You said it BR.
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kamalinvisiri
October 10, 2013
Mr. Barad, y can’t u use simple language in ur reviews? Trying to prove that u r a Genius in English… ?
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Karthik
October 18, 2013
@kamalinvisiri, if you don’t get it, leave quietly. Don’t offer your two cents.
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indianmalefeminist
November 8, 2013
“Heaven save us from filmmakers who seek to change the society around them through comedies.”
To be fair BR, I think it is possible to deliver a “message” through comedies, but then again, I guess you don’t mean in a ‘satire’ kind of way but rather comedies like this which doesn’t take itself seriously. I agree with that point. But our directors in general wouldn’t know what subtlety is if it hits hard on their faces, so it turns out to be preachy more or less.
And the movie was so disappointing, I think you’ve summed it up well, more or less.
And FFS, when the hell are we going to do away with “harass her to death till she gives up” trope? Also there’s the usual “passive aggressive” lover too, but at least there was some depth to her character here.
@kamalinvisri (lol) please say that you’re trolling.
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Kamalinvisiri
November 12, 2014
@ Karthik if you don’t like it, leave quietly… Don’t offer your two cents… 😛 😛 😛 😉
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