I felt my heart sink at the beginning of Goli Soda, with its vérité scenes of crowds, dogs, druggies, and trucks being unloaded at Chennai’s Koyambedu market. I thought I was in for another bout of breast-beating about cool kids exiting Cafe Coffee Day and grinding their have-not counterparts under the heel of an imported sneaker – a social issue that is no doubt worthy of serious cinematic exploration, but not in the hands of our filmmakers, with their sentimentality and their banal, black-and-white view of how the world (and cinema) works. But the director Vijay Milton – thankfully – has other ideas. Goli Soda is essentially a sequel in spirit to Pandiraj’s Pasanga, which viewed childhood not as a blissed-out period of innocence but a miniature version of adulthood, with the same desires to succeed, the same fears of failing, the same instincts of competition, and the same drives to get even. Pasanga was informed as much by how adults behave in life as they do in the movies, Tamil movies – and so is Goli Soda, which is essentially a masala movie whose heroes are teenagers (Kishore, Sree Raam, Pandi and Murugesh, the kids from Pasanga, whose gradual aging, here, is shown through the sprouting of peach-fuzz moustaches).
The masala movie clichés are all there – but with tiny tweaks. The lines about natpu (“friendship thaanga ellaame”) and kaadhal (something about true love versus time-pass love) go to a girl and the item song goes to a guy (a surprise guest star). The meet-cute happens between two very ordinary people, and we buy this “romance” because the “heroine” doesn’t look like a marble-skinned mannequin. When rowdies chase the “heroines,” we expect the “heroes” to come and rescue them, but deliverance comes in other ways, through other children. At other times, the tweaks come from seeing youngsters in the place of the adults who’d normally enact these routines – whether it’s girl-watching (sorry, “figure” watching) or recalling Ilayaraja hits (Chinna mani kuyile) or avenging a rape (indirectly) or standing up to the all-powerful villain (very grown-up, and with a luxuriant moustache) the way David stood up to Goliath.
The signature achievement of Goli Soda is its ruthless unmasking of how hollow most of our masala movies are, and how, with a little imagination, just a little, you can make a film whose appeal is broad and which does not insult the audience. (And given that most of our films are masala films, this lesson is direly needed.) In other movies, we roll our eyes at the appearance of the amma sentiment – but here, it’s never allowed to become maudlin. Aachi (Sujatha) may be the kind of loving mother figure who asks these boys if they brushed their teeth and berates them for sleeping late, but she also possesses a sharp tongue, and the kids, in turn, tease her as “karuppu Jyothika” and repay her kindnesses by putting the moves on… well, you’ll have to see the film and find out. We laugh, we feel sad, we genuinely care about these people.
The major and the minor characters – the bystander in the shiny shirt taking phone-camera pictures to upload them on Facebook; the woman who glances at a cup of coffee gone cold and realises something’s wrong; the man who opens his wallet and gazes at a family picture from happier (and more prosperous) times; the villain who behaves consistently (first slapping underlings for wrongdoing, then, a minute later, defending them) – are written so well that they become flesh-and-blood people. You don’t need a long flashback to imbue someone with a backstory – you just need good writing, good acting, and a fleeting shot can serve the purpose. Why is the villain so nice to Aachi? We get the answer in a single line. Even a one-rupee coin gets something of a character arc. In an early scene, one of the boys makes a joke about how, like Rajinikanth in Sivaji, he will make his fortunes from it. Then, this empty boast turns somewhat true when the coin is handed over as advance for a business. Finally, the coin ends up on the forehead of the villain, a warning that he could end up dead. With all this, and with comedy (some lines are outrageously funny) and romance and drama and sentiment and action and “mass” moments and even a smattering of songs Goli Soda lasts just a smidge over two hours. That’s the film’s other triumph: economical storytelling.
Then there’s the triumph of the action choreography, which in our big-hero masala movies is almost always perfunctory, with goons spinning into orbit as if activated by a remote-control switch. A brilliant stretch in the second half, after the boys take a loan from the villain and end up in his debt, shows us how a scene needn’t be plausible (from what we know from real life) in order for it to be believable on screen. How do four kids take on a number of burly goons, even with instructions from an imaginative action director who has them using props from their surroundings? Had the sequence been edited normally, we’d have registered disbelief, but the gimmicky editing here – frames literally hurtle into one another, creating an added sense of violence in the form (in addition to the content) – makes us forget our doubts. That the exquisite culmination of a romance, through a green dress, occurs immediately after is just icing on the cake.
A major drawback of Goli Soda is in its employment of another staple of masala movies: music. It isn’t just that the songs aren’t especially memorable. They just about do the job, as in the case of the tune based on the old hit, Paattu paadava, which plays behind scenes of one of the boys applying fairness cream and the others taking turns to wear the sole decent T-shirt that they have in order to ogle at the girls passing by. But the background score is terrible – yet another exhibit in the ongoing case to abolish the solo violin over sentimental moments. When little children appear in school, we hear tinkling music, and after a reference to a prayer song (in the film’s most ludicrous sequence, the “rowdy reforms” scene), we hear the soft drone of the tambura. The Mickey Mousing score is an insult to the imagination in the rest of the film.
The other (and lesser) problem is the occasional overemphasis. The conceit of these kids having no identity is literalised by a few too many scenarios and lines involving ID proofs, and the scenes involving a girl and her father (who’s separated from his wife) feel forced and awkward. Too much is made of a rowdy sewing razor blades into a towel, when this has no real payoff. But there are other moments that compensate, like the casual discussion, over lunch, about how, but for an accident of birth, these boys could be in English-medium schools, or the revelation that they missed out on a girl in the neighbourhood because they work nights, when everyone else is sleeping. The point is tossed off, not hammered home, but its import lingers – these boys lead the kind of lives boys their age shouldn’t have to. There’s even the whiff of a message. I will be very surprised if there’s a more entertaining, more inventive, more well-acted masala movie this year.
An edited version of this piece can be found here.
Copyright ©2014 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Rajeev Hari Kumar
January 25, 2014
Couldn’t read through the whole thing but……
http://worldcinemafan.blogspot.in/2014/01/blog-post_25.html?spref=fb&m=1
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Mani
January 26, 2014
நண்பருக்கு – கோலி சோடா படத்தை பற்றி – கோயம்பேட்டில் வேலை செய்யும் நான்கு இளம் வயதினரின் கதை என்ற பெயரில் இது ஒரு மசாலா சினிமா. இளவட்டங்கள் மசாலா ஹீரோக்கள் போல் வில்லனுடன் தாறுமாறாக மோதுவது shutter போடுவது,பதிலுக்கு தேர்தலில் நிற்பது,வில்லனுக்கு மொட்டை அடிப்பது பதில் பன்ச் டயலாக் பேசுவது இன்னும் பலப் பல ஹீரோ விஷயங்கள் இவை அனைத்தும் சீரியசாக பட ஓட்டத்துடன் இணைகிறது. நிச்சயம் பகடியாக இல்லை. பதினாறு பதினேழு வயது பசங்க இத்தனை கொடூரமாகவும் வன்மத்துடனும் சண்டை போடுவது போல் காண்பித்திருப்பது கடும் கண்டனதிற்க்குரியது. படத்தின் சில நல்ல விஷயங்களை இது மறக்கடிக்கிறது. Condemnable & Disgusting to show 16,17 year Olds fighting with so much vengeance and anger
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brangan
January 26, 2014
Rajeev Hari Kumar: Is this a fact? It’s just one side of the story, no? Let’s wait to see the other side…
Mani: “கோயம்பேட்டில் வேலை செய்யும் நான்கு இளம் வயதினரின் கதை என்ற பெயரில் இது ஒரு மசாலா சினிமா.”
I disagree completely. I saw this is as a masala movie set in Koyambedu, not as the story of the travails of four youngsters in Koyambedu. That is this film’s strength. Otherwise this might have turned out to be another “Angadi Theru” or “Vazhakku Enn…” Heaven help us!
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Rajeev Hari Kumar
January 27, 2014
@brangan –
“Is this a fact? It’s just one side of the story, no? Let’s wait to see the other side…”
Fair enough. Though frankly, even if this were true, couldn’t they just brush it aside and resort to the ever – convenient “it was inspired” rant ( for the lack of a better word )? Also, where does one draw the line between blatant plagiarism and “inspiration”? I mean, it seems as if anyone these days can plagiarize someone else’s work and feign originality. Every time I see a Tamil or Hindi film that happens to be really good, the first question I ask myself is “Was this ripped off from somewhere else?”.
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Jyothsna
January 27, 2014
What I fail to understand is how come a bunch of teenagers who are intellectually at a lower rung will pursue something as cerebral as ‘identity’. All that they would first seek is material comforts… Somehow it was not convincing
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Rohan Nair
January 27, 2014
Jyothsna: The english word ‘identity’ and the way you have come across it might seem “cerebral” to you, but surely the idea is universal?!
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shafeek.
January 28, 2014
intresting….
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brangan
January 29, 2014
I really thought a lot of people would have seen this and come here to say good things about the film. Surprised 🙂
Jyothsna: When you speak of “identity” it may sound cerebral, but the fact that this is reduced to a simple “nee nee-ngarthukku oru adayaalam” is, I think, a reasonable enough goal. Of course, this isn’t detailed very well in the film, owing to its more overt masala concerns — but the problem lies with the way this has been worked into the film, not with the conceit itself.
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Anoop
February 2, 2014
Think the positive word of mouth is helping this movie. This saturday evening show at Escape was at the bigger screen and was a housefull. Btw, hat tip to the director for incorporating some ” special effects ” , there were 2 shots where the metro tracks outside koyambedu where shown with a sleek train runnin on them 🙂
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Rajesh
February 24, 2014
All Tamil people should be proud about this film. Which industry in India will have the balls to make a masala film (masala, but well within its limit) with such teenagers in lead roles. The role of that girl- the one with specs – is a big plus. And to add up, your people have welcomed it in the box office too.
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oneWithTheH
March 2, 2014
the whole reuniting thing after the goon separates them was hard to believe. was there any reasonable explanation in the story for how they could locate each one?
the movie had an interesting premise – pitting adolescents against a dada. some portions were genuinely convincing too, but i thought the kids coming back together and trying to do a strike-back-at-the-empire was quite a stretch..
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brangan
March 10, 2014
I have been hearing a few complaints (not too many, thankfully) about how unlike the earlier reviews mine are. But this is probably the first time a reader has written in about this, in detail. His letter is below. And my response is in the comment after that.
I get the readers on this blog are used to my kind of reviewing. Just thought it’d be interesting to see what the “other” POV is.
——————————————————————–
From: xxxxxxxxxxxxxxxxxxxxxx
To: Letters To The Editor letters@thehindu.co.inn>
Date: Tue, 11 Feb 2014 20:54:00 -0800 (PST)
Subject: Goli Soda Review by Bharadwaj Rangan
Sir,
Not sure if this mail will reach Mr.Rangan – but I wish it does.
I happened to read his review of the movie Goli Soda in HIndu and was little taken aback – although not so surprising nowadays, about the form, content and the general quality of a movie review.
Here’s what a regular reader typically looks for in a movie review:
– Story synopsis
– Highlights of the movie in general – areas where the movie excels or fails – eg: BGM, photography, narratives etc.
– Performers and their performances.
– how it rates among its genres and what the differentiators are…
– and finally was the Director able to convey what he may have envisioned
All the above and additional areas that may be pertinent to the movie that is being reviewed (eg – a patriotic movie review could discuss how it influences, factors, impacts a moral and social behaviour – an example among many other things).
The order, the ratio of the above components/areas from a review standpoint may be different from movie to movie dependent on how the movie was picturized – but the general framework is the same.
Ask any reader and they’ll agree that the above list fullfills some basic reviewing requirement. Anything beyond this framework is nice to know – but without the basic framework – the additional stuff is just fluff.
Thats the sense that I got from Mr.Rangan’s review – a very elaborate essay that was full of fluff , littered with his exaggerated sense of appreciation for these movie genre’s – as opposed to a tempered, bound to the ground honest review – that at a minimum does justice to the basic framework of review. I am sure the liberal elites and snobs may appreciate this kind of writing – kind of reviewing that does nothing to convey the basics of the movie or its content – but only makes the reviewer self adoring at their use of the language in a way that just confuses the heck out of a reader.
Here’s a quick test to confirm if the review was on mark – (ie did the review help the reader understand if the movie is worth a watch?) :
Ask one of your readers who hasnt seen the movie to review your work and ask them if they were compelled to watch the movie after reading the review and if the review made sense of the basic plotlines. I am sure the answer would be zilch, nil, nada….
Please stick to the basics and keep it simple and honest….and the readers will come to you…
Regards,
Siva
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brangan
March 10, 2014
My reply: (will continue this thread is he writes back) — again, this isn’t to say who’s right or wrong, but just to put out a different point of view to a certain kind of writing about cinema.
———————————–
Dear Siva
Thank you for your feedback. I wanted to address the specific complaint that certain aspects of the film (what you call “general framework”) have been ignored. Here’s a list of parts of the review which talk about the things you wanted.
Regards.
———————————–
– Story synopsis
Goli Soda is essentially a sequel in spirit to Pandiraj’s Pasanga… essentially a masala movie whose heroes are teenagers.
———————————–
– Highlights of the movie in general – areas where the movie excels or fails – eg: BGM, photography, narratives etc.
With all this, and with comedy (some lines are outrageously funny) and romance and drama and sentiment and action and “mass” moments and even a smattering of songs, Goli Soda lasts just a smidge over two hours. That’s the film’s other triumph: economical storytelling.
Then there’s the triumph of the action choreography…
A major drawback of Goli Soda is in its employment of another staple of masala movies: music. The background score is terrible…
Had the sequence been edited normally, we’d have registered disbelief, but the gimmicky editing here — frames literally hurtle into one another, creating an added sense of violence in the form…
Even a one-rupee coin gets something of a character arc…
The other (and lesser) problem is the occasional overemphasis. The conceit of these kids having no identity is literalised by a few too many scenarios and lines involving ID proofs…
—————————-
– Performers and their performances.
You don’t need a long flashback to imbue someone with a backstory — you just need good writing, good acting, and a fleeting shot can serve the purpose.
—————————-
– how it rates among its genres and what the differentiators are…
The masala movie clichés are all there — but with tiny tweaks. (and the para that follows).
In other movies, we roll our eyes at the appearance of the amma sentiment — but here, thanks to the sharp-tongued Aachi (Sujatha), it’s never allowed to become maudlin.
—————————-
– and finally was the Director able to convey what he may have envisioned
The signature achievement of Goli Soda is its ruthless unmasking of how hollow most of our masala movies are, and how, with a little imagination, just a little, you can make a film which does not insult the audience.
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Rahini David
March 10, 2014
Give that guy a link to bbthots. I like bbthots. Whenever I intend to really watch a movie I refrain from reading your review and depend on Balaji. His stuff gives an idea and refrains from spoilers in a big way. He refrains from spoilers even in a rewind review (Bless his kind soul). And you put “Beware of Spoilers” notices all around your place. I really don’t know how you get away with that.
Even I was wondering how you got to write so many tamil movie reviews without being thrown out of the job. It is not just that your reviews are complicated (and please don’t go “They are really quite simple” on me all over again), they are also contrarian to a certain extent. Being contrarian in Hindu paper is exactly what you shouldn’t be doing (and please don’t go all “I am not contrarian” either).
PS – Love your work. Shove this tamil movie review business on somebody else and get yourself a “Part of the Picture” column and then everybody wins.
PPS- Pleased to know that we are snobs.
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Aparna
March 10, 2014
Ok, my two cents. I barely know anything about movies and reviews. But I watch a good many (two movies a month, on average – and that is, I think, a good number?). Almost *every* movie I have watched the last 2 years have been based on the recommendations from this blog. I have previously read the sort of reviews that Siva thinks everybody wants – and those I found extremely subjective. They were just one reviewer’s opinion – mostly wishy-washy – and it never attempted to place a movie, a genre in context. Believe me, even as somebody without much interest in anything but Tamil cinema (which is what I mostly watch) I keep coming back to this blog, these reviews, only because it’s so damn fascinating – who knew there was so much to a movie, even a bad one? 🙂 (Psst – pls don’t *ever* stop reviewing Tamil movies, Baradwaj…) Oh, and nope, not sticking up etc, but I really thought I should answer the ‘was one of your readers’ thingy… I wish people stop speaking up for the nation, and demand, among things, a return to dumbed down reivews/ writing…
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oneWithTheH
March 10, 2014
The gist of that reader’s comments seems to be – “sir, onga peter level romba jaasthiya irukku. konjam puriyara maari ezhuthunga” 🙂
i somehow get the feeling that the said guy wouldn’t have registered these comments if you were reviewing english films. having said that i do miss reading your dedicated english movie reviews(your LCC pieces don’t count!). it’s become extinct. what was your last full fledged movie review?
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Kumar
April 8, 2014
This is a thread that has gone cold…but fwiw….I like to read your review only after watching a movie. I would also like to see if my opinions and thoughts on the movie resonated with what you had to say. Also if I was able to spot some of the finer nuances that had an impact on me. I prefer reading “functional” reviews with a * rating 🙂 to know if I should spend money on watching it. If there was one reviewer who struck the right balance between “functional” and “fine art” reviews without giving too much of the movie awar it was Roger Ebert.
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