Spoilers ahead…
The director Suseenthiran’s career is something like that line from Forrest Gump about life being like a box of chocolates… You never know what you’re gonna get. Sometimes you’ll get a delectable Aadhalal Kadhal Seiveer. Sometimes you’ll get a Jeeva, half good, half bad-taste-in-the-mouth. And sometimes, there’s a Paayum Puli. This isn’t something made by the man who made Aadhalal Kadhal Seiveer and had you reaching for A-words. (Artist? Auteur?) This is the work of someone who kept muttering to himself, “B Centre, C Centre, B Centre, C Centre…” and “Maybe I’ll get the hero at this point to place his hands on the heroine’s creamy hip.”
The first half is awful, a shockingly cynical capitulation to formulaic elements. First, there’s that name from a Rajini hit. Why do they do this? Do they think people with fond memories of the older film will flock to this one? Do they think it’s a charm, that by merely using the name of a superstar film some of that super-luck will rub off on you? Twenty years from now, will aspiring superstars appear in films named Baba and Muthu? Then we have the hero introduction scene, an action scene where the cop Jayaseelan (Vishal) sends someone flying into orbit. But wait, it’s not an action scene. It’s just that one punch, that one guy. And why? Because he took a biscuit from a little girl without asking her. Are you serious, Suseenthiran? And let’s look at the heroine’s entry, in a scene where she’s scared of crossing the road. Actually, let’s not look at it. Kajal Aggarwal plays this loosu ponnu as a bewildered creature – with good reason. When she asked what her character was like, the answer was probably, “You smile at little girls at traffic lights.”
The comedy track, meanwhile, is handled by Soori. He plays a drunk who keeps getting into trouble with his wife. He rings the doorbell and a woman opens the door and it turns out she’s the neighbour’s wife – that sort of thing. The theatre I saw the film in had English subtitles that offered way more fun, especially during the songs. Yaar indha muyalkutty / Un paer enna muyalkutty became “Who is this beautiful bunny / What is your name, honey?” Naan soodaana Rohini / Kai theendaatha maangani became “I am a lass, hot and lush / A mango ripe to refresh.” Marudha-kaari vaadi / Manasukkulla poadi became “Lovely girl from Madurai city / Fill me with your felicity.” And the title song became “Bestial beast / To say the least.” Each one of these songs is horribly placed, but I found myself salivating for them. I wanted them to fill me with their felicity, to say the least.
Paayum Puli is one of those films where you hear about the plot and you slap your forehead and go Wow! – until you actually see the movie. The plot, such as it is, depends on a twist and a villain who cannot be named. There’s so much potential here, so many primal emotions. This could have been an operatic thriller straddling the personal, the professional, the political. But all it wants to be is a B-Centre, C-Centre hit. Does Suseenthiran think those audiences are dumb? Would the villain himself go to collect ransom monies instead of sending underlings? The writing is wretched. Look at the stretch around a young cop named Albert (Harish Uthaman). We see him with his loving parents. We see him wave to the loving girl-next-door, who we learn is his loving fiancée. And I thought: Okay, he’s going to die. It’s the cheapest trick in the book to get an audience to sympathise with a character – and it’s cheapened further when he dies in the very next scene. Or consider the random stretch that gives us an insight into the villain’s past. Why not build up to this flashback and save these revelations for a point where they’d have more impact?
The handful of good things? I liked the casting of Samuthirakani as Vishal’s older brother – they look like siblings, a fact that becomes more significant as the film goes on. Some of the investigative portions are nicely done, and a long chase on foot is staged quite effectively. And even in his worst films, Suseenthiran cannot stop being interesting. As in Pandiya Naadu, the hero’s father, too, begins to assume an important role – hence the stage for the final conflict. It’s, finally, a domestic squabble, and it’s only right it takes place at home. There are hints that Paayum Puli was, at some point, a richly textured drama before it transmogrified into an empty star vehicle. We see rare shades in politicians and businessmen. The politicians are unscrupulous, yes, and that’s typical of Tamil cinema – but the narrative choices render these characters tragic instead of simply evil. Imagine wanting to do good to such an extent that you end up becoming bad. And the businessmen in this story – they end up the targets of pay-up-or-die threats – are treated with extraordinary empathy. One of them says that they may appear rich, but the key word is appear. The reality is that they are caught in a vicious cycle of heavy debts and exorbitant interest rates. Tamil cinema is so pro-poor, that it was a bit of a shock to see a big commercial film tell us that the rich aren’t just pizza- and burger-eaters, they are people too.
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Copyright ©2015 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
cl
September 13, 2015
Glad you put up those two songs in the review of this ‘Paayum Puli’. ‘Pothu kittu’ is one of my favourite songs. Radha looks so pretty. 🙂
Do we have a new ‘Pokkiri Raja’ coming soon?
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Madhu
September 14, 2015
The azhagaana muyalkutti song made me fervently wish for normal star-in-2-duets heroine. Are we supposed to go ‘oh-what-a-cute-adakkamaana-bayandha-subavamaana-ponnu? It was horrible. I also couldn’t understand how a responsible cop (an intelligent and sincere one at that, the later events claim) could go ahead and encounter not once but twice in front of a civilian. What was he thinking, that she would now know grow a courage bone or something? And that dialog ‘unakkaga dhaaney maama kolai pannen’ was downright creepy, not funny. By the time the villian was revealed, I was so damn happy that atleast now the ‘story’ would happen.
The actor who plays the father looks very much like he could be the father of Samudrakani and Vishal too – nice casting. The scene when the father confronts, I loved Samudrakani’s performance. He is quite good. This scene goes into the list of ‘Samudrakani’s good performance’ after the one is VIP, when he tells his wife that she shouldn’t have slapped the son and immediately gets annoyed with her referring to him as ‘periyavan’.
Why is it that out of all movies made in Tamil, do we get gems like Mass and Paayum Puli released here?! If not for Thani Oruvan – which was also released here – I would have given up.
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Anu
September 14, 2015
“And even in his worst films, Suseenthiran cannot stop being interesting. As in Pandiya Naadu, the hero’s father, too, begins to assume an important role – hence the stage for the final conflict.”
Does it mean Pandiya Naadu was among his worst films?!
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Ram Murali
September 14, 2015
Suseendran seems to be wildly inconsistent. While he is always aware of the need to include neat little twists to well established templates (the best was in “Pandiya Naadu” when two people sought revenge for the same murder) he also seems completely hemmed in at times by these stupid little “commercial” insertions. I mean, for how much longer can we endure the antics of these heroines at traffic lights. Suseendran is the kind of director that I except to poke fun at these kind of scenes…not include them as supposedly “cute” stuff.
hope he recovers from this. I do think that he is definitely a talent worth persisting with. Just hope he doesn’t test our patience further 🙂
Anu – I don’t think so. From his review, I’d say that BR really liked “Pandiya Naadu.”
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sabharinath
September 14, 2015
Maybe, susee was trying to exploit the telugu market, as his pandianaadu was a failure there
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Ravi K
September 14, 2015
Are we done with original mass heroes in Tamil cinema? Are we destined to see a conveyor belt of mediocre would-be heroes invoking MGR and Rajini, without bringing anything original to the table like they did?
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vijay
September 15, 2015
“Are we done with original mass heroes in Tamil cinema? “
About 20 yrs back or so. Where were you?
Suseenthiran, much like Vasanth, is from “Anniyan” school of film-making. Which personality will emerge and dominate is anybody’s guess.
Rajni’s 80s titles/hero names used so far – polladhavan, mapillai, paayum puli, naan mahaan alla, naan sigappu manidhan, Alex pandian, padikkadhavan, kazhugu, raajadhi raja and am sure a few more.
What these idiot directors have done at the very least is complicate our youtube search when we go song/scene hunting from those 80s Rajni films. Now these films are going to show up first.
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brangan
September 16, 2015
vijay: Anniyan school of filmmaking… ROFL. Thanks for the morning laughs.
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KayKay
September 16, 2015
These appropriation of titles from Rajini’s back catalogue is done without a sense of irony, which is par for the course for an industry that rarely recognizes the word.
Do these doofuses think the mere presence of an old Rajini/Kamal title on the poster will bring a throng of masses to the box-office on a level expected of a new release from these Icons , or that it’s going to evoke some “Expendables”-style Nostalgia Effect from fans weaned on those old masalas?
I’ve made this point in the Sakala Kala Vallavan thread, that if you’re not planning on an outright remake, then cast a star who at least evokes a semblance of the original’s appeal. A Kamal remake or a film titled after one of his biggest masala hits? Try casting a Vikram, who’s displayed a modicum of versatility in film choices and a commensurate desire to be lathered in prosthetics. But Jayam Ravi????
And now a new Payum Puli. How about casting a Vijay or a Simbhu, whose screen braggadocio at least approximates Rajini’s own swagger?
But Vishal???? Where is this guy exactly on the Mass Hero Food Chain? Just below Little Super Star but 2 rungs above Power Star?
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