Spoilers ahead…
I had a lot of fun watching Rekka, which is essentially Vijay Sethupathi saying he can be Vijay Sethupathi even in Vijay’s world. The actor plays Siva, who spends his life abducting women who are in love with X but are on the verge of being married off to Y, and reuniting them with X. This results in a lot of happy X’s, a lot of angry Y’s. Harish Uthaman keeps snarling as one of the latter. He’s one of the bad guys. There’s another, played by Kabir Dulhan Singh, who likes to watch football matches on a big-screen TV planted in the middle of a field. (I didn’t catch his name. Wiki tells me it’s Chezhiyan.) The story begins with a faceoff between David and Chezhiyan, but Rekka isn’t about plot. It’s about Vijay Sethupathi slipping into slow-motion and flinging veshti-clad Madurai goons into SUVs whose windshields are hopefully insured. It’s about the actor wearing a red shirt over an orange T-shirt. He’s saying: I can be Vijay. I can also be Ramarajan.
In other words, Rekka isn’t a Sethupathi (though an action scene is set in Sethpathi Street; self-reference is apparently all the rage at the movies this week). That was a sensible masala movie. This one’s pure nonsense – and I think I mean it as a compliment. I think the writer-director Rathina Shiva is winking at us and saying, “All these mass movies are nuts anyway, so why not go totally bonkers!” I kept laughing all through the first half because it was so preposterous. One glance at Siva, and the heroine, Bharathi, is already thinking of names for their grandchildren. She rushes to a jewellery store, where her mother is shopping, and announces that she’s running away with this man. The ecstatic mother has just one thing to say: “First go home and say goodbye to your grandmother.” How can you take any of this seriously? Bharathi isn’t just a loosu ponnu. She’s what you get when you up the loosu ponnu ante. The director is saying: “You guys like loosu ponnus? I’ll give you a loosu amma. Heck, I’ll throw in a loosu paatti.”
Lakshmi Menon plays Bharathi. She’s had what’s generally known as a makeover. Specifically, she’s discovered eyeliner and flowing dresses she can twirl in during the song sequences. For a few minutes, it’s disconcerting, like catching Kamala Kamesh in a nightgown. But the feeling quickly passes, like it did with Anjali earlier. When she decided to shed her girl-next-door image, we all gasped as though she was the first actress to bare cleavage on screen. You realise how an image can stick to a performer. A different kind of image sticks to Vijay Sethupathi – he’s the guy who always finds different things to do, different ways to do them. What his persona brings to this stock hero is a quality you’d label “selfish,” exemplified by the scene where a man is butchered on the street, in front of Siva. I expected him to charge like a hero. He averts his eyes like a character actor.
After the interval, we see that there is a story. There’s even a flashback (with a fantastic Imman song, Kannamma). This becomes a bit of a problem. Suddenly, we’re being asked to take the movie seriously. We see that the surreal nightmare Siva had earlier wasn’t just a mistaken splice-in from another film the editor was working on. We see why Kishore was hanging around the sets with a bad wig. But the tone shift doesn’t derail the film, and back in the present, the director continues to throw fresh surprises at us. Like the fact that the loosu ponnu isn’t such a loosu ponnu after all. Rekka goes all nuts on us again. A character from the flashback re-enters the film by running into the elevator Shiva is in, chased by more teeth-gnashing underlings who will soon realise that when the hero is around, gravity doesn’t exist. Bharathi, presumably bored with all the action, decides she’d rather be a loosu ponnu after all. When a goon threatens her with a knife, she asks him to hold it closer to her throat, so that Siva will beat him up harder. He does that. He also chooses this moment to tell Bharathi he loves her. I walked out feeling I’d watched a CS Amudhan spoof on Ghilli.
KEY:
- Rekka = wings
- veshti = see here; and no, you northies, it’s not the same as a lungi
- Sethupathi = see here
- loosu ponnu = Tamil version of this character
- amma = mother
- paatti = grandmother
- CS Amudhan spoof = see here
Copyright ©2016 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
aravindan
October 9, 2016
Do directors of these films expect the audience to turn up stoned? They seem tailor made for a ‘high’ view
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Abishek
October 9, 2016
‘it’s disconcerting, like catching Kamala Kamesh in a nightgown.’ ROFL.
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Prasanna Ramachandran
October 9, 2016
“…like catching Kamala Kamesh in a nightgown.”
Thank you for that image. You’ve ruined Visu movies forever for me. 😛
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shri
October 9, 2016
Waiting for ur mirzya review sir
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knittins
October 10, 2016
BR, you’ve ruined late nights for the niche group of people who routinely Google for stuff like Kamala Kamesh in a night gown. Poor fellows will now land on this review!
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Billa
October 10, 2016
Rekka certainly ranks as one of the craziest, stupidly entertaining Tamil films I have watched. I came out of the theatre remembering the gem in vaanjinaathan where the doctor says ‘ivaroda manasukulla nolayira sakthi science ku illa colonel, it’s a medical miracle’. Couldn’t help thinking the same of the director.
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brangan
October 10, 2016
Billa: I know, right? It’s both stupid and stupidly entertaining. I had a blast 🙂
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Honest Raj (formerly 'V'enkatesh)
October 10, 2016
Billa: It’s Narasimha!
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Honest Raj (formerly 'V'enkatesh)
October 10, 2016
So this one is essentially an admixture of Shahjahan and Ghilli?
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Adithyan
October 10, 2016
I know, right? It’s both stupid and stupidly entertaining. I had a blast🙂
Well Aalavandhan is right up there when it comes to movies both stupid entertaining
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Jaana Tom
October 12, 2016
I found it funny that when it came to the romantic scenes, the gender roles were sort of reversed.
Usually, we (tamil movie watchers) only get to see the falling in love part from the male hero’s point of view (the particularly cringe worthy ‘yaar intha muyal kutti’ song comes to mind). But in this case, it was the heroine falling in love with the hero…for all the same shallow reasons (i.e. it was the girl going after a boy, instead of the other way around) and the hero is in the uncomfortable position of having to figure out what to do about that.
Luckily this movie doesn’t take itself too seriously, and avoids any dragged out falling in love – random misunderstanding that can be cleared up if the two parties would just communicate with each other – last minute realization that they love each other after all cliche.
p.s. My husband, Mr. Tom, hates mass movies (and the poor guy only decided to come along because of me) and yet laughed like a madman during the loosu ponnu-loosu mom-loosu paati sequence & the gravity defying fight scenes (to the point where the rest of our section started laughing along). Now, he wants to go see it again. Any ideas on how to convince him to come see Remo instead?
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neabs
October 12, 2016
While watching the movie i couldn’t stop remembering your Kamaa kamesh reference 😀 Man , that reference is so perfect .
why were the villains so dumb??? Any ways i enjoyed the climax portions beginning from kannama flash back and of course the two villains fighting with each other was hilarious episode in recent times.
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praneshp
October 13, 2016
@Jaana Tom: Go meet Iswarya (and others) on the Remo thread.
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billa
October 13, 2016
praneshp : Hahaha. I do feel that rekka is a progressive masala movie now. Jaana Tom’s points are very much valid.
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Jaana Tom
October 13, 2016
@praneshp: Aiyaiyo, just took a peek at the Remo thread and there seem to be some serious discussions going on. Hmm, maybe I should follow Mr. Tom’s advice and sit through another sitting of Rekka.
@billa: I don’t know if I’d call it progressive. If anything, the heroine is just playing the hero’s role in a typical romance. The heroine had no problem objectifying the hero and pursuing him. And she’s straightforward about her intentions and doesn’t seem to really care about whether the hero is reciprocating her feelings.
Well, I guess one thing could be considered progressive – the movie (intentionally or unintentionally) kept stressing consent. Hero kidnaps people with their consent to prevent them from getting married to people without their consent, heroine consents to leaving with the hero, hero consents to loving the heroine.
And all of this (and the above) was pointed out to me by Mr. Tom, who has taken quite a liking to this movie.
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Raju
October 13, 2016
Where is your Devi review?
It’s not an actual horror movie so don’t let your fear prevent you from watching it 😛
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venkatesh
October 31, 2016
PSA , dont watch this movie , if you insist on watching it , please be high.
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lowlylaureate
November 2, 2016
Late but latest, you might want to check out the FRS of Rekka
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