Avinash Ramachandran

There has been a legitimate paucity of quality comedy films this year in Tamil cinema. So, when Sakthi Chidambaram, a veteran of this genre, even if his recent films were just a shadow of his form in the mid 2000s, closes the year with Jolly O Gymkhana, a comedy, it is okay to have your hopes up. But the filmmaker starts off by introducing Yogi Babu as Father Martin Luther King, and makes him walk out of the toilet and say lines like “Unakku life problem, enakku piles problem.” You think that is bad? It gets worse with him telling Madonna Sebastian’s Bhavani that he can’t help her sleeping problem because he is suffering from a sitting problem. You think that is worse? Bhavani, who narrates her backstory, says, “Kadhaiyoda moolathulerndhu kelunga (Listen to the story from the core)” and of course, Yogi Babu replies, “Already moolam dhaan ma prachana (My you-know-what is already sore).” And we are just five minutes into Jolly O Gymkhana.

What is it with Telugu cinema and banking fraud? Within the past three weeks, we’ve had Lucky Baskhar, Matka, and now Zebra, which deals with banks, scams, heists, boyish charm, ticking clocks, tension-filled banks, middle class aspirations, and of course, references to Harshad Mehta. But, in a very weird way, all three films are as different as chalk and cheese thanks to the era the films are set in, the stars headlining the films, and the unique treatment. Zebra differs from both these movies despite having banking and scams at the centre of it because director Eashvar Karthic designs a protagonist who does what he does for others and not for individual gains, and most importantly, the adversary isn’t the system, but an individual.

Prison films are tough to crack, but the allure of this genre is understandable. It is essentially a chamber drama where every character is unpredictable, and the audience is tuned to expect them to get violent at any time. These characters are ticking time bombs, and the setting allows the writers to explore the human psyche and deliver a solid character-driven drama. With this base in place, one can add the required flavours like romance, sentiment, revenge, and even comedy, and a prison film will have the space for it all. What really matters is the proportion of each, and for the longest time in Sorgavaasal, debutant director Sidharth Vishwanath, along with his co-writers Tamizh Prabha and Ashwin Ravichandran, get it right. However, despite perfectly building a Virumaandi meets Vada Chennai narrative to a crescendo, they falter at the end. But the characters, and its effective portrayal, ensure Sorgavaasal escapes without crashing and burning.

In the 1980s and 90s, we had a steady stream of films about an outsider coming to a broken home, and uniting everyone. Visu almost perfected this template. We saw it happen in the 90s and 2000s too where the setting of the home was extended to a college, a workplace, a village, etc… Basically, Indian cinema loves its feel-good family entertainer space where there are clashes of ego, but all’s well that ends well. There was a time when M Rajesh could effectively milk these situations, and effortlessly conjure hilarious scenes with his oddball protagonists. There was a time when he soared past the generic nature of the central plot, and neatly wrapped it all up with his brand of comedy. Unfortunately, hardly any of this happens in his latest film Brother.

Gentleman cadet Mukund Varadarajan is marching along with his batchmates during his passing out parade. During this march, an animated Indhu Rebecca Varghese shouts out the name of the love of her life. She also runs around to catch a glimpse of Mukund, who is one among the soldiers passing out. GV Prakash Kumar’s rousing score primes the scene for a romantic high. She is jubilant, happy, ecstatic, and sports a smile that reaches her eyes as Mukund marches with a straight face.

Legendary American poet Maya Angelou once wrote, “When great trees fall in forests, small things recoil into silence…” Dulquer Salmaan’s latest film Lucky Baskhar is about one such small thing that decided to brave its fears, and find a way to survive when the tree of the great banking scam of the 90s fell. Of course, we have seen multiple iterations of this story through series like Scam 1992 and films like The Big Bull. But what Venky Atluri does in Lucky Baskhar is that he isn’t telling the story that everyone is focused on. He conjures up a story of a man who is caught in the crosshairs and decides to do something about it. Now, it is fictional, but it could have been true. And it is this thin line between fiction and reality that truly makes Lucky Baskhar a terrific watch.

The best part of Black is how it reels you in right in the first ten minutes. The film starts in 1964. There is a couple eloping with the help of a friend (Vivek Prasanna). It is raining like crazy. Their journey is briefly interrupted by a vehicle in the ditch. This vehicle carries a marble statue of a guardian angel. There is thunder and lightning. Soon enough, this friend, who has sinister intentions, hears two gunshots. He rushes in to ask the couple what happened? Cut to black. Literally. The title credits pop up, and we are in 2024.