“One is almost stoic, the other is sensitive to a fault. Later, during a moment of profound sadness and unimaginable pain, she still has the streetsmarts to notice a CCTV camera on the road. A CBI officer at work is one at home too.”
Author: Sudhir Srinivasan
Kolamavu Kokila: An inconsistent, problematic dark comedy
“What’s Kolamavu Kokila really trying to say? There’s the likeable subtext that a woman — her superficial meekness and soft speech notwithstanding — can outwit dozens of powerful men, sure, and really, hurrah for it. Beyond it though, what else is the story saying? That illegal means are justified when your needs are legitimate?”
Revisiting Parasakthi, the film that changed everything
Soon as the song ends, a character graces the stage to express sadness over Tamils languishing in countries like Sri Lanka and Rangoon. This is when you get the first example of Karunanidhi’s imaginative writing: “Kadal neer yen uppaaga irukku endru karpanaiyil sonnaal, sondha naatile pizhaikaamal, ange vadiththa kanneeraal.”
Vishwaroopam II: A satisfying sequel that fills gaps and does a bit more
“In a film about terrorism and espionage agents, these visuals are par for the course. This is less about romanticising violence than about establishing authenticity. In a scene, a bunch of children are lined up for rescue, and without warning, a man, of their own kind, suddenly pumps bullets into them. It truly drums in the tragedy of how faith-based propaganda has dehumanised communities.”
Don-u don-u don-u
“You have to wonder when we went from being repulsed by these outlaws to rooting for them. When indeed did our filmmakers begin to conceive a don as a cool leader, his violent tendencies, like in Maari, supposedly an amusing extension of his proclivity for mischief.”
Sudhir Srinivasan 