Chandramukhi
Director - P VasuCast - Rajinikant, Prabhu, Jothika, Nayanthara, Shiela, Nasser, Vadivelu, Avinash, Sonu, Malavika,Vinaya Prasad
Various questions pop up in the mind as one enters the theatre. Is it a role suited for the Superstar and how would he look in this film? For, 'Baba' had given us an unpleasant jolt in more ways than one! Again, with claims and denials doing the rounds, is 'Chandramukhi' a rehash of a Malayalam film? And if it is, how does the adaptation and the changes fit in? And, finally, does Jothika rise to the demands of the role in the crucial final scene?
A REHASH?
Yes, 'Chandramukhi' undoubtedly is a rehash of the Fazil-directed 'Manichitrathaazhu'. Whatever the variations brought in, the backbone of the film is its strong storyline and script, making it a different and an interesting psychological thriller. Vasu, while keeping most of the original scenes in tact, had brought in slight variations in the Kannada version which he'd directed earlier, and that's the one we get to see in Tamil.
Ameer opens up his pent feelings to Rajni
Sports and Talent Meet for Challenged
Nayantara to dub in Tamil
Kalki Krishnamurthy Awards given
Maha pradosham @ Om Sri Skandasramam
எந்திரன்: கெடுபிடிகள் ஆரம்பம்
அர்ஜுனின் ஆலய தரிசனம்
பார்த்திபனின் ஆசை
THE ADAPTATION
The Malayalam version was a classy affair, subtle in its treatment and approach. Vasu has brought in the variations keeping the sensibilities of the Tamil audience in mind, and for the fans of the hero who like to see him in larger-than-life roles. The comedy is grosser and the closing scenes more melodramatic. And as an additional bonus, we also get to see an entire episode of another Malayalam film (Mohanlal-Manju Warrier starrer 'Aaraam Thamburaan') weaved into the portion where Nayanthara is depicted as the servant's daughter, teaches music to the kids and has an altercation with Rajini because of it.
But what one can't deny is that Vasu has blended all these ingredients, the borrowed and his own, the subtle and the gross, all into a coherent whole, in a fairly neatly packaged entertainer, albeit with a sensibility different from the original. The camera and the music have been used to add tempo to the narration and create an eerie, suspense-filled ambience of the palatial bungalow, the legendary story connected to it, and the strange happenings.
JOTHIKA and others
Jothika gets her share of action towards the end, after playing the passive wife of Prabhu for the most part. And with the total focus on her, it's to the actress' credit that she rises to the demands of the character, her eyes flashing hatred and vengeance. There's Prabhu (the film's producer) fitting in suitably well as Senthil, shocked by his wife's strange behaviour. But one does feel sorry for the actor, who in both his recent releases ('Vasoolraja...' and 'Chandramukhi', both remakes) is short-changed and gets less to do than the actors who'd played them in the original! Yet another casualty of the star-syndrome! Nayanthara, with her pretty soft looks, is adequate in the few scenes she gets, and also gets to romance the Superstar.
THE SUPERSTAR
And, finally, about the Superstar. The film opens with a dramatic introduction of Rajinikant fighting some ruffians. The actor looks trim and good here. Playing Saravanan, a US-trained psychiatrist who comes to visit his friend and his wife Ganga, and gets caught up in their problems. Rajini s in his elements, the role giving him enough scope to indulge in comedy, fights, some serious scenes and some wicked humour towards the end, when he tauntingly provokes Chandramukhi with his 'laka laka laka' refrain (the Superstar is more interesting to watch here than in the earlier scenes).
We get to see sparks of the Rajinikanth of earlier films, and feel he can still deliver if given the right roles. But what is distracting is the jarring make-up, making him stand out like a mime-player, from the rest of the cast. And as the narration proceeds, the 'good-look' of the opening scene goes missing, the make-up only highlighting the deficiencies. There's only that much of correction and camouflage that make-up can do! And what it can't is turn the clock backwards.
And if the Superstar understands that, he can concentrate less on his make-up and more on doing challenging, suitable roles. For, there's no doubt that he's still a force to reckon with, and his charisma is still intact.
Director - P VasuCast - Rajinikant, Prabhu, Jothika, Nayanthara, Shiela, Nasser, Vadivelu, Avinash, Sonu, Malavika,Vinaya Prasad
Various questions pop up in the mind as one enters the theatre. Is it a role suited for the Superstar and how would he look in this film? For, 'Baba' had given us an unpleasant jolt in more ways than one! Again, with claims and denials doing the rounds, is 'Chandramukhi' a rehash of a Malayalam film? And if it is, how does the adaptation and the changes fit in? And, finally, does Jothika rise to the demands of the role in the crucial final scene?
A REHASH?
Yes, 'Chandramukhi' undoubtedly is a rehash of the Fazil-directed 'Manichitrathaazhu'. Whatever the variations brought in, the backbone of the film is its strong storyline and script, making it a different and an interesting psychological thriller. Vasu, while keeping most of the original scenes in tact, had brought in slight variations in the Kannada version which he'd directed earlier, and that's the one we get to see in Tamil.
Ameer opens up his pent feelings to Rajni
Sports and Talent Meet for Challenged
Nayantara to dub in Tamil
Kalki Krishnamurthy Awards given
Maha pradosham @ Om Sri Skandasramam
எந்திரன்: கெடுபிடிகள் ஆரம்பம்
அர்ஜுனின் ஆலய தரிசனம்
பார்த்திபனின் ஆசை
THE ADAPTATION
The Malayalam version was a classy affair, subtle in its treatment and approach. Vasu has brought in the variations keeping the sensibilities of the Tamil audience in mind, and for the fans of the hero who like to see him in larger-than-life roles. The comedy is grosser and the closing scenes more melodramatic. And as an additional bonus, we also get to see an entire episode of another Malayalam film (Mohanlal-Manju Warrier starrer 'Aaraam Thamburaan') weaved into the portion where Nayanthara is depicted as the servant's daughter, teaches music to the kids and has an altercation with Rajini because of it.
But what one can't deny is that Vasu has blended all these ingredients, the borrowed and his own, the subtle and the gross, all into a coherent whole, in a fairly neatly packaged entertainer, albeit with a sensibility different from the original. The camera and the music have been used to add tempo to the narration and create an eerie, suspense-filled ambience of the palatial bungalow, the legendary story connected to it, and the strange happenings.
JOTHIKA and others
Jothika gets her share of action towards the end, after playing the passive wife of Prabhu for the most part. And with the total focus on her, it's to the actress' credit that she rises to the demands of the character, her eyes flashing hatred and vengeance. There's Prabhu (the film's producer) fitting in suitably well as Senthil, shocked by his wife's strange behaviour. But one does feel sorry for the actor, who in both his recent releases ('Vasoolraja...' and 'Chandramukhi', both remakes) is short-changed and gets less to do than the actors who'd played them in the original! Yet another casualty of the star-syndrome! Nayanthara, with her pretty soft looks, is adequate in the few scenes she gets, and also gets to romance the Superstar.
THE SUPERSTAR
And, finally, about the Superstar. The film opens with a dramatic introduction of Rajinikant fighting some ruffians. The actor looks trim and good here. Playing Saravanan, a US-trained psychiatrist who comes to visit his friend and his wife Ganga, and gets caught up in their problems. Rajini s in his elements, the role giving him enough scope to indulge in comedy, fights, some serious scenes and some wicked humour towards the end, when he tauntingly provokes Chandramukhi with his 'laka laka laka' refrain (the Superstar is more interesting to watch here than in the earlier scenes).
We get to see sparks of the Rajinikanth of earlier films, and feel he can still deliver if given the right roles. But what is distracting is the jarring make-up, making him stand out like a mime-player, from the rest of the cast. And as the narration proceeds, the 'good-look' of the opening scene goes missing, the make-up only highlighting the deficiencies. There's only that much of correction and camouflage that make-up can do! And what it can't is turn the clock backwards.
And if the Superstar understands that, he can concentrate less on his make-up and more on doing challenging, suitable roles. For, there's no doubt that he's still a force to reckon with, and his charisma is still intact.
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