Madras Cafe - Brain food with a dash of thrill

From the makers of last year's surprise smash Vicky Donor now give us a flick of a nearly polar opposite genre. Touted to be a gritty spy thriller set in the troubled times of Jaffna, Madras Cafe from director Shoojit Sircar, written by Somnath Dey and Shubendhu Bhattacharya and starring producer John Abraham, Nargis Fakhri, Ajay Ratnam, Siddharth Basu and Piyush Pandey among others, also presents an interpretation of the Indian Intelligence procedures to uncover the conspiracy behind the assassination of Ex-Prime Minister Rajiv Gandhi. Making this film in a non conducive environment as India must have been an uphill task indeed. In addition to courting ample controversies, this film has also earned the wrath of those sympathetic with the dwellers of Eelam. Transcending all these obstacles, Madras Cafe has hit the theatres and one finds that this film has a great deal more to offer than the regular espionage thrillers seen till date in Bollywood.

Plot:

The plot is set between the late 1980s and the date of the assassination i.e 1991. Vikram Singh, a RAW agent is sent to Jaffna to lead the field intelligence operations of the peace keeping forces. As he digs into his job, he finds out that there is a leak in his own organisation and that his own life is in danger. Furthermore, he finds out that all of this is insignificant and that it all opens up to a bigger conspiracy with long term National implications.

Story, Screenplay and Direction:

Madras Cafe is one such film where the script and direction are the 100% heroes. The characters in the film derive their well etched contours only due to the strength of the script. The script is absolutely made of stuff that says "No Nonsense". Some outstanding writing can be seen here. There is nothing conventionally Bollywood like in this film. The writers have filled the script with factual references and real life happenings whilst bringing in a plausible plot between the same. The events on screen move at a rapid pace with each being as intriguing as the other. What is notable is the pain taken to avoid references to any name or person whilst depicting actual persons. The story line is sound and rock solid. The only disadvantage here is that too much information has been crammed into the film. This means that those who are not aware of the events that make up the subject, will probably be flummoxed. The care taken for intricate details about intelligence operations and political crisis without any direct reference to any real historical figure is laudable. The film anyway succeeds in conveying the event intended to the viewer. Sircar gives this script the stellar direction it needs. The direction supersedes the incompetence of the lead actors to make a flick in which every event depicted speaks for itself. In a nutshell, the script is the winner all the way in Madras Cafe. It is the most brainiest script to come out this year.

Performances:

The performances by the lead actors are ordinary to the level of break even adequacy. John Abraham is well suited for his role owing to his robust physique. But he is as stiff in intense sequences as he always is. Nargis Fakhri gets a pivotal role in the nature of an on and off appearance and does a decent job of it. The rest of the cast has minor roles that supplement the plot. As said earlier, the film is totally story driven and the characters are mere cogs of the big machine.

Technicalities:

Technical aspects are sound. Kamaljeet Negi has canned the troubles of Jaffna very well. Through his lens, we can see a great deal of the script's effectiveness. Editing by Chandrashekhar. P is pitch perfect. The film drops in pace at no point of time and neither does any scene seem ineffective. The sequencing of the events is like a perfect set of pictures for a kinetoscope. The Background score by Shantanu Moitra is apt.

Madras Café is the kind of diet that Bollywood connoisseurs have been starving for. Though brainy thrillers are by no means non existent, they are very few and this one is perfect brain food. But prepare to be confused if you don’t know your history. A heavyweight thriller with a razor edge script and stellar direction, Madras Café is a gritty and harrowing reality check that in addition to providing a look at field level covert operations, also derives very well from one of the most tragic events in Indian History.

Rating : 3.5 on 5

Aadhalal Kadhal Seiveer - Teenage Naivety!!!!!

Director Suseenthiran has decided to go back to his original winning formula of using relative newcomers after the debacle called Rajapattai. What is most intriguing (positively shocking for some) is that his latest flick is a mere 106 minutes long (that is about the time when we get back to our seats after interval). This time around, he picks the subject of teenage romance and its naive nature which leads to one of the most dreaded form of societal stigma in India i.e premarital conception. This territory has been trodden upon in Tamil cinema only at the surface level (only to the extent of the Hero's sister doing the act and the ensuing suffering to be more precise). Given Suseenthiran's fantastic track record albeit with the black spot called Rajapattai, one can say that the film has a good chance of being as interesting as its premise. But the film more than lives up to that expectation. Starring newcomer Santosh Ramesh, Manisha Yadav(of Vazhakku En 18/9 fame), Jayaprakash, Poornima Jayaram (after how many years?) and Thulasi (Remember that child in Shankarabharanam?), Aadhalal Kadhal Seiveer is as mature as dramas can get.

The plot revolves around a whirlwind affair between two college mates that goes awry when the two lovers take that ultimate step. The girl becomes pregnant and their lives go into a free fall taking their parents along with them. 

Suseenthiran sticks to the point throughout the film. You will find no songs that are not for the situation, no scenes that do not add to the plot and no actor whose role is not connected with the plot. One is so pleasantly surprised with the striking delicacy with which the topic in question has been handled by the writer/director. The writing is so grassroot and so uncomplicated, its brilliant. The plot moves at a fast pace without compromising with even one bit of the sincerity required for so delicate a concept. The director has been so successful in projecting the teen lives of urban India and the very naivety of that age that one feels convinced that he has shot something straight out of reality. There are no big dialogues that come with the movie. The conclusion of the movie is one of the most striking and most melancholy conclusions ever. Yet, the movie delivers entertainment, food for thought and is unambiguous in conveying its message. It is an unqualified triumph for Suseenthiran.

Aadhalal Kadhal Seiveer is an example of perfect casting. Newcomer Santosh Ramesh both looks and acts his role in a form most close to reality. Manisha Yadav gives in a good performance too. The best performance however is that of Thulasi (yet again, remember that child who croons Dorakuna Ituvanti Seva in the climax of Shankarabharanam?). She plays a distressed modern day middle class mother to the hilt. Jayaprakash is adequate for his role. Poornima Jayaram is good in a 5-10 minute role as the male lead's mother (that apart, it was great to see her in screen again after nearly 3 decades). The rest of the characters including mainly the bunch of college mates is a good ensemble.

The technical aspects are adequate with special mention for the sharp editing by Antony and some hummable tunes by Yuvan Shankar Raja.

In addition to being the most mature take on teen foibles ever seen on Indian screens, Aadhalal Kadhal Seiveer is a must watch for every teen in town and also for the parents of our times, for it presents an unflinching view on one of the most dreaded societal maladies of contemporary times without compromising in the entertainment front (though the conclusion and the general atmosphere in the film are essentially melancholic). A most gripping teen drama.

Rating : 4 on 5