May 21, 2004 06:28 PM
7784 Views
(Updated May 21, 2004 06:28 PM)
Everyone concerned with the Indian Film industry is making a lot of hue and cry over the tremendous impact of the pirated VCDs. The impact is indeed terrible and has changed the whole dynamics and theory behind the film screening and success. Nowadays films are screened in as many as four theatres in a city, at the rate of six shows per day to get the most of the audiences before the pirated VCDs break into prominence. Under such racy circumstances, films that run houseful for 25 days are heralded super hits. Only three films released in 2004 have gone that way; Virumandi, Autograph and now Gilli. Gillli with the bottom line ''Sure Shot'' was surprisingly the only release for Tamil New year this 2004.
The big shots Mani's ''Aayutha Ezhuthu'' and S.J.Suryas on hatrick ''New'' were caught by the censors, much to the disappointment of Rahmaniacs. Vikram's ''Arul'', Surya's ''Perazhagan'', Maddy's ''Aethiree'' decided to play it safe with the prevailing examination and election mania and were slated for summer. It was also ironic that cinematographer turned directors P.C. Sreeram(Vanam Vasapadum) and Jeeva(Ullam Ketkume) had to beat a hasty retreat owing to financial problems. Nevertheless Gilli brought in a lot of crowd into the theatres and ran houseful in a record 6 theatres for more than 200 shows. Indeed a sureshot from the confident Dharani & Co which insisted on releasing the film on due date when seasoned campaigners like K.S.Ravikumar, Hari, AVM Saravanan, Vikram, Madhavan, Surya had all backed out of the race. As a whole the film, the film was a sure shot, but lets analsye the contributions of the key people involved in the film and see how sure they shot out.
PRAKASHRAJ : My hero of the film. Prakashraj etches out yet another memorable role in Kollywood. As the dangerous don ''Muthupandi'', he evokes both fear and laughter with his unrivaled acting and voice modulations. Prakashraj as my telugu friend said beat his own immaculate performance in the original Okkadu.
VIJAY: Some years ago, I would wonder at the ease with which Vijay would fit into great characters formed by directors, say in ''Poove Unakkaga''''Love Today'' ''Kathaluku Mariyathai'' ''Priyamudan'' ''Thullatha Manamum Thullum''. After establishing his position at the acme of the industry, I think success got into his head and he resorted to dictate terms. Vijay started chosing directors for his characters and not the vice versa and as a result, we got to see larger than life characters, uncontendable heroism and hear lengthy advices, aimed dialogues and Vijay ultimately got a string of failures.
In Ghilli, its a great relief for both us and Vijay as Vijay decided to play the director's boy and needles to say meets success. Vijay is at absolute ease at playing the character of ''Velu'' and he excels in almost all parts, noteably his humour, agression and dances. Vijay has to improvise more on his action sequences, wherein there is some scope for improvement in his facial expressions. As a whole, Vijay impresses one and all with his energy and youth.
TRISHA : Though the story is much about Prakashraj and VIjay getting the hell out of each other, Trisha really shines in the character of ''Dhanalakshmi''. Trisha's abundant beauty and adequate expressions make it very easy for her to gather the heart of the viewers throughout the movie. Good Going Trisha.
SUPPORTING CAST : Apart from the main three characters, there are a score of supporting actors who have played their roles neatly. Ashish Vidyarthi had done a great job as the strict police officer and as a responsible father. His role vouches for the fact that he can handle character roles and not restricted to being a frightening villian. Jennifer is simply brilliant as Vijay's sister and everybody would appreciate her natural and humorous performance.
Special mention should also be given to Janaki Sabesh and the guy who plays Prakshrajs' mainstay goonda with the Virumandi grill. Dhamu is the only person irritating and Dharani would have done better with Vivek's stuff here and there. And why did Dharani want to put in Vikram's father for such a small role.
VIDYASAGAR : Vidyasagar always has special stuff for Dharani. His youthful and fast moving music is in tune with Dharani's screenplay and together they are trailblazing. With the racy little song ''Ghilli''in the start, Vijay very well sets the tone. He follows it with a relatively subtle yet peppy number in ''Shylala''. His USP is ''Arjunan Villu'' that gears up the tempo of the the swashbucling scene. The song is another praiseworthy effort by Dharani-Vidyasagar combination after the innovative ''Mathura Veeran Thane''.
The song ''Kokkarako'' is the presently the darling of Tamil Nadu and has been voted very popular. To keep up with the upbeat mood, Vidyasagr even sacrifices the regulation melody duet and gives great hype as ''Appadi Podu''. His BGMs are also inept, except for the unwarranted beats in the climax reminiscient of Dhool. He could have better used the ''Ganeshana garanam podu'' or the ''Kabbadi Kabbadi'' bits.
DHARANI : Ever since Shoaib Akthar and Brett lee were named ''Rawalpindi Express'' and ''Sydney Express'', there has been an exponential excess in naming of expresses. They started with the ''Tamil Nadu Express'', fashioned all along like ''Coimbatore Express'', ''Coimbatore West Express'',''Oppanakara Street Express''. ''HKK Lane Express'' and go on tirelessly. In this regard, Dharani should be called Kollywood Express for his lightning quick screenplays. The screenplay is so quick that you are never allowed to rebuke at any logical lapses, which is indeed Dharani's hallmark.
Yet many people and I feel that Trisha should have sought Vijay's help when she is ruthlessly treated by Prakashraj rather than Vijay's voluntary venture. There is a lack of emotional attachment in that crucial scene. Compare this to the election scene of Dhool where everybody in the audience started folding their fists to save Jothika from Pasupathi and clapped like crazy children when Vikram manhandles the goondas. Dharani's dialogues and direction were skillfull and helped him to achieve the coveted hatrick and join the big league of directors in Kollywood. There are also a few hitches like Vijay jumping like cheetah amidst terraces and his lil lengthy dialogues in the opening scenes. But they dont count in the end.
THE CREW : From the other crew, Kudos to the dancemasters RajuSundaram and Dinesh. The dances were a revelation to watch as Vijay and the dancers delight with great movements. Ther speed and synchronisation is simply superb. To imagine the area as Triplicane and to imagine the light house, art director Maniraj gives us a tough task with his inadequate art works. The camera of Gobinath which captures them wonderfully from all angles only confuse us more.
Neverthless the Madurai scenes are spectacular. The lyrics are adequate, but who gets to listen them amidst the speeed and beats. Rocky Rajesh and V.T Vijayan are regulars with Dharani. While the former provides the punch with his stunt sequences. the latter proves once again that he is a beyond comparision when it comes to editing. We should also appreciate A.M.Rathnam spending adequately after a string of failures ''Boys''''E20U18'' and ''Kovil''.
So when you have a screenplay that moves at the speed of reasoning, and when you have great cast and crew backing it up and when yo
