JAWAAN (2023) : review

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And finally the much hyped, much awaited Jawaan saw light of the day ! Big stars, big budget( humongous budget actually), big music composer, everything super large. But does it meet the expectations of the average viewer? No it goes not. Read on.  A decorated jawan locks horns with a criminal called Kaali, this is in 1986 ( the year movies like Aakhri Raasta released, just for reference). Kaali gets him eliminated and send the pregnant wife to jail. The baby born in jail grows up to become the hero (look alike of the father) and decides to avenge the misdeeds done to his innocent patriotic parents. Well, isn’t it a masaaledaar full on Bollywood- Tollywood drama subject ?  And then the director Atlee also borrows ideas and references from various retro movies, some idea from Sholay (1975) as the hero assembled a gang of jailed Qaidis in order to form a team to nab the villain, then there’s an entire episode borrowed from Dhartiputra (1993), and the basic theme is copy pasted ...
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Pallavi AnuPallavi (1983) revisited

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PALLAVI ANUPALLAVI (1983) Revisited 

Directed by: Mani Rathnam 

Cast: Lakshmi, Anil Kapoor, Kiran Vairale, Suresh Hebbalikar, Vikram, Master Rohit, M Vasudeo Rao, Sunder Raj. 

Rathnam is credited with some of the most remarkable pathbreaking movies in our country ranging from romance to patriotism, terrorism to thrillers. Yet his debut movie never really finds a place amongst his best works, no idea why. Maybe he outdid himself in his subsequent directions. Nevertheless his first directed venture still looks fresh, contemporary and so bold for a 80s movie. 

Rathnam had this special quality of portraying human relations with utmost sensitivity and relatable emotions. The character Vijay(Kapoor in his earliest acting roles) is so well defined, being in love with his vivacious girlfriend he falls hopelessly in love with an older woman who’s separated and has a son. The dilemma faced by Vijay is brilliantly conveyed by Rathnam, for a debut director this was brilliance at its peak. 

Besides the direction what impresses are the cinematography (Balu Mahendra, excellent) and the background music(Ilayaraja, intoxicating). The music by maestro Ilayaraja sounds like pleasant monsoon showers, Mahendra’s cinematography capturing the romantic beauty of Coorg and 80s non-concrete Bengaluru when combined with the melodious music simply spells romanticism and ecstasy. Take a bow Rathnam, Mahendra and the great Ilayaraja, one doesn’t need to resort to “nasha” to be on a high, this terrific trio can give you cinematic orgasm with this underrated classic. 

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