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Thani Oruvan pits a dedicated police officer against a corrupt scientist in psychological thriller that has plenty of drama and action. The writing collaboration between director Mohan Raja and Subha results in a cleverly plotted story with some unexpected twists, but the real success lies in the detailed development of the two main characters. Neither is completely black or white, although the shades of grey are relatively muted, while the cat and mouse relationship between the two provides good structure to the film. Excellent performances from the whole team but particularly Arvind Swamy as the villain of the piece ensure that Thani Oruvan is a better than average police drama and one that’s well worth a watch.
You know a film is going to be pretty epic when the story starts with a dramatic birth. Sengalvarayan (Thambi Ramaiah) is a party man through and through to the point where it’s more important to him that he ties flags for his leader’s appearance rather than take his heavily pregnant wife to hospital. The leader senses an opportunity for some good publicity and sure enough, the baby is born in the back seat of the politician’s car leading Sengalvarayan and his new son Pazhani to develop a relationship with the man who will later become Chie
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Maximalism and Mythmaking: The Epic Cinema of S.S. Rajamouli
“Any man’s finest hour is that moment when he has worked his heart out in a good cause and lies exhausted in the field of battle… victorious.” — Vince Lombardi, as quoted in Sye (2004, dir. S.S. Rajamouli)
One of the most pleasant surprises of my cinephilic journey so far has been discovering the films of Telugu Indian director S.S. Rajamouli. Rarely do I come across a filmmaker so committed to his vision of cinema—one without any pretensions for arthouse sensibility or genre deconstructions—and become completely entranced by it. Make no mistake, though: the 48-year-old director’s filmography is as artistically meritable as any popular name in world cinema.
Born to a family of professionals working in various fields of film production, Rajamouli had already been exposed to the silver screen at an early age. In particular, he has had a keen fascination with “larger-than-life” pictures and fantasy entertainment. This desire for large-scale productions also meant that Rajamouli would develop a very economic view of cinema, anticipating box office returns that would help him fund his subsequent film projects.
As such, Rajamouli’s films fall under the masala genre of the Indian film industry. The term “masala” refe