Vishwaroopam
Tamil (U/A)
Director: Kamal Haasan
Cast: Kamal Haasan, Rahul Bose, Pooja Kumar, Jaideep Ahlawat and others
In Vishwaroopam, Kamal continues his fight against the evil (read terrorism) — this time as a spy (or R&AW agent if you please) out to foil a foul plot on the Land of Dreams, the USA. He is Viswanathan, a Kathak dancer married to Nirupama, a nuclear oncologist who is attracted to her boss, repulsed by her husband's 'feminine charms'. A private eye hired by her pays with his life for blowing the cover off Viswanathan and leading the terrorists to the couple.
The terrorist cell, about to destroy New York with a bomb and then rub its nose in the dirt by its tactics, is in for a nasty surprise. For, Viswanathan is none other than Wisam Ahmad Kashmiri, an Indian 'jehadi' who has trained and instructed fighters in al-Qaeda camps based in Afghanistan (there are references to actual places.
Funny, the Afghans are yet to protest against this repeated defiling of their country and identity). Our brethren have objected to and protested against "humiliating" references and of being targeted unnecessarily and repeatedly.
That's something to be looked into by our security and intelligence agencies, but for the moment, in the film at least, that's not the case. From the latter half of the 1980s, terrorism has spread its tentacles deep and wide across India and beyond with many paying a price undreamed of, all their lives. Is it then surprising, and annoying, that our filmmakers choose to delve into ready material available to base their stories on?
Coming back to the film, Vishwaroopam is better handled, thanks mostly to its intelligent and optimum use of cutting-edge technology. That the said technology also leaves little room for emotional overplay, a method fast getting outdated in our film industry, is to be taken note of. On one side, the narration is not hampered.
On the other, the film might just end up as another exhibition of the suave, actor-businessman's acumen.
There is nothing much to savour in the Pandit Birju Maharaj-choreographed number for the connoisseurs. But the film is beyond art and refinement, as becomes evident later on.
Production design overall is smart. The collaboration with James Cunningham and Boontawee 'Tor' Taweepasas, helps director Kamal get his details right — particularly of the Afghan segment of the film. That the director is also a still-handsome leading man whose self-absorption is quite well-known perhaps balances the fact that the film caters to a largely Americanised audience.
Due credit is given where required. The women in the film, be it Andrea or Pooja or Omar's wife and the French doctor in the ravines of somewhere-near-Jalalabad, Afghanistan have stories of their own to tell.
Sanu John Varughese, Ilayaraja and Mahesh Narayanan are good in their assigned tasks. Shankar-Ehsaan-Loy, after the Kathak number, get carried away a bit, drowning out dialogues and pauses at crucial times. Kamal's choice of the ensemble is interesting to say the least, with Anderson, James Babson and Shekhar Kapur managing to raise more than eyebrows. Anderson is the best while Babson just has to continue looking perplexed. Shekhar Kapur is a sad reminder of those Digjam Suitings ads but never mind.
Rahul Bose and Jaideep Ahlawat breathe cold and hot, bringing that essential chill to the spine where necessary. Others like Nasser are wasted.
Vishwaroopam is another espionage thriller with its own macho hero that drives home the point that our soldiers, our agents are out there, striving against the ENEMY. And little else. Take a bow, Mr Kamal Haasan.
Tamil (U/A)
Director: Kamal Haasan
Cast: Kamal Haasan, Rahul Bose, Pooja Kumar, Jaideep Ahlawat and others
In Vishwaroopam, Kamal continues his fight against the evil (read terrorism) — this time as a spy (or R&AW agent if you please) out to foil a foul plot on the Land of Dreams, the USA. He is Viswanathan, a Kathak dancer married to Nirupama, a nuclear oncologist who is attracted to her boss, repulsed by her husband's 'feminine charms'. A private eye hired by her pays with his life for blowing the cover off Viswanathan and leading the terrorists to the couple.
The terrorist cell, about to destroy New York with a bomb and then rub its nose in the dirt by its tactics, is in for a nasty surprise. For, Viswanathan is none other than Wisam Ahmad Kashmiri, an Indian 'jehadi' who has trained and instructed fighters in al-Qaeda camps based in Afghanistan (there are references to actual places.
Funny, the Afghans are yet to protest against this repeated defiling of their country and identity). Our brethren have objected to and protested against "humiliating" references and of being targeted unnecessarily and repeatedly.
That's something to be looked into by our security and intelligence agencies, but for the moment, in the film at least, that's not the case. From the latter half of the 1980s, terrorism has spread its tentacles deep and wide across India and beyond with many paying a price undreamed of, all their lives. Is it then surprising, and annoying, that our filmmakers choose to delve into ready material available to base their stories on?
Coming back to the film, Vishwaroopam is better handled, thanks mostly to its intelligent and optimum use of cutting-edge technology. That the said technology also leaves little room for emotional overplay, a method fast getting outdated in our film industry, is to be taken note of. On one side, the narration is not hampered.
On the other, the film might just end up as another exhibition of the suave, actor-businessman's acumen.
There is nothing much to savour in the Pandit Birju Maharaj-choreographed number for the connoisseurs. But the film is beyond art and refinement, as becomes evident later on.
Production design overall is smart. The collaboration with James Cunningham and Boontawee 'Tor' Taweepasas, helps director Kamal get his details right — particularly of the Afghan segment of the film. That the director is also a still-handsome leading man whose self-absorption is quite well-known perhaps balances the fact that the film caters to a largely Americanised audience.
Due credit is given where required. The women in the film, be it Andrea or Pooja or Omar's wife and the French doctor in the ravines of somewhere-near-Jalalabad, Afghanistan have stories of their own to tell.
Sanu John Varughese, Ilayaraja and Mahesh Narayanan are good in their assigned tasks. Shankar-Ehsaan-Loy, after the Kathak number, get carried away a bit, drowning out dialogues and pauses at crucial times. Kamal's choice of the ensemble is interesting to say the least, with Anderson, James Babson and Shekhar Kapur managing to raise more than eyebrows. Anderson is the best while Babson just has to continue looking perplexed. Shekhar Kapur is a sad reminder of those Digjam Suitings ads but never mind.
Rahul Bose and Jaideep Ahlawat breathe cold and hot, bringing that essential chill to the spine where necessary. Others like Nasser are wasted.
Vishwaroopam is another espionage thriller with its own macho hero that drives home the point that our soldiers, our agents are out there, striving against the ENEMY. And little else. Take a bow, Mr Kamal Haasan.