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Jallikattu Movie Review : A spectacularly frenzied tale of machismo versus wild

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raghu6300386775 raghu 110 877 days ago

Brilliant tale of human and animal.

Aravin Dan 43 1124 days ago

I havent seen more absurd movie.This movie is meant for juvenile deaf and dumb.And its amusing to see so many positive reviews about this movie.If anything of substance in this movie, its the rightful mocking of Jallikattu.

Manoj Varughese 1208 days ago

Nevergiveuprishi 1263 days ago.

TikTok videos are far better than this movie. Naming this movie Jallikattu is an insult to the actual sport.

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India’s Rip-Roaring Oscar Entry ‘Jallikattu’ Captures the Chaos of the Soul

To call jallikattu a comedy-thriller would feel apt, and yet, not nearly descriptive enough; it’s far more spiritual than that..

Few Indian filmmakers have created as big a splash in recent years as Lijo Jose Pellissery . His fifth and sixth Malayalam-language features, gangster saga Angamaly Diaries (2017) and religious satire Ee.Ma.Yau (2018) burst through the country’s regional cinema scene like a sugar rush, and showcased the director’s penchant for political storytelling infused with idiosyncratic energy (they’re available on Netflix and Amazon Prime respectively). His seventh film, Jalikattu , is India’s Best International Feature submission to the upcoming 93rd Academy Awards. But even without that distinction, the film proves to be Pellissery’s finest work till date, an uproarious saga of an escaped buffalo wreaking havoc in a tiny Kerala village, and the human furor unleashed in the process.

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The premise sounds farcical at first, but few directors can immerse audiences into their worlds as quickly as Pellissery (not to mention, as effectively). The opening minutes of his films tend to be wrapped in pulsating rhythms, and weave vivid tapestries of time, place and mood. The introduction to Angamaly Diaries , for instance, yanked viewers into the daily hustle and bustle of its titular locale without apology. The opening to Jallikattu both follows suit and plays like an absurd prequel, with an extended montage of dozens of villagers opening their eyes before daybreak, as if summoned by mysterious music or something unspoken in the ether. The percussion-heavy score by Prashant Pillai enraptures, at first with bare-bones echoes of ticking clocks and sharp waking breaths, before growing and taking on folkloric energy rife with chants, yelps and claps, as the montage finds itself interrupted by extreme closeups of nature.

Prior to anything resembling plot, the film establishes its key juxtaposing facets — humanity and nature, two forces set against each other — before tumbling headfirst into a rollicking tale of their inevitable clash, in both intense and side-splitting fashion. To call Jallikattu a comedy-thriller would feel apt, and yet, not nearly descriptive enough; it’s far more spiritual than that.

Adapted for the screen by R. Jayakumar (from the short story Maoist by S. Hareesh ), the film takes its title from the controversial bull-wrangling celebration during the Pongal festival in Tamil Nadu, Kerala’s neighboring southern state. No such festival appears in the film, but the villagers’ attempts to capture the beast soon grow from a matter of logistical convenience — the buffalo, after evading slaughter, begins rampaging through their crops — to an act of zealotry. It’s a “man vs. nature” tale á la Jurassic Park , about humanity’s attempts to exert control over the natural world. Only Jallikattu denies its sprawling ensemble any semblance of humility or growth. The result is an intentionally graceless film, whose finesse comes not through poignant self-reflection, but through sheer, unimpeded visual chaos.

The cast of characters, led by demure local butcher Antony ( Antony Varghese ), lead an array of different lives. Their professions range from farmer to police to politician, but they’re all connected through the rituals of food. Everyone, directly or indirectly, comes into contact with Antony and his ilk, who we see killing buffaloes and preparing their meat for sale with the same casual, routine energy as the villagers waking up. The people have total dominion over the animal kingdom, a position in the food chain they seem to take for granted — to the point that when one of Antony’s buffaloes escapes at dawn, the locale’s harmony is interrupted, not only by the trampling beast, but by egos let loose in similar fashion.

People begin finding any excuse to blame not only the creature, but Antony, and others around them (especially those beneath them on the social ladder). They see this inconvenience as a slight against the delicate sense of order to which they’ve grown accustomed. This flimsy harmony is something several men claim their fathers or ancestors were responsible for when they put up roots in the village, but these discussions of lineage have a secondary implication. Go back far enough, and everyone is an outsider to this lush, natural landscape, even though they each claim, as their birthright, the social order laid down by men.

The escaped buffalo doesn’t so much throw the town into novel chaos as it simply reveals social discord lying in wait. As if incensed by the situation, one man even takes his frustrations out on his wife and slaps her for daring to prepare the same meal as the previous day. The feral creature acts as both a physical and metaphysical catalyst, with Pellissery filming it as if it were some unseen, godlike being — or perhaps being ridden by Yama, the Hindu God of death, who is often depicted riding a buffalo — toppling trees and setting piles of grain ablaze, as the fluid camera and the frantic villagers barely catch a glimpse of it. The film feels as if it could take some overtly supernatural turn at any moment, though when the buffalo ends up being, well, just another buffalo (and the film finally presents the animal as completely ordinary), the onus of the film’s uncanny, off-kilter fabric soon shifts to the dozens of men giving chase.

The mere presence of a creature defying man’s domain — even unwittingly — is a spiritual castration.

They start out as a tiny group whose squabbles prevent them from lassoing the creature, but soon, each man’s waning sense of masculine self-worth begins to explode, and the group seems to bloat in size the longer it remains in pursuit. It picks up more and more men along the way, like a snowball tumbling downhill, as each new member grasps for an opportunity to prove himself and re-assert his dominance in the established order. The mere presence of a creature defying man’s domain — even unwittingly — is a spiritual castration.

While the women of the village choose to sit out the day-long chase, the men quite literally stumble over one another for a glimpse at the beast and an opportunity to catch it. Pellissery’s approach to groups of people in motion rivals even that of Bong Joon-ho, and his controlled chaos in films like The Host , Snowpiercer and Okja . If the latter comes to mind when reading about Jallikattu , it’s only because Bong’s empathetic tale of a genetically enhanced bovine shares surface similarities with Pellisery’s film. Jallikattu doesn’t so much have veganism on its mind as it does the souls of men and their need to control the world around them.

The film rarely follows a single story thread for more than a few minutes, though it isn’t nearly as interested in individual tales as it is in the amoebic mass that is the village itself — a stand-in for society at large. The most prominent subplot surrounds the arrival of a former village resident, the smuggler Kuttachan ( Sabumon Abdusamad ), who was ratted out to the cops by Antony and who stands-in for a direct, immediate antagonist to the butcher. Kuttachan hopes to shoot the buffalo and leave it for dead, while protagonist Antony hopes to recover his property and slaughter it for sale, but this ideological difference between them is nominal at best. The result, either way, is a creature killed and a thirst for violence quenched.

Throughout the film, several men who enter the group as it moves through the village seem to establish and then immediately abandon their philosophies. Notably, a sweet old man politely implores the group to let nature run its course, and to leave the creature alone — that is, until the buffalo tramples his crops, which turns him hot-headed, foul-mouthed and bloodthirsty within seconds. By the time the film reaches its staggering climax, the only principle that seems to matter is self-interest, even at the cost of self-preservation, an idea the film pummels the viewer with during its audaciously on-the-nose epilogue, tying the village’s present directly to its past.

The film’s zany conclusion would’ve felt out of place in a more straightforward film. However, en route to this point, the usually up-close-and-personal camera has no choice but to pull back in order to capture the film’s widening visual scope, as Pellissery and cinematographer Gireesh Gangadharan trade their realistic approach to people in motion for a haunting, abstract fresco of human frenzy. The result is breathtaking, jaw-dropping and hilarious all at once, a series of final images which the screen can barely contain, and are sure to burn themselves into the viewer’s subconscious.

While the film makes many-a passing reference to the economics of the village and its disdain for the local police, Jallikattu is far less a political screed, and far more a depiction of the human soul and its corruption in real-time. The film spans about a day and runs a mere 90-minutes, but in that time, it undergoes a stunning metamorphosis, from a naturalistic depiction of rural Kerala to a winking, expressionistic nightmare, in which chaotic and often fiery imagery, first attributed to the animal, begins to reappear in delightfully shocking new permutations, and with new culprits to blame. This transformation, and its operatic crescendo, make up one of the most ludicrously enjoyable cinematic experiences of the year.

Jallikattu is available to stream on Amazon Prime .

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Jallikattu (2019)

• User Reviews
• Excellent direction and camera and deserves 10/10 for the making.
• The shots with the buffalo were excellent and realistic.
• There are some moments of comedy.
• Story is weak and acting is also not that great.
• Unnecessary violence was shown throughout the movie and didn't felt realistic.
• Final Score - 6.5/10. With a realistic story, it would have been a masterpiece.

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Jallikattu movie review: Lijo Jose Pellissery presents an audacious, eye-popping take on masculinity and our savage species

Drawing its name from the controversial sport of Tamil Nadu, Jallikattu turns this description on its head as men mine their basest instincts to defeat the buffalo.

Language: Malayalam

Jallikattu is the sort of film that gores its way into the brain and rips right through pre-conceived notions of what constitutes cinema.

As alive as the beast being hunted on screen through most of its crisp one-and-a-half hours running time, the film pulsates with an infectious, unrelenting energy that is both exhausting and exhilarating, enervating yet invigorating.

It is violent, but - a distinction that populist filmmakers like Sandeep Reddy Vanga ( Arjun Reddy, Kabir Singh ) refuse to acknowledge - it is not a celebration of violence. Far from it. It is also one of the most intriguing, beautifully impertinent works to emerge from Indian filmdom this year, brought to us by one of contemporary India’s most intriguing, beautifully impertinent filmmakers.

Lijo Jose Pellissery’s Jallikattu  is set in a remote Kerala village where a buffalo goes berserk on escaping an attempt at slaughter by local butchers Antony (Antony Varghese) and Varkey (Chemban Vinod Jose). The beast runs amok through fields, plantations and human habitations, spurring the men of the community to give chase. This happens in the aftermath of a young man exacting revenge on another in a seething rivalry over a woman they both lust after, a local policeman getting violent with his wife, and other conflicts that continue to play out while the buffalo wreaks havoc on people’s bodies and property.

Jallikattu is written by R. Jayakumar and S. Hareesh, based on the short story Maoist by Hareesh . The title is drawn from the highly controversial, bloody sport popular in Tamil Nadu, in which bulls are released into human crowds that are challenged to physically subdue the creatures. Pellissery and his colleagues turn that description on its head as the men in their film mine their basest instincts to defeat the buffalo.  Many of them simultaneously use this battle as a camouflage for and an outlet to vent other simmering internal struggles, such that it becomes hard to distinguish between the four-legged animal and the primitive, feral bipeds hot on its heels.

In this charged atmosphere, men do not merely speak, they shout, scream, growl and almost spit words out at each other and at the women in their lives. When one such brute attacks a woman (played by Santhy Balachandran), he buries his head in her body, hissing and snarling like a predator hungry for meat. She resists vehemently, but her subsequent calm conversation with him about a mundane matter is a chilling metaphor for the normalisation of sexual violence in our society and the manner in which women condition themselves to gather their wits about them in the face of male bestiality because of the frequency with which they are subjected to such savagery.

Jallikattu remains focused on the ferocious male of the species, but not without reminding us in the briefest of scenes that women themselves may appear calmer but are not above running a dagger through other women whose choices they resent or condemn.

Pellissery’s narrative plunges into action from the get-go, using the rhythm of the human breath, the flaming red of the title, the activity at a crowded meat shop, random banter and seemingly extraneous sub-plots to create an electric sense of anticipation before the animal runs riot.

Renganaath Ravee’s sound design intermittently draws drumbeats from every available element in the ambient audioscape, ranging from the laboured inhalations and exhalations of an old man, knives striking animal flesh, the buffalo’s hooves and the mob in its wake. Prashant Pillai’s music cuts in at intervals to inject further adrenaline into the proceedings. Combined with Deepu Joseph’s brisk editing and Gireesh Gangadharan’s unapologetic though non-exploitative cinematography, this gives Jallikattu a narrative flow so unyielding that it would take one of Varkey or Antony’s meat cleavers to slice through the tension that hangs thick in the air.

Pellissery has built a reputation as a non-conformist since his debut almost a decade back. 2017’s Angamaly Diaries and last year’s Ee.Ma.Yau . earned him a well-deserved cult following nationwide. He has a unique ability to ask uncomfortable questions through cinema that nevertheless yields unbridled entertainment. Jallikattu is as much a courageous socio-political essay, a gutsy cultural critique that is unafraid to tap religious iconography and an allegory for the devolution of men over the ages, as it is an exciting, hormonally charged thriller.

Men giving in to their most primeval urges make for a horrifying spectacle. Yet, as in life, in Jallikattu too it is fascinating to watch their inability to spot the self-destructive turn they take in their bid to dominate women and the planet.

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'Jallikattu' Film Review: Lijo Jose Pellissery Unleashes A Fascinating Man-Vs-Beast Tale

From the moment images unfold on screen, one is caught by the film’s atmosphere of visceral, heaving urgency. Right from how the men and women are introduced to their vicarious fascination for meat and beast, to containing the raw energy, greed and ego of mankind on screen, Jallikattu is almost an out-of-body experience.

Jallikattu is a set in a village somewhere in South Kerala, where a typical Sunday morning begins with a visit to the local butcher. Varkey (Chemban Vinod) with a metaphorical “Kaalan” added to his name seems to enjoy the process of procuring meat—picking the beast, dragging a rope through its nose to slicing and segregating it into spine, ribs, cutlets and even an extra helping of juicy liver to a favourite customer. At the local Church you see Church goers hanging black plastic meat bags on a tree. When Varkey’s shop assistant Varghese (Antony Varghese) delivers these bags to homes, the reactions are witty—a Hindu man shudders at the sight of the raw meat but is quick to remind his wife to “season it abundantly with pepper.” At times the villagers remind you of the ones you have seen in Angamaly Diaries , like Pellissery picked them right from the village, males high on testosterone and women who fight, cook and love with abandon and co-incidentally retaining their obsession for red meat, blood and gore. And the animals are all snorting and grunting in the backdrop, perhaps at the realisation that their primal instincts are still no match for the human beings.

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Jallikattu , adapted from Hareesh S’ book, isn’t really about well-defined characters. There aren’t many characters in the film, yet the screen is bursting with people. The story thread is fairly simple, like an Aesop’s fable—a rogue buffalo (flawlessly done VFX) is let loose in the village and the villagers are on the run to hunt it down. True, the title borrows its name from the traditional bull-taming event in Tamil Nadu, but the film has nothing to do with the sport. It only adds its own layers to this indigenous tradition or the race of man versus the wild.

The narrative, like the buffalo on the loose, keeps a tight rein on its pace. When events start to tense up, you get brilliant little reliefs. An organic farmer with a saintly disposition finds himself going ballistic when he realises that the bull has plundered his vegetation. What perceptibly appears to be a string of expletives coming from his mouth are hilariously muted, prompting the otherwise temperamental Varkey to calm him down. A wedding is being planned, and typically the entire focus is on the menu—instructions have been given to the local caterer for appams, pork curry glistening in ghee, and beef roast laden with pieces of coconut shaped like the half-moon. But with the bull out in the open, meat supply might hit a roadblock prompting the father to visit the local chicken supplier at night, resulting in another set of hysterical events. For the villagers, chicken is an inferior option and any celebration can only mean a special rib cut cooked in Tapioca.

Like every Lijo film, women get little screen time, but they are all no-nonsense, proactive women who seem content to stay within the patriarchal familial system. Here there is Varkey’s sister—a source of gossip for the villagers due to a failed attempt at eloping—who Varghese is in love with. But one felt she was stitched from the same cloth as the women in Angamaly Diaries .

Varghese appears to be an orphan but there is more to him than his shy smile, the viewer gradually realised. So, when they introduce a man to kill the bull, the lines are rapidly getting hazy between him and Varghese, as both of them are in this for selfish gains. Varkey’s role never stretches beyond his occupation, often ending up a tired onlooker.

Just when we wonder at the absurdity of it all (how difficult is it to capture a bull?), it’s how organically Lijo swings the power play that takes the mickey out of you. What is evidently a wild goose chase soon becomes a man versus beast dynamic. The boundaries will begin to get blurry; the man’s grunts and snorts uncannily matches the beast’s and in quick succession the man turns into a predator and the beast no longer wants to fight him.

While the soundscape is spectacular, merging the fear and anxiety of the man and the bull, the frames (Gireesh Gangadharan) are incredibly lifelike, as if conceived by an unrestrained imagination. The night shot captures the brutality and fear of darkness, with the beast tailing the man, and the tiny fire lamps lend a stunning contrast, especially in aerial views.

The climax is a fitting closure to the intense race, making us introspect about our own humanness. All of a sudden, animal instinct becomes an ambiguous phrase.

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Jallikattu uses a violent conflict between man and animal to set the stage for a story that's as visually haunting as it is rich in subtext.

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Lijo Jose Pellissery

Antony Varghese

Chemban Vinod Jose

Kalan Varkey

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JALLIKATTU MOVIE REVIEW CLICK TO RATE THE MOVIE

Certain films pack into themselves a lot more than the visual representation of a story, it motivates, provokes you to think deeply. One such movie is Jallikattu, a film that shows the lines blurring between man and animal, that makes it a must-watch theatrical experience.

The film takes place in a remote village located at the mountain ranges of Kerala, and the movie starts its journey from the escape of a buffalo from a butcher's shop and disappears into the forest, destroying a lot of crops and properties in the path of its frantic run. Men from the village gather in order to hunt down the animal, but during the quest, they form groups and get divided amongst themselves based on their personal enmities and biases.

Lijo Jose Pellisery is a magician indeed. Like how every act of a magician leaves the audience excited for the next, with every movie Lijo is making his audience expect the unexpected. And in signature style, comes a standard movie called Jallikattu.

Jallikattu does not fail to do justice to the hype it created, for it was such a satisfying cinematic experience. The racy storyline could not be more aptly titled. Soulfully adapted from the short story 'Maoist' written by S. Hareesh, the writer, along with R Jayakumar, has scripted this intricately woven screenplay.

Actors Antony Varghese, Chemban Vinod Jose, and Shanthi Balachandran play important roles in the films, and this one and a half hour film will definitely be a thought-provoking watch. With U/A certificate, the film released on the 4th of October, and prior to that, Jallikattu was featured in many International Film festivals, and its premiere happened at the Toronto International Film Fest. We can firmly state that the film proved to be worthy of the honours it gathered.

The story of Jallikattu is complex indeed, but the ease and clear presentation have made a lot of difference and many sensitive issues have been presented with conviction. The film goes about in a rapid pitch, and Gireesh Gangadharan’s camera has captured the pulsating frenzy without a glitch.

Jallikattu raises a pertinent question amongst its viewers- Was it the unhinged buffalo that caused all the trouble or the people who were hunting for it? All answers will be obtained at the climax. Lijo Jose Pellishery has done it again, for Jallikattu is one masterpiece of his, a work to be recognized, cherished and appreciated as a unique experience in itself.

In order to get the full experience of the movie, Jallikattu needs to be watched in the theatres. The sound design is commendable as the background music and the sounds of each and every crucial moment adds to the glory of this movie.

JALLIKATTU VIDEO REVIEW

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பிரேக்கிங் சினிமா செய்திகள், திரை விமர்சனம், பாடல் விமர்சனம், ஃபோட்டோ கேலரி, பாக்ஸ் ஆபிஸ் செய்திகள், ஸ்லைடு ஷோ, போன்ற பல்வேறு சுவாரஸியமான தகவல்களை தமிழில் படிக்க இங்கு கிளிக் செய்யவும்      

JALLIKATTU NEWS STORIES

Surprise Video: Mani Ratnam admits being a big fan of this latest acclaimed South-Indian director! Guess who?

Lijo Jose Pellissery bags Best Director Award for the second consecutive year at IFFI!

Anurag Kashyap's next Tamil film!

Jallikattu and Harvard Tamil Chair unite!

Jallikattu related news stories.

• Mani Ratnam admits he is a big fan of acclaimed director Lijo Jose Pellissery
• Lijo Jose Pellissery bags Best Director Award at IFFI!
• Anurag Kashyap turns executive producer for Jallikattu film
• Jallikattu 5 23rd 2017 film collaborates with Harvard Tamil Chair
• Suriya congratulates Trichy Police Commissioner
• PETA CEO Poorva Joshipura extends wholehearted appology to Suriya
• Kamal Haasan reacts to police setting fire in Chennai
• Vishal requests people not to believe in the rumors about him
• Arvind Swami talks about the Jallikattu protests
• Superstar Rajinikanth advises all the youngsters to end the Jallikattu protests
• Kamal Haasan speaks to Tamil Nadu CM on Jallikattu protest issue
• Raghava Lawrence insists protesters to leave the issue and celebrate the success
• Khushboo expresses her distress over the Jallikattu protests
• Dhananjayan requests the celebrities to stop provoking the youngsters
• Kamal Haasan requests the Police forces not to attack the students at Marina
• Simbu requests youngsters to stay united
• Raghava Lawrence breaks down into tears after the chaos in Jallikattu protests
• Raghava Lawrence issue a statement from hospital
• Raghava Lawrence hospitalised yet again
• Kamal Haasan lashes out at PETA for trying to ban Jallikattu
• Arvind Swami says we will have to create a sustainable model to save Jallikattu
• Resul Pookutty shares his feeling about the Jallikattu protests
• Nivin Pauly talks about the Jallikattu protests in Marina
• Actor Vijay Vasanth and his friends Mouli and Sundar, installed 10 mobile toilets at Marina Beach
• Suriya and Karthi at the Marina for jallikattu support
• Karthick Naren of D-16 fame decides to give Chennai city collections to jallikattu protesters
• Ilayaraja's advice to jallikattu protesters
• Director Shankar lauds jallikattu protesters
• Vijay joins the protests at Marina beach
• Kamal Haasan advises the jallikattu protesters
• Mammootty's statement in support of Jallikattu protesters
• Powerstar Pawan Kalyan expresses his stance on jallikattu
• KV Anand connects Kavan dialogue with Jallikattu protest
• Lakshmy Ramakrishnan on jallikattu protesters
• Uriyadi fame Vijay Kumar talks about Jallikattu protests
• Jallikattu might happen in two days of time
• Jayam Ravi talks about his experience participating in Marina Jallikattu protest
• Ajith and Trisha join the jallikattu protest at the Nadigar Sangam complex
• Mahesh Babu about Jallikattu issue and protests
• Aju Varghese speaks about Jallikattu protest in Tamil Nadu
• Keerthy Suresh lends her support for Jallikattu
• A film producer sponsors mobile toilets for Jallikattu protest
• AR Rahman is going to fast tomorrow for Jallikattu protest
• Simbu answers about jallikattu protest
• Sarath Kumar expresses his disappointment on the PM's move about Jallikattu
• S3 theatre promotions, Sivalinga press meet, Sathriyan audio launch postponed due to Jallikattu protests
• Vineeth Sreenivasan extends his support for jallikattu
• Madhan Karky supports Jallikattu protest
• Anurag Kashyap stunned by Jallikattu protests
• All noon and afternoon shows across Tamil Nadu to be cancelled on Jan 20th
• Ajith Kumar to attend the Jallikattu protest conducted by Nadigar Sangam
• Nayanthara supports Jallikattu
• Vishal says that he wants to meet Prime Minister to speak about Jallikattu issue
• AR Murugadoss' angry statement against PETA
• Sivakumar's statement against the ban on Jallikattu
• Vijay opens up about Jallikattu issue
• Raghava Lawrence extends his support for Jallikattu
• Sibiraj lends his support for Jallikattu
• Suriya extends support to jallikattu
• Trisha’s official press note regarding the Jallikattu issue
• Support for Trisha from celebrities
• Arya talks about his Jallikattu controversy at Santhana Devan press meet
• Director Rajesh tweets about Jallikattu ban
• Simbu voices his support for Jallikattu
• Sivakarthikeyan lends his support for Jallikattu
• G V Prakash and Arunraja Kamaraj in support of Jallikattu
• Rajini, Kamal and Rana's connection with Jallikattu
• Amy Jackson in jallikattu tangle

16 காளைகளை அடக்கி கார் வென்ற வீர தமிழன் - குவியும் பாராட்டு | JALLIKATTU 2020 VIDEOS

வெறிபிடித்த காளை.. வளர்த்தவரை குத்தி கிழித்த சம்பவம் | rn videos, other movie reviews.

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JALLIKATTU RELATED NEWS

• Jallikattu And Harvard Tamil Chair Unite!
• A Hero's Service To The Jallikattu Heroes
• Jallikattu Could Be Held In Two Days Time - Explained In Sim...
• Keerthy Suresh's Statement About Jallikattu Protests
• AR Rahman's Move For Jallikattu Protest!
• Jallikattu Support From Neighbouring Kerala
• ''The Jallikattu Protest Is Massive.. Never Seen Anything Th...
• Theatres To Be Closed In Support Of Jallikattu!
• Breaking News On Ajith Kumar Related To Jallikattu!
• Red Hot: Ilayathalapathy Vijay's Speech For Jallikattu Issue
• Raghava Lawrence’s Statement On Jallikattu Issue!
• Suriya Joins The Jallikattu Campaign
• Sivakarthikeyan's Inspiring Word And Support For Jallikattu!
• GV Prakash And Jallikattu
• Goli Soda 2 Actor Gets Married Amidst Lockdown - Shares The ...

JALLIKATTU RELATED LINKS

• Jallikattu | Post-Premam Era - List Of Malayalam Films Celebrated In Tamil Nadu! - Slideshow
• Jallikattu- Photos
• During Jallikattu Protest | 5 Times When T. Rajendar Trended - Slideshow
• Avaniapuram Jallikattu - Photos
• What Next After Jallikattu? - Marina Protesters | Jallikattu - Videos
• HOT: Kamal Hassan To PETA - "Don't BAN Vishwaroopam Or Bulls" | Jallikattu Protest - Videos
• From Manu Needhi Chozhan To Android Youth! | Bharathiraja On Jallikattu Victory - Videos
• Vijay's Joins Jallikattu Protest, Skipping The Nadigar Sangam Protest! | 10 Jallikattu Protest Related Videos You Shouldn't Miss! - Slideshow
• GV Prakash Warns Central Government On Jallikattu Issue | 10 Jallikattu Protest Related Videos You Shouldn't Miss! - Slideshow
• "Other Cities Should Learn From Chennai On Women Safety" | Democrazy | Jallikattu Protest | 10 Jallikattu Protest Related Videos You Shouldn't Miss! - Slideshow
• "Other Cities Should Learn From Chennai On Women Safety" | Democrazy | Jallikattu Protest - Videos

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Vetrimaaran’s debut web series Pettaikaali gets release date

Gv prakash kumar on wednesday released the motion poster of the upcoming tamil web series pettaikaali..

Music composer-actor GV Prakash Kumar on Wednesday released the motion poster of the upcoming Tamil web series Pettaikaali.

“The much awaited motion poster of Vetrimaaran’s #PettaikaaliOnAHA. Super proud to introduce the first ever Tamil web series based on Jallikattu. Directed by L. Rajkumar. Coming on @ahaTamil,” tweeted Prakash.

The motion poster of Pettaikaali shows visuals of a Jallikattu event happening with a lot of gaiety and fanfare. The series is set to be available for streaming on Aha this Deepavali. Pettaikaali is the original production of the home-grown streaming platform, Aha. Founded by producer Allu Aravind of Geetha Arts, the OTT platform has already established itself well in the Telugu region. Pettaikaali is the platform’s first wave of original shows/films to gain ground in the Tamil region.

“He (Rajkumar) had done a lot of research for two years and did a documentary on Jallikattu, its history, its people, their practices, the lineage and heritage. And he has made that documentary into a web series. My job is rather easy on this project. I just have to tell what’s good, what’s not and what’s enough. Whatever they have done so far, I have liked it. I saw Kalaiyarasan’s work and I liked it,” director Vetrimaaran, who is also part of the series, had said earlier.

It’s worth noting that Vetrimaaran is also busy with the pre-production work of Vaadivaasal, which is also based on Tamil Nadu ’s popular festival sport Jallikattu. The movie is based on a popular Tamil novel of the same name. Starring Suriya in the lead role, the film will go on the floors soon.

All major exit polls projected the Bharatiya Janata Party-led National Democratic Alliance (NDA) a resounding victory in the 2024 Lok Sabha elections that concluded on Saturday. The BJP and its allies are expected to breach the 300-seat mark once again, with major gains in the southern states where the BJP gained not just vote share but also seats.  

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Jallikattu Web Series Review

Jallikattu Telugu Web Series: What's Behind

Kollywood webseries Pettaikaali which was released last year in Tamil is now streaming on Aha OTT as Jallikattu from 28 April 2023. The series is generating interest among movie lovers as Vetri Maaran is the showrunner for the webseries. Let us find out what Jallikattu offered to movie lovers.

Jallikattu Web Series (2023): Story Review

Jallikattu story is all about the fight for prestige and honor between two villages, one dominated by the landlords and one by the shepherds. The people of Tamarakulam and Mullavudu villages bordering Tamil Nadu and Andhra Pradesh nudge a grudge against each other for decades. Selvasekharam (Vela Ramamurthy) of Tamarakulam has a bull and his bull is the most dreaded and he takes pride as no one can tame her. Similarly, Pandu (Kalaiyaran), nephew of Muthaiah (Kishore), is renowned across the villages for his bravery in taming bulls.

Muthaiah asks Pandu to use his bravery by getting a police job but his dream is to win the Jalli Kattu at the national level. His aspirations however result in shocking twists. To find out more about it and what is the connection between Thenmozli (Sheela Rajkumar), Veerasekhar (Bala Haasan), and Parthiban (Antony) from the rest of the story.

Jallikattu Web Series: Artists Review

All the actors came up with natural and realistic performances. They resembled the villagers in their makeup and the dialogue delivery looked extremely original. Kishore lived in the role of Muthaiah and he impressed with his dialogue delivery and presence on the screen. Kalaiyarasan took viewers with his expressions and emotions, and screen presence into the story. He showed variations when it came to showing bravery, and courage while taming a bull and then showed the other side while talking with his lady love or his uncle.

Sheela Rajkumar, Bala Haasan, and standup comedian Paathiban made their presence felt on the screen with their performances. The performances of the entire cast added value to the webseries.

Jallikattu Web Series: Technicians Review

The story of Jalli Kattu penned by Rajkumar and presided by Vetri Maaran has the shades of Vetri Maaran genre. The story spoke about the villagers or people going to any extent for their honor and prestige and the differences between haves and have-nots, rich and poor, oppressors and the oppressed.

Rajkumar added the Jallikattu backdrop to the village and rural story and it generated interest among movie lovers. The webseries is narrated in 8 episodes and Rajkumar took his own sweet time keeping in view Vetri Maaran's style. The pace is slow and tests the patience of the viewers. The story, Screenplay, and direction follow Vetri Maaran's format and there is nothing new.

Those who are familiar with Vetri Maaran's style of taking find it nothing new and even for others, the slow pace doesn't excite them. There are a few twists and turns here and there but one needs patience to enjoy them. The Jalli Kattu culture is highlighted and the entire series is loaded with Tamil nativity and flavor. Those who come from TN-AP border districts will enjoy the series.

The cinematography captured the village atmosphere quite naturally in an appealing and beautiful manner. The bullfights and Jalli Kattu atmosphere is recreated on the screen giving an original feel giving a delightful treat to movie lovers. Background music elevated the scenes and made a good impact in increasing the intensity levels. Dialogues of Vetri Maaran and Rajkumar are thought-provoking and powerful. Dialogues talking about courage, taming the leader, and haves and have not, etc made an impact. Editing left a lot to be desired. There are many lags and this slowed the pace of the film. Production values are decent.

Jallikattu Web Series: Advantages

• Realistic Performances
• Few Intense Dialogues

Jallikattu Web Series: Disadvantages

• Lack of Commercial Elements
• Similarities to earlier films
• Routine Shades

Jallikattu: Rating Analysis

Altogether, Jallikattu's story is a typical Vetri Maaran product and offers nothing new. People will be reminded of his earlier films like Asuran, Karnan and others. Those who love realistic stories and narration will love it and others will find it tedious. Considering all these aspects, Cinejosh goes with a 1.5 rating for Jallikattu Web Series .

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