jallikattu movie review in tamil

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Jallikettu is a visual experience to behold on the big screen. A spectacle - at times unnerving, appalling - and thrilling at the same time

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

• Times of India

Jallikattu - Official Teaser

Jallikattu - Official Trailer

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Gireesh Gangadharan

raghu6300386775 raghu 113 833 days ago

Brilliant tale of human and animal.

Aravin Dan 43 1080 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 1164 days ago

Nevergiveuprishi 1219 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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• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
• The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

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A portrait of a remote village where a buffalo escapes and causes a frenzy of ecstatic violence. A portrait of a remote village where a buffalo escapes and causes a frenzy of ecstatic violence. A portrait of a remote village where a buffalo escapes and causes a frenzy of ecstatic violence.

• Lijo Jose Pellissery
• R. Jayakumar
• Antony Varghese
• Chemban Vinod Jose
• Sabumon Abdusamad
• 269 User reviews
• 36 Critic reviews
• 6 wins & 11 nominations

• Kalan Varkey

• Sub Inspector
• Naxal Prabhakaran
• (as Thomman)

• Tea Shop Owner
• Peshakan Shangu

• Antony's Friend
• Poomalakaran
• Kuriachan's Wife
• Kuriachan's Daughter
• All cast & crew
• Production, box office & more at IMDbPro

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• Trivia Official submission of India for the 'Best International Feature Film' category of the 93rd Academy Awards in 2021.

User reviews 269

• Dec 30, 2019
• How long is Jallikattu? Powered by Alexa
• October 4, 2019 (United States)
• Official site (Japan)
• Chembosky Motion Pictures
• Kasargod Aadmi Pictures
• Lijo Jose Pellissery Movie House
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• Runtime 1 hour 35 minutes
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'Jallikattu' film review: A delirious, masterfully staged thriller

I think the best compliment I can give for Lijo Jose Pellissery’s Jallikattu is that there is no film like that in the world right now. It may share a few qualities with films made in the past but in terms of innovation and daring, it is very original. It’s an astounding piece of filmmaking that relies heavily on craft to take viewers on a furious trip to the very beginning of civilisation. It’s a 90-minute illustration of the fact that films can be made in other ways too.

Jallikattu is all about the experience, experience, experience. So, any attempt to write a synopsis would only prove futile. I guess it can be best described as a chase film, but one that conveys a lot—both said and unsaid—in the process. The last film that did this was George Miller’s Mad Max: Fury Road. In Jallikattu, an animal is being chased instead of a man. But it doesn’t make much of a difference in the end. As one character mentions early on, it doesn’t take very long for the line between man and animal to blur. It presents man at his most basic and primitive, devoid of any semblance of civility. The jungle-like setting of the film is straight out of Aguirre: Wrath of God and the raw ferocity is straight out of Apocalypto (minus the Mel Gibson film’s penchant for extremely graphic violence).

To give you an idea of the film’s mad pulsating excitement, take the climax of Angamaly Diaries and crank it up to ten—that’s how crazy Jallikattu is. When a bull breaks free of its captors, led by a butcher named Varkychan (Chemban Vinod Jose), it brings forth a set of parallel events, thereby presenting an opportunity for Lijo to explore some themes in the same way that Korean filmmaker Bong Joon-ho did in last year’s Okja (also about an animal’s escape and resultant chaos). But where Jallikattu and Okja differ—aside from the fact that the former is based on a short story by S Hareesh—is the way the two films engage our emotions. While Okja demanded a stronger emotional response from us, Jallikattu is more emotionally distant even though we want the beast to get away from the humans who get more beastly as the film progresses. The approach here is cold and experimental. The traditional three-act structure is slightly altered to deliver something more organic, which may not work for all. Some may say Jallikattu is more ideal for the festival crowd. But never once does the film feel ‘slow’ or ‘boring’—tags usually reserved for festival films.

Jallikattu puts us in the middle of the unrelenting chaos, all captured smoothly by the extraordinarily talented Girish Gangadharan, whose camera doesn’t get to rest very often. It is allowed a few quiet moments of introspection before being hurled into blood, grime, and sweat again. It’s like watching a insane baseball game where players’ heads crash into each other again and again. Only here, the baseball is ego.

Jallikattu opens and ends with images of flesh, only in two different time periods. My mind immediately raced to the ‘Dawn of Man’ sequence in Stanley Kubrick’s 2001: A Space Odyssey (another emotionally distant but similarly innovative film).

But Jallikattu is also about man’s obsession with the flesh of a different kind—both of which affect his ability to think clearly. At one point, a butcher-turned-celebrity hunter (Sabumon Abdusamad) tells another butcher (Antony Varghese) that he actually came back not to capture the bull, but to settle an old score with him. The reason is revealed in a flashback. Suffice it to say that a woman is involved. The bull situation also brings other ugly emotions to the surface, like greed. Two separate hunting parties are much eager to claim their share of the prize, once it’s captured. This is not just a battle of wits but also testosterone, culminating in a stunningly wild finale that evokes a particular sequence from Darren Aronofsky’s Mother!

I don’t know if any portions from the film were left on the cutting room floor due to the CBFC’s interference. There were moments where I sensed the film was much more aggressive than it already is—and believe me, there is a lot of aggression in Jallikattu—and that somewhere things were slightly toned down to make it more palatable for Indian audiences.  I hope we will get to see a Director’s Cut.

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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 Reviews

Jallikattu pauses in its dialogue scenes but stays lively, in part thanks to an extremely loud score from Prashant Pillai full of chanting and drums. It’s either energizing or numbing depending on your taste—for me, it was a real boost ...

Full Review | Dec 2, 2022

This is pulsating, timely moviemaking that manages to warn about human nature, greed and the dangers of an angry mob.

Full Review | Original Score: A- | Feb 3, 2021

Jallikattu is a unique and operatically violent movie. What the plot lacks in narrative cohesion, it certainly makes up for in startling image and thought.

Full Review | Original Score: 7/10 | Jan 25, 2021

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.

Full Review | Original Score: 3/4 | Jan 24, 2021

Amorphous violence explodes in a darkly unsettling tale.

Full Review | Jan 22, 2021

I was not prepared for how mesmerizing this film in terms of the cinematic delivery of such a primal story.

Full Review | Original Score: 8/10 | Dec 26, 2020

The film pulsates with an infectious, unrelenting energy that is both exhausting and exhilarating, enervating yet invigorating.

Full Review | Original Score: 4/5 | Dec 2, 2020

Lijo Jose Pellissery's strikingly visceral descent into primal madness

Full Review | Original Score: 3.5/5 | Sep 23, 2020

Politics runs like a thread through Jallikattu, but the film's intentions are never overt. Even if you watch it simply as a kinetic, exhilarating piece of cinema, it would be a memorably immersive experience.

Full Review | Original Score: 3.5/5 | Jul 16, 2020

Less of an 'animal attack' movie, and more of an 'animal trying to get the hell away from people for obvious reasons' movie.

Full Review | Jun 29, 2020

There are visuals here that you will not be able to get out of your head. This film is only 90 minutes and you're not going to be able to look away.

Full Review | May 18, 2020

It's a simple story drawn from life but elevated by its engaging screenplay that is raw and realistic.

Full Review | Feb 19, 2020

Every minute of this work of great absurdity is infused with so many surprises that you're already planning to watch it again. The film is the answer to those who doubted Pellissery's auteur status.

Full Review | Dec 23, 2019

The challenge for the audience is to simply keep up. Jallikattu is such sensory overload - containing so many crowded images and rhythmic cuts - that we almost need a little distance to fully appreciate what the filmmakers have pulled off.

Full Review | Original Score: 4/5 | Oct 5, 2019

Keralan director Lijo Jose Pellissery takes to his hometown for Jalikattu, a buffalo-on-the-run bloodbath that functions as both a gentle probing of tradition and a rancorous take-down of masculinity.

Full Review | Oct 5, 2019

Consider the idiom "bull in a china shop" put on notice, while "buffalo in an Indian village" waits, hoofs stomping, in the wings.

Full Review | Oct 4, 2019

At times almost an abstract collage of image and sound, the film's opening both sets the scene and ramps up the energy to a level which rarely flags.

It's not a perfect movie, but it is a very interesting one. [Full Review in Spanish]

Full Review | Oct 3, 2019

Jallikattu is alluring, unconscionable, and impossible to avert your eyes from - whether you're engaged with it or hating every second.

Full Review | Original Score: 3.5/5 | Sep 29, 2019

The brilliance of Jallikattu is the coexistence of its diametrically opposing natures. It has a simple story, but it's excruciatingly complex in execution. It's rural, but still crowded with people. Most of all, it's both beautiful and violent.

Full Review | Original Score: 4.5/5 | Sep 24, 2019

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‘jallikattu’: film review.

A rampaging buffalo transforms men into beasts in India’s Oscar submission from Lijo Jose Pellissery.

By Deborah Young

Deborah Young

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In a small village in tropical Kerala in the south of India, civilized society breaks down after a buffalo gets loose and the villagers mindlessly join in the hunt. Veteran director Lijo Jose Pellissery returns to the theme of mob violence he handled so well in the 2017 Angamaly Diaries , which pitted local gangs against each other with tragi-comic flair. There’s nothing funny about the darkly symbolic tale Jallikattu , adapted from a short story by S. Hareesh, which builds dangerous primal instincts into a crescendo of violence, in imagery recalling Indian horror films. The symbolism may be a bit heavy-handed for offshore viewers, though in India the film has won multiple prizes and has been picked as India’s Academy Award hopeful in the International Feature category .

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In a disquieting intro, this Christian town of hot-tempered macho men is depicted as a fevered pack of glutinous carnivores who obsess over their next meal of meat. That includes pork and beef, two products that are frowned upon or even banned in Hindu and Muslim India. Here instead huge shanks of hoofed red meat dangle provocatively on hooks in the open-air butcher shop of surly Kalan Varkey (Chemban Vinod Jose). When a big bull buffalo decides to escape that fate and runs rampaging over cultivated fields, the men of the village are hot at the chase, lusting to kill it.

The Bottom Line Amorphous violence explodes in a darkly unsettling tale.

It’s all quite a disorganized hodge-podge, with the muscular searcher Antony (Antony Varghese, a Pellissery regular) particularly determined to capture it. To be on the safe side, the butcher calls in the ruthless ex-con Kuttachan (Sabumon Abdusamad), who hates Antony’s guts. Clearly a showdown is in sight, and the final scenes of a frenzied mob out for carnage snowball into a nauseating climax.

Twice winner of the best director award at the International Film Festival of India, Pellissery is a leading indie filmmaker with a wide popular and critical following, known for his bold filmmaking and getting the most out of south India settings. But while the location work is colorful and vivid, the characters are not. It’s fair to say that the little village nestled in forestland is far more memorable than its residents, who are barely individualized beyond their roles as the butcher, the priest, the wife-slapper, the ornery out-of-towner.

Anyway, the cast soon merges together into a mob, and as the pace quickens, it’s hard to distinguish who is throwing themselves into free-for-alls or carrying torches through a nighttime forest. So the raw emotion is there, though some nuance and subtlety would have enriched the obvious if always timely takeaway that a mob turns us into primitive savages. While the actors struggle to emerge from the chorus, the one character everybody will be rooting for is the bull, a triumph of old-tech animatronics (think the shark in Jaws ) whose silicon-and-hair body with a stunt man inside is majestic and noble-looking in the midst of the depraved humans. A tip of the hat to production designer Gokul Das and his team.

Another standout credit is Renganaath Ravee’s startling sound design, a skin-crawling sampling of natural sounds, drumbeats and the like that underlie the action like a cave man’s heartbeat.

Production companies: Opus Penta, Kasargod Aadmi Pictures, Chembosky Motion Pictures Cast: Antony Varghese, Chemban Vinod Jose, Sabumon Abdusamad, Jaffer Idukki, Santhy Balachandran, Tinu Pappachan, Vinod Kozhikode, Thomman, Jayashanker Director: Lijo Jose Pellissery Screenplay: S. Hareesh, R. Jayakumar, based on Hareesh’s short story Producer: O. Thomas Panicker Executive producer: Salahudin Naushad Director of photography: Girish Gangadharan Production designer: Gokul Das Costume designer: Mashar Hamsa Editor: Deepu Joseph Music: Prashant Pillai Sound design: Renganaath Ravee World sales: XYZ Films 91 minutes

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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 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.

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REVIEW RATING EXPLANATION

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 LINKS

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Jallikattu Movie Review: A delirious, masterfully-staged thriller

Rating: ( 4 / 5).

I think the best compliment I can give Lijo Jose Pellissery's Jallikattu is that there is no film like that in the world right now. It may share a few qualities with films made in the past, but in terms of innovation and daring, it is very original. It's an astounding piece of filmmaking that relies heavily on craft to take viewers on a furious trip to the very beginning of civilisation. It's a 90-minute illustration of the fact that films can be made in other ways too.

Jallikattu is all about the experience. And so, any attempt to write a synopsis will only prove futile. I guess it can be best described as a chase film, but one that conveys a lot — both said and unsaid — in the process. The last film that did this was George Miller's Mad Max: Fury Road . In Jallikattu , an animal is being chased instead of a man. But it doesn't make much of a difference in the end. As one character mentions early on, it doesn't take very long for the line between man and animal to blur. Jallikattu presents man at his most basic and primitive, devoid of any semblance of civility. The jungle-like setting of the film is straight out of Aguirre: Wrath of God and the raw ferocity is straight out of Apocalypto (minus the Mel Gibson film's penchant for extremely graphic violence).

Director: Lijo Jose Pellissery Cast: Antony Varghese, Chemban Vinod Jose, Sabumon Abdusamad

To give you an idea of the film's mad pulsating excitement, take the climax of Angamaly Diaries and crank it up to ten — that's how crazy Jallikattu is. When a bull breaks free of its captors, led by a butcher named Varkychan (Chemban Vinod Jose), it brings forth a set of parallel events, thereby presenting an opportunity for Lijo to explore some themes in the same way that Korean filmmaker Bong Joon-ho did in last year's Okja (also about an animal's escape and resultant chaos). But where Jallikattu  (based on a short story by S Hareesh) and Okja differ, is the way the two films engage our emotions. While Okja demanded a stronger emotional response from us, Jallikattu is more emotionally distant even though we want the beast to get away from the humans, who get more beastly as the film progresses. The approach here is cold and experimental. The traditional three-act structure is slightly altered to deliver something more organic, which may not work for all. Some may say Jallikattu is more ideal for the festival crowd. But never once does the film feel 'slow' or 'boring' — tags usually reserved for festival films.

Jallikattu puts us in the middle of the unrelenting chaos, all captured smoothly by the extraordinarily talented Girish Gangadharan, whose camera doesn't get to rest very often. It is allowed a few quiet moments of introspection before being hurled into blood, grime, and sweat again. It's like watching an insane baseball game where players' heads crash into each other again and again. Only here, the baseball is the ego. Jallikattu opens and ends with images of flesh, only in two different time periods. My mind immediately raced to the 'Dawn of Man' sequence in Stanley Kubrick's 2001: A Space Odyssey (another emotionally distant but innovative film).

But Jallikattu is also about man's obsession with flesh of a different kind — both of which affect his ability to think clearly. At one point, a butcher-turned-celebrity hunter (Sabumon Abdusamad) tells another butcher (Antony Varghese) that he actually came back not to capture the bull, but to settle an old score with him. The reason is revealed in a flashback. Suffice it to say, a woman is involved. The bull situation also brings other ugly emotions to the surface, like greed. Two separate hunting parties are eager to claim their share of the prize, once it's captured. This is not just a battle of wits but also testosterone, culminating in a stunningly wild finale that evokes a particular sequence from Darren Aronofsky's Mother!

I don't know if any portions from the film were left on the cutting room floor due to the CBFC's interference. There were moments where I sensed the film was much more aggressive than it already is —and believe me, there is a lot of aggression in Jallikattu  — and that somewhere things were slightly toned down to make it more palatable for Indian audiences. If an extended director's cut exists, I would love to see it.

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