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‘Ponniyin Selvan: Part One’ Review: Promising Tamil Franchise Kicks Off With Faithful Take on a Literary Classic

Director Mani Ratnam's blockbuster adaptation of Indian author Kalki Krishnamurthy’s bestselling series of historical novels launches the beloved tale on a suitably massive scale.

By Shalini Dore

Shalini Dore

Features News Editor

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Tamil filmmaking legend Mani Ratnam takes on the formidable task of adapting Indian bestseller “Ponniyin Selvan” as a two-part epic, the first of which released to excellent box office at home and abroad on Sept. 29. Streamlining the source material considerably, this impressive franchise starter — co-written by Ratnam, Jayamohan and Kumaravel — remains mostly faithful to Kalki Krishnamurthy’s five novels, first serialized in the 1950s in the Tamil magazine Kalki before being translated into multiple other languages, including English.

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Vandiyadevan soon falls in with a religious man, Azhwarkadiyan Nambi (Jayaram), another spy who also provides some comic relief. Together, they discover a plot to take the crown from the ailing king Sundara Chola and give it to his nephew, who had been passed over. Among those trying to use Vandiyadevan is the beautiful Nandini ( Aishwariya Rai Bachchan ), who uses her looks to get her husband, commander Chinna Pazhuvettariyar (R. Parthiban).

Things get more involved as the film goes along, of course, but Ratnam keeps the different strands moving at a fast enough pace so that you don’t notice the nearly three-hour running time. Nor does it matter that the titular Ponniyan Selvan doesn’t make an appearance until nearly the intermission.

DP Ravi Varman does justice to the sweep of the story, while CG battle scenes are staged like set-pieces from the “The Lord of the Rings” trilogy, a comparison underscored by Rahman’s soaring music. The below-the-line work is top-notch throughout — not just with camera and music, but also in the production design (Thotta Tharani). The Cholas were famous for the temples they built, with the Thanjavur temple standing even now as a testament to their artistry.

Augmented with excellent visual effects, sets representing the city of Thanjavur, the new city of Kanchi and Sri Lanka, bring to life Kalki’s prose that enchanted so many readers. Similarly fine attention to detail went into the costume design, hair and makeup, as well as the jewelry (pieces of which are now offered on sale) for not only the princes and other nobles but also the ladies from Nandini to the princess Kundavai (Trisha Krishnan).

Ratnam has always had a knack for drawing out the best performances from Rai Bachchan (with whom he collaborated on “Iruvar,” “Guru” and “Raavanan”), doing so once again in the star’s first screen role since 2018, even if her dialogue is spoken by Deepa Venkat. In the role of Vandiyadevan, Karthi brings exuberant action to the film; Ravi charms as Arunmozhi; and Vikram and Parthiban exhibit dangerous intent. Rai Bachchan is suitably scheming, as is Krishnan as the princess who only cares about the Chola kingdom and is jealous (with reason) of Nandini’s beauty and ability to beguile.

The film ends on a cliffhanger. While not yet shot, Part Two has been announced and is expected to be released in 2023.

Reviewed at Norwalk AMC Theaters, Los Angeles. Oct. 9, 2022. Running time: 166 MIN.

• Production: (India) A Red Giant Movies release of a Madras Talkies, Lyca Prods. production. Producers: Mani Ratnam, Subaskaran Allirajah.
• Crew: Director: Mani Ratnam. Screenplay: Mani Ratnam, Jayamohan, Kumaravel, based on the novel "Ponniyin Selvan" by Kalki Krishnamurthy. Camera: Ravi Varman. Editor: A. Sreekar Prasad. Music: A.R. Rahman
• With: Vikram, Jayam Ravi, Karthi, Aishwariya Rai Bachchan, Trisha Krishnan, Sobhita Dhulipala, Aishwarya Lekshmi, Jayaram, Vikram Prabhu, Sarath Kumar, R. Parthiban, Prabhu, Prakash Raj, Nassar. (Tamil dialogue)

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Ghilli Movie Review: On the big screen, after 20 years, Dharani’s ‘Ghilli’ still works better than most hero-oriented movies made today

• 28 Apr 2024
• Release Date: 20 Apr 2024
• 2:47:00 Hrs

Ghilli Movie Cast & Crew

Let’s go back to April 17, 2004, the day  Ghilli  was released. The new millennium had seen the emergence of a new generation of filmmakers: Bala in December 1999 (so you can cheat a bit and include him among the millennial directors), Gautham Vasudev Menon in 2001, Ameer and Selvaraghavan in 2002. But even amidst this change, the good old  masala -action movie ended up thriving, and Dharani was one of its major champions. He made a mark with  Dhill  in 2001, delivered a bigger blockbuster with  Dhool , in 2003, and he scored a hat-trick with  Ghilli . Despite the new-age directors and their new-age films, the  masala  movie clung on and remained the go-to genre if you wanted to become a big hero. Vikram was praised for  Sethu , but  Dhill  refashioned his image, just like  Run  refashioned Madhavan’s image, and  Thirumalai  and  Dheena  refashioned the images of Vijay and Ajith.

I still remember the excitement of watching some of these films in a theatre, with a much blacker beard. The pace was different from, say, the Vijayakanth and Arun Pandian action movies. The camerawork and the choreography felt new. The sentiment was handled in a fresher, more irreverent fashion. And with this new breed of action stars, the films felt younger, and they were not afraid to be silly in order to draw laughs even as they got serious whenever needed. And best of all, there was a sense of inventiveness. Take Ghilli, for instance, which was adapted from Gunasekhar's  Okkadu , starring Mahesh Babu and Bhumika Chawla. The excellent Telugu version was essentially one long chase, and the romance did not happen until the movie was almost over. You’d have thought they’d make changes for the Tamil remake – but no!

There is no major face-reveal shot for the hero. The hero saves the day, sure, but he is not the superhero from today’s “mass” movies. There is still a semblance of narrative arcs and character arcs. The villain is both comic and cruel. Watching Prakash Raj play one of his most famous parts, I was reminded of how Fahadh Faasil’s character was designed in  Aavesham . We’re watching a similar blend of an OTT cartoon and a killer. Best of all, the conflict has already begun before the hero is in the picture. The fact that Prakash Raj’s character loves his “ chellam ”, played by Trisha, is something that has been going on long before she accidentally bumps into the saviour-hero, played by Vijay. Seen today, it’s remarkable that Trisha and Vijay – as Dhanalakshmi and Velu – hardly get any scenes alone. Even her name is never mentioned to him. He sees it for himself in her certificates. 

It’s the same about her backstory. In order to keep things moving, Dhanalakshmi tells Velu about her tragedies in the midst of the explosive  Arjunaru villu  song sequence – so we never hear her speak to him about anything but the most practical matters. (And of course, we must add that all of Vidyasagar’s songs are explosive, especially  Appadi podu . This was played so much on the TV music channels of the time that I even recognised the faces of the background dancers.) This aspect of abandoning any scene that might hint at a romance serves Vijay very well. The playful, boyish-hero persona is maintained from start to finish. Velu is a champion  kabaddi  player. To him, saving Dhanalakshmi is like another game. To him, winning means getting her away from the bad guy, not getting her to love him. Vijay is in great form, and frankly, I was relieved – then and now – that he switched tracks from those  Kaadhalukku Mariyadhai- type weepies. Sorry guys, I know some of you are fans. But those films are a little too good-hearted and noble for my taste.

A memorable hero. A memorable non-love track with the heroine. A memorable villain. Memorable songs. A super-memorable interval block.  Ghilli  has it all. Even the opening fight is memorable. Seen today, the execution may seem crude, but look at the ambition, the imagination. It’s not just the lazy “one punch sends a henchman flying”-type stunt scene we see even today, sadly. The parkour-style action (long before  Casino Royale  made parkour-style action cool in 2006) happens on a terrace. There’s the danger of traffic below, and almost every bit of building structure is used as a prop. Even the non-action writing is interesting. You think Dhanalakshmi is going to get eve-teased in a scene, but she runs into a cop, and that turns into a domestic comedy sequence, and then – in the blink of an eye – we switch to a father-son chase across rooftops.

Of course, a lot of this credit goes to the Telugu original – but Dharani keeps the engine running smoothly. And there’s enough of a difference between the way Mahesh Babu and Vijay play the protagonist. Watching the two films side by side is to watch two actors in the early stages of becoming huge action-stars, and a lot of what we see of Vijay and Mahesh Babu today goes back to  Ghilli  and  Okkadu . I left the theatre with a slight sadness. Twenty years ago, “writing” was still a major component of the  masala  movie. It was not just about showcasing the hero, giving punch dialogues, doing steps to a random duet, so on and so forth. Yes, the passage of time does show on  Ghilli  – there were a few parts that did not work. And I really wish the film had been shot and staged with the bigness of  Okkadu . But overall, no complaints! This might still be the best Tamil  masala  movie we may get in theatres this year.

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Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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A family heads to a secluded beach vacation. They speak vaguely of the passage of time in a way that parents often do with their children, as mom mentions how she can’t wait to hear her daughter’s singing voice when she grows up. Shortly thereafter, it’s revealed that mom may not be able to do that because she has a tumor and this could be a "last trip," either because of her physical health or the health of her crumbling marriage. The passage of time changes at different points in your life, but especially when you see your kids growing up too fast and when you worry you might not be able to witness the bulk of their journey. When M. Night Shyamalan’s “Old,” based on the book by Pierre-Oscar Lévy and Frederick Peeters, is playing thematically with those feelings and allowing itself to be surreal and scary in the process, it truly works. When it feels like it has to nail down specifics, such as in a disappointing final stretch, it crosses that median line into the silly lane. The mysteries of aging are something everyone considers—“Old” taps into those considerations with just enough style to engage before stepping back from its own edge.

The family in the opening scene consists of Guy ( Gael García Bernal ), Prisca ( Vicky Krieps ), Trent ( Nolan River ) and Maddox ( Alexa Swinton ). The resort manager tells them about a secluded beach where they can avoid the touristy crowds, and they’re taken there by none other than Shyamalan himself in maybe his most meta cameo (after all, he’s the director, assembling all of his players on the sandy stage). Guy and Prisca’s clan isn’t alone. They’re joined by a doctor named Charles ( Rufus Sewell ), his wife Chrystal ( Abbey Lee ), his mother Agnes ( Kathleen Chalfant ) and his daughter Kara ( Mikaya Fisher ). A third couple joins them in Jarin ( Ken Leung ) and Patricia ( Nikki Amuka-Bird ). All of the travelers meet a mysterious traveler at the beach when they arrive in a rapper named Mid-Sized Sedan ( Aaron Pierre ). And why is he bleeding from his nose? And is that a dead body?

From their arrival, the beauty of this beach, surrounded by steep stone, feels threatening. The waves crash and the rock wall almost seems to grow taller as the day goes on. When they try to walk back the way they came, they get faint and wake up on the beach again. And then things get really weird when Trent and Maddox are suddenly significantly older, jumping about five years in a couple hours. The adults figure out that every half-hour on this beach is like a year off of it. As the kids age into Alex Wolff , Eliza Scanlen , and the great Thomasin McKenzie , the adults face their own physical issues, including hearing/vision problems, dementia, and that damn tumor in Prisca’s body. Can they get off the beach before 24 hours age them 48 years?

What a clever idea. Rod Serling would have loved it. And “Old” is very effective when Shyamalan is being playful and quick with his high concept. “Old” doesn’t really feel like a traditional mystery. I never once cared about “figuring out” what was happening to this crew, enjoying “Old” far more as surreal horror than as a thriller that demanded explanations. Having said that, it sometimes feels like Shyamalan and his team have to pull punches to hold that PG-13. I wondered about the truly gruesome, Cronenberg version of this story that doesn’t shy away from what happens to the human body over time and doesn't feel a need to dot every 'i' and cross every 't'.

The actors all seem like they would have been willing to go on that more surreal journey. Most of the ensemble finds a way to push through a script that really uses them like a kid uses sand toys on a beach, moving them around before they wash away with the tide. Stand-outs include Sewell’s confused menace, McKenzie’s palpable fear (she nails that the best, by far, understanding she's in a horror movie more than some of the others), and the grounded center provided by Bernal and Krieps.

A director who often veers right when he should arguably go left, Shyamalan and his collaborators manage their tone here better than he has in years. Yes, the dialogue is clunky and almost entirely expositional regarding their plight and attempts to escape it, but that’s a feature, not a bug. “Old” should have an exaggerated, surreal tone and Shyamalan mostly keeps that in place, assisted greatly by some of the best work yet by his regular cinematographer Mike Gioulakis . The pair are constantly playing with perception and forced POV, fluidly gliding their camera up and down the beach as if it’s rushing to catch up with all the developments as they happen. Some of the framing here is inspired, catching a corner of a character’s head before revealing they’re now being played by a new actor. It’s as visually vibrant a film as Shyamalan has made in years, at its best when it's embracing its insanity. The waves are so loud and the rock wall is so imposing that they almost feel like characters.     

Sadly, the film crashes when it decides to offer some sane explanations and connect dots that didn’t really need to be connected. There’s a much stronger version of “Old” that ends more ambiguously, allowing viewers to leave the theatre playing around with themes instead of unpacking exactly what was going on. The conversation around Shyamalan often focuses on his final scenes, and I found the ones in “Old” some of his most frustrating given how they feel oppositional to what works best about the movie. When his characters are literally trying to escape the passage of time, as people do when their kids are growing up too fast or they receive a mortality diagnosis, “Old” is fascinating and entertaining. It’s just too bad that it doesn’t age into its potential.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Rated PG-13 for strong violence, disturbing images, suggestive content, partial nudity and brief strong language.

108 minutes

Gael García Bernal as Guy

Vicky Krieps as Prisca

Rufus Sewell as Charles

Alex Wolff as Trent Aged 15

Nikki Amuka-Bird as Patricia

• M. Night Shyamalan

Writer (based on the graphic novel "Sandcastle" by)

• Pierre-Oscar Levy
• Frederick Peeters

Cinematographer

• Mike Gioulakis
• Brett M. Reed
• Trevor Gureckis

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Old movie review: Cliche characters, questionable calls mar this M Night Shyamalan film

Old movie review: by the time the film comes around to its point, takes a pause and almost becomes beautiful, it is too little, too late..

Old movie cast: Gael García Bernal, Rufus Sewell, Alex Wolff, Thomasin McKenzie, Abbey Lee, Aaron Pierre, and Emun Elliott Old movie director: M Night Shyamalan Old movie rating: 2 stars

A child who sees dead people; a man who can’t be broken; a father standing guard over his family. M. Night Shyamalan has made his name giving us horror films where our hearts throb, and more than once skip a few beats, caring for those on screen.

In Old, unfortunately, Shyamalan lets that take a backseat to terror tricks, cliche characters, questionable calls, bad acting, and some really, really trite dialogue.

Based on a French graphic novel, the film has been adapted to the screen by the director. It starts from a mystery luxury resort where an assortment of families have gathered, bearing troubles of own. The slightly intrusive concierge picks a few of them to send on an adventure to a secret “nature preserve”/island, telling them what a privilege that is.

The Capa family (mother with a mysterious illness, headed for divorce with father, and two loveable children) are among those chosen. Along for the ride are a senior doctor, his beach wife, a kid and mother.

Soon as they land on the island, things start going wrong, bodies start turning up, people start feeling differently. And, because you know it from the trailers, you are not surprised at what is supposed to be the big reveal of the film — though framed rather nicely by Shyamalan — that something about the island is making those on it age at a fast, fast rate.

The film is quite set on the professions of its varied characters, and more than once, each of them repeats it for effect. So, with a doctor and a museum expert who has seen excavated bodies before (as she spells it out), the group figure they are ageing at the rate of two years per hour.

The most drastic changes are in the kids. So not only do they outgrow their swim suits, but two of them make out, get pregnant, and deliver — in super quick time. Shyamalan plays this for laughs, almost, with a child whose organic age is around 4 put through the experience, as the “boyfriend” exclaims loudly that he thought it took “doing it 10-11 times” for that to happen. No, child, the father explains, it takes just one.

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That’s not the only bodily invasion. The museum expert has her tumour removed as an incision is kept open by three-four people forcibly by hand (since time is speeded up, so is healing).

Several attempts are made to escape, not really thought through. Several exhortations are made to stick together, not really thought through. Eventually, by the time the film comes around to its point, takes a pause and almost becomes beautiful, it is too little, too late.

Time, we realise, is ephemeral. Looks don’t last. Families are everything. And love will keep us alive. (Though the film goes beyond the graphic novel here in Shyamalan’s attempt at a twist.)

But, first, one must love. Luxury resorts with a nosy concierge? We had a good one recently in Hotstar series White Lotus, a sharp commentary on well-meaning elites, their woke offspring, and the system that sustains both. Mystery vacations to cure troubled souls? Nine Perfect Strangers is streaming currently, offering us a vapid glimpse.

You would be better off watching either.

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On Monday, 96 constituencies in 10 states and Union Territories will vote in the second half of the Lok Sabha elections, bringing the total number of seats to 379. Along with the Lok Sabha elections, Assembly elections will also be held in Andhra Pradesh. In 2019, the BJP won the most seats (42) followed by the Congress (6), while several non-aligned parties also won a significant number of seats.

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• What is the release date of 'Old'? Release date of Thomasin Mckenzie and Rufus Sewell starrer 'Old' is 2021-07-23.
• Who are the actors in 'Old'? 'Old' star cast includes Thomasin Mckenzie, Rufus Sewell, Embeth Davidtz and Abbey Lee.
• Who is the director of 'Old'? 'Old' is directed by M. Night Shyamalan.
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• 49 Metascore

• Nick Shymansky

• Perfume Paul
• Great Auntie Renee

• Uncle Harold
• Auntie Melody

• All cast & crew
• Production, box office & more at IMDbPro

The Big List of Summer Movies

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• Trivia Marisa Abela had done most of the singing in this film herself. She trained extensively to mimic Amy Winehouse 's vocals.

Technical specs

• Runtime 2 hours 2 minutes

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