ps1 movie review blue sattai maran

Ponniyin Selvan - 1 Review: Exhilarating And Enriching, With Impressive Performances By Vikram And Cast

Ponniyin selvan - 1 review: the sprawling, spectacularly mounted film is an ambitious, near-flawless adaptation of a much-loved literary work.

A still from Ponniyin Selvan 1 trailer. (courtesy: Tips Tamil )

Cast: Vikram, Aishwarya Rai Bachchan, Trisha, Jayam Ravi, Karthi

Director:  Mani Ratnam

Rating: 4 stars (out of 5)

Shrinking a complex five-volume novel into a two-part movie is mean feat. It takes gumption. A whole lot of it. If any director has that attribute in the requisite measure, it is Mani Ratnam. Ponniyin Selvan - Part 1 , a period epic that is vast in scale and varied in visual scope, is proof.

The sprawling, spectacularly mounted film is an ambitious, near-flawless adaptation of a much-loved literary work that demonstrates exactly why it has been a movie project so daunting that the likes of M.G. Ramachandran and Kamalahasan could only make abortive attempts at putting it together.

Needless to say, the tale makes huge technical and artistic demands on Ratnam and his cast and crew. They prove equal to the onerous task of attaining the magnitude, the pacing and the stylistic flourishes that the story demands and available image-making technology allows.

That certainly does not mean that the veteran director surrenders himself lock, stock and barrel to the lure and power of computer-generated imagery. Ratnam is too good a craftsman and storyteller to over-rely on the razzle-dazzle of the kind of unbridled visual effects that have driven recent Indian blockbusters such as Baahubali, RRR and KGF.

Ratnam does not resort to sensory or visceral overdrive, drawing strength instead from the smart script written by him, B. Jeyamohan and Elango Kumaravel and from a cast of actors at the top of their game. PS-1 is a treat for the eyes as much as it is for the mind.

He abjures VFX excesses and grounds the historical fiction in a realistic zone to achieve the goal of capturing the massive sweep of Kalki Krishnamurthy's cult 1955 novel that traces the era of the Cholas.

It has taken six and a half decades for the story to make it to the big screen. The wait has been worth it. The Tamil-language PS-1 has versions dubbed in Hindi, Telugu, Kannada and Malayalam running in theatres nationwide.

In the 167-minute Ponniyin Selvan - Part 1 , some passages seem a tad rushed because the introduction of a panoply of characters and the exposition of historically dense details have to be crunched into a couple of three-hour films.

Editor A. Sreekar Prasad, whose oft-proven skills are tested to the severest, ensures that the story has just enough breathing spaces for it not to keel over into occasional incomprehensibility.

Once the prelude is out of the way and all the major characters have been lined up, PS-1 gets into the swing of things. It presents a phenomenally smooth ride through an exciting series of events - fierce battles, palace intrigue, lost love, vanquished soldiers seeking revenge, brave resistance - that records the high points of Chola history in a manner that is both tangible and texturally immersive.

The most noteworthy aspect of PS-1, besides the consistently impressive performances by a cast led by Vikram and brilliantly propped up by Karthi, Aishwarya Rai Bachchan, Jayam Ravi and Trisha, among others, is the production design by Thotta Tharini and the well-considered choice of locations lensed brilliantly by cinematographer Ravi Varman. The story unfolds in spaces that are eye-popping without being fantastical in the way that settings of historical epics of this nature usually tend to be.

PS-1 invokes the spatial attributes of the tenth century to perfection - be they structures made of stone, interiors of forts and palaces or ships and boats out at sea. But at no point do the images look like they have been crafted on the computer. PS-1 is a marvellously tactile film that stays rooted in a specific period without having to create improbable, cardboard cut-out sets suspended somewhere between a puerile understanding of design and a puerile imagination.

Similarly, the film's dramatis personae - the ailing Emperor Sundar Chola (Prakash Raj) and his three offspring, Crown Prince Aditha Karikalan (Vikram), his younger brother Arulmozhi Varman (Jayam Ravi, who appears late in the film in the guise of the titular character) and sister Kundhavai (Trisha), and their aides and adversaries within and without the kingdom - are never less than human.

They deal with palpable emotions even as they grapple with challenges of grand proportions. The characters, be they Chola royalty or men of common stock, sound believable even when they are in declamatory mode, moving seamlessly from uncommon wisdom to chatty banter.

With the air of outright make-believe masterfully reined in, PS-1 is a historical saga that draws the audience in without resorting to the conjurer's art. Its magic lies purely in its layered cinematic qualities.

Mischief is afoot in the expanding Chola empire with Nandini (Aishwarya Rai Bachchan), wife of the scheming finance minister Periya Pazhuvettaraiyar (R. Sharathkumar), having vowed to destroy the kingdom. She holds a personal grudge against her one-time lover Aditha Karikalan.

The conspiracy, of which the finance minister's brother and the Tanjore Fort's in-charge Chinna Pazhuvettaraiyar (Radhakrishnan Parthiban) and a host of royal chieftains are a part, is aimed at overthrowing Sundar Chola and putting his nephew Madurantaka (Rahman) on the throne.

Sensing the grave danger that lies ahead, Aditha Karikalan sends his best friend and trusted aide Vandhiyathevan (Karthi, who steals almost the entire first half of the film thanks to the character's gift of the gab and amorous antics) with a message for Emperor Sundar Chola.

The courageous and cheerful Vandhiyathevan dodges elements in the court of the king as well as of survivors from a defeated Pandiyan army who are out to avenge their slain king Veerapandyan.

While power-hungry or jilted-in-love men to a great deal of the talking, PS-1 is true to the source material in that it accords equal significance to the women in the story. Besides the beauteous and strong-willed Nandini, the tough and clear-headed Chola Princess Kundavai plays an important role as the story progresses.

Kundavai is not only sent by her father to pacify her elder brother Aditha Karikalan, she also instructs Vandhiyethevan to travel to Sinhala kingdom with a message for her brother Arulmozhi. Two other women in the plot - Vaanathi (Sobhita Dhulipala), who dreams of marrying Arulmozhi, and boatwoman Samuthirakumari (Aishwarya Lekshmi) - do not have as much to do in this part of the magnum opus. More is probably in store for them in the sequel.

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Action-packed and eventful, the first part of the drama winds up at a point of the story that leaves many questions unresolved and points to what could form the core of Ponniyin Selvan - Part 2, scheduled for release in 2023. The film inevitably packs too much into too little time but it never fails to look and sound - A.R. Rahman's songs and background score constitute the backbone of the sound design - like a meticulously conceived and executed work of cinema.

PS-1 i s both exhilarating and enriching. Another dose would be just perfect.

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Anti Indian Movie Review: A scathing satire that doesn’t take sides

Rating: ( 3.5 / 5).

Not just fortune, even Tamil audiences favour the bold. Irrespective of the content’s quality, anything fearless -- be it an intimate romantic scene or a bunch of expletive dialogues -- that a filmmaker manages to get on the final cut after censor is mostly met with praise. Hence, I am sure Anti Indian , the directorial debut of YouTuber 'Blue Sattai' Maran, will be hailed because being unabashedly bold is its USP. It revels in its crudeness and audacity at the cost of being schematic and oversimplified. There are no ' kuriyeedu ' as everything is pretty straightforward and brazen - much like his reviews.

Director: Blue Sattai Maran

Cast: Jayaraj, Blue Sattai Maran, Radha Ravi, Aadukalam Naren, Muthuraman, Ghilli Maran, Vijay TV Bala

Anti Indian opens with a close-up of the face of Basha (Blue Sattai Maran). He has been murdered by unknown people for unknown reasons. The film or the characters don't bother much about finding the culprits. It is intentional and leaves us with a lot to ponder about. After a long delay, his brother-in-law Ezhumalai (Jayaraj), a local upcoming politician, gets the body for burial. If you wonder how ‘Ezhumalai’ is brother-in-law to ‘Basha’, it’s because the latter’s mother is born Hindu while his father is a Muslim. Due to the mixed religious identity of Basha, his body is neither accepted in a Muslim burial ground nor a Hindu crematory ground.

Parallelly, we see how the Chief Minister (Radha Ravi) and the police department are preparing for an upcoming by-election, which they are most likely to lose. While the opposition has the upper hand, superstar actor ‘Kabali’ can tilt the scale. So, the CM and the police have to come up with a plan to either win or stop the election altogether. The sequences involving the CM and the police officials create a sense of uneasiness because they discuss sinister plans with a matter-of-fact demeanor. As the issue of Basha’s body gets a bit of media attention, these men in power plan to use it for their benefit.

Since the massive Jallikattu protest of 2017, Tamil cinema has been increasingly toying with the idea of political conspiracy and police brutality. Yet, most of the films do so with a sense of caution. Even the recent blockbuster Maanaadu , which trods a similar route, was more about entertainment and less about the conflicts. That’s where Anti Indian distinguishes itself from the rest. This film doesn’t mince words. It is always on your face. Ezhumalai bears a saffron tilak on his head. His party leader is named Raja. However, it doesn’t take any side. It paints the Hindus, Muslims, Christians, media, police, and everyone in the film with the same brush. In a way, that turned out to be a concern as the voice of the director is unheard in the films as it is perennially making criticisms. Perhaps, the nameless, black-clad character (Ghilli Maran) is the voice of the director, who has no stake in the narrative other than taking digs at people. He wanders around asking problematic questions like the one he asks Ezhumalai: “How come all the leaders in your party are fair and the followers dark?” However, I wondered for all its boldness,  the film steered away from touching upon the caste issues. It cannot be a slip but a conscious decision for a filmmaker, who wants to make everything his target.

As far as Maran’s craft goes, the making is as straightforward as his ideas. With a limited budget, he has pulled off a decent film that seldom cares about nuances. There are no fancy shots or compositions that cry for attention. Aesthetically, Anti Indian might look inferior, but it compensates for it with content. All the film cares about is the story and I liked how it is mostly shown rather than told. There are expositions, but they are decently executed. I liked the idea of juxtaposing the impromptu gaana singing session at the funeral with police and politicians devising evil plans. It reminded me of Kaala ’s climax - maybe it was supposed to. However, there are tonal inconsistencies. Predominantly, the film tries to be a satire, but at times, it becomes more sober and realistic. Yet, by the end of Anti Indian , I found myself thinking about the unprecedented boldness of the film more than anything else.

As a YouTuber, Maran is notorious for his brazen and impertinent take on films, directors, and actors. Now, as a filmmaker, he goes for the men of religion, politics, and power with the same unabashedness. Anti Indian is an important film that sets a new benchmark in freedom of expression in Tamil cinema irrespective of whether or not one agrees with the film’s tone and idea.

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Home » Review » Anti Indian movie review: Blue Sattai Maaran's film, which is a bold take on religious anarchy, deserves a better making »

Anti Indian movie review: Blue Sattai Maaran's film, which is a bold take on religious anarchy, deserves a better making

What makes the unusual and hard-hitting plot interesting in parts is its no-hold-barred depiction aided by effective dialogues

A poster of Anti Indian

• Thinkal Menon

Last Updated: 07.25 PM, Dec 09, 2021

Story: Baasha, a political street artist, has been gruesomely murdered by unidentified assailants. Being a Muslim, his relatives and friends take his body to bury it in a nearby mosque. However, the mosque officials refuse to bury Baasha's body as the deceased never followed any religion apart from the fact that his mother is a Hindu. 

His acquaintances take his body to a burial ground where Hindus are cremated. But the officials there disagree to cremate him citing his religious identity. A Christian clergy, too, becomes a part of the commotion by claiming that Baasha's body belongs to their religion as the mother of the deceased had converted to Christianity a while ago. 

Review: Anti Indian is quite an unusual and catchy title for a movie, given the fact that the term is often used in a derogatory manner on social media by many to purposefully offend and provoke those with a different opinion when it comes to topics of national interests. 

With YouTuber Elamaran aka Blue Sattai Maaran making his directorial debut with the movie, all eyes are on him from the time the project was announced, thanks to the popularity his scathing film reviews have garnered over the years among Tamil movie buffs. A political satire, Maaran has attempted an out-of-the-box idea with the film.

The movie begins with the close up shot of Baasha's (played by Maaran himself) dead body, followed by an establishment shot of his mother and other acquaintances grieving over the unfortunate incident. Baasha, a political street artist and a known figure among local politicians, has been murdered by unknown goons.

Post the official police inquiry, his friends and relatives take his body to a mosque to bury it. But the officials there disagree to bury his body there as, the deceased, according to them, is someone who doesn't practice any religion. They also point out the fact that Baasha's mother is a Hindu, another reason for them not to allow his burial there.

This leads to a small communal tension which is nipped in the bud by a few cops. Upon the suggestion of an opportunist right wing politician, they take back his body and decide to bury it at a cremation ground which is meant for Hindus. 

But little did they expect that they would be disappointed this time, too, as the official there expresses his disapproval for burying the body of a Muslim. A group of Christians enter the scene, under the leadership of a priest, and start claiming the body of Baasha as the mother of the deceased had converted to Christianity sometime ago.

Despite several people in the film industry waiting to malign him, it was bold of Maaran to take up a story that would face the wrath of the Censor Board. The movie, which obtained U/A certificate, in spite of facing various troubles with the censor formalities, has managed to release with just one dialogue muted in it. 

With an unusual, never-before-heard subject, Maaran threw light on the religious anarchy prevailing in the society. How organized religions can manipulate the fate of people and the extent to which they degenerate shamelessly have been depicted in an engaging manner. The film also tries to make a statement on who the real anti Indians are in our society. Moreover, it is quite spine-chilling to believe that the sequences in the film are based on a real incident.

The hilarious, but thought-provoking dialogues and racy first half stand out in the film in which Aadukalam Naren, Radha Ravi, Charles Vinod, Jeyaraj and Muthuraman have come up with realistic and gripping performances. The no-holds-barred portrayal of religious leaders taking law in their hands and inciting violence deserves praise.

However, the latter half of the film falters due to excessive dialogue-oriented sequences, repetition of gaana songs and strictly okayish making. A religious riot which occurs at a crucial part of the film appears staged because of which the impact it was supposed to leave gets affected.

The long aerial shots which appear towards the beginning of the film was a treat to watch. The background score, however, could have been more effective. Had the latter half and making been more gripping, the movie would have been a wholesome entertainer.  

Verdict: Though the political satire is engaging only in parts, the filmmaker deserves praise for handling hard-hitting plot.   

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Anti Indian Movie Review (2021)

• Anti Indian

Blue Sattai Maran's Anti Indian Movie Review

Anti Indian Movie Cast & Crew

Popular YouTube film reviewer, Blue Sattai Maran, who is known for his controversial movie reviews, has turned into a filmmaker with Anti Indian which has hit the screens today. Maran has written and directed the film and he has also scored the music.  Has Maran passed the litmus test? Check out!   

STORY: Anti Indian follows the story of Baasha (Blue Sattai Maran), a wall painter, whose mortal remains is not allowed to be cremated due to various reasons. The situation becomes the talk of the town and the politicians and our system make good use of the situation to their advantage. What was the fate of Baasha's mortal remains forms the rest of the plot of Anti Indian. 

SCREENPLAY, DIALOGUES, & DIRECTION:  Blue Sattai Maran shows good promise as a writer as the film has an interesting content that manages to hold our attention for a reasonable duration. He weaves his ideologies neatly into the screenplay, thereby writing some thought provoking dialogues. The occasional commentary on contemporary politics is sure to make a connection with the masses. The lines about today's media and religious politics hit the right chord. The writing is fresh, the premise is interesting, the conflict offers enough scope for drama, and everything with regards to the writing part is fairly decent. Anti Indian has an engaging first half with some good drama.  

On the flip side, Anti Indian has a faltering second half that doesn't have cohesiveness. There is one good scene, followed by an uninteresting scene and a needless gana song, and sequences like these make the second half quite problematic. The film would've stayed crispier if Maran had cut short the gana songs sequences as it goes a little too overboard. Also, the final chaos looked force-fitted and didn't completely blend along with the movie. The criticisms/dig on certain religions might not land well with the people and it is going to be a debatable topic. Maran could have lent more focus on the direction aspect of the movie as that is where the film majorly falls flat. The film needed an effective execution with an engaging screenplay in the second half and that would have made Anti Indian more complete.   

CAST:  Anti Indian does not have a lead character as such. Aadukalam Naren as a police officer leaves his stamp neatly. Radha Ravi appears in a role that is a cakewalk for him. 'Super Deluxe' Ramana, 'Vazhakku En' Muthuraman, and Velu Prabhakaran do their part well. Due credits to Jayaraj and Karna Raja who played 'Ezhumalai' and his leader respectively  - both of them deliver impressive performances. The other actors don't really leave a mark. 

TECHNICAL:   Maran's background score is functional, managing to lend support to the scenes. Visually, Anti Indian is inconsistent and one is not sure if that is due to the limited resources and low budget. The lighting lacks depth and more work could've gone inside that. The film seems to have been made on a shoestring budget and the visuals are suggestive of that. The edit looks neat in a few places and lacks smoothness in a few places.

SO? With an entertaining first half and an inconsistent second half, Anti Indian is a mixed bag!

Verdict Anti Indian definitely has flaws, but can be watched for its interesting content and bold dialogues. 

Galatta Rating: ( 2.5 /5.0 )

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‘Anti-Indian’ stands as a testimony to Director ‘Blue Sattai’ Maran’s courage. Not many would have chosen to do what he has done – respond to a challenge thrown at him by those offended by his reviews and accept to make a film to show that it is not as difficult to make a meaningful film as it is made out to be.

Not just that. Maran’s courage is again evident from the sensitive subject he has chosen to deal with in his debut film. ‘Anti-Indian’ shows up unapologetically the manipulative games religious and political leaders play for their selfish gains.

The film starts off with a murder taking place in a constituency that is gearing up for a by-election. The murdered man is identified as Basha (Blue Sattai Maran) and we are told that while Basha’s late father is Ibrahim, his mother Saroja (Vijaya Mami) is a Hindu.

Interestingly, Saroja has now converted to Christianity and has changed her name to Lourdu Mary. The problem starts when Basha’s body is taken for burial.

His body is not permitted in the Muslim burial ground because he was not a practising Muslim. The Hindus refuse his body as it is that of a Muslim. As the body is taken from place to place, religious leaders of all hues, with their own agendas, begin to play manipulative games. Even as this continues, politicians who are looking to win the election, join in with their own deadly plans.

The film takes hard shots at everybody without holding back anything. From religious leaders of all denominations to political bosses, everybody’s agenda is exposed. The film’s biggest strength comes from its script and its dialogues, some of which really stand out.

For instance, there is this scene towards the end where a commoner says: “You had one body and you killed 13 people with it. Now, you have 13 bodies. One wonders what all you are going to do now.”

Technically, ‘Anti-Indian’ is below par. It has no entertainment value. Its visuals aren’t great. The only songs in the film are ‘gaana’ songs, which, after a point, become annoying.

Granted, the director is trying to showcase the exhaustion that even ‘gaana’ singers who are brought in to mourn experience because of the delay in burying the body. But for the viewers, it becomes a tad too much.

As a story, ‘Anti-Indian’ has a very pertinent point to make. But as an entertainer, it has almost nothing to offer.

If you are the sort who enjoys a story that is radically different from your regular kind of films and don’t mind sacrificing commercial elements for a strong message, then ‘Anti-Indian’ is likely to work for you.

But with all its flaws, one must still say that ‘Anti-Indian’ works for the simple reason that this is a brave new attempt into unchartered waters by a debut director.

Movie: Anti-Indian Duration: 123 minutes Director: Blue Sattai Maran Cast: Blue Sattai Maran, Radha Ravi, Naren, Vazhakku En Muthuraman, Vijaya Mami and Jayaraj

–By Manigandan K R

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Some Lesser Known Facts About Blue Sattai Maran

• Blue Sattai Maran is an Indian film director, film critic, and social commentator. He is popular for his unique style of film reviews in Tamil cinema. He is also known for donning a signature blue shirt throughout his film review sessions.
• He grew up in Pudupettai, Chennai, where he studied up to class 8.
• After he was thrown out of his school, his father presented him with two options: either enrol in a different school or join his uncles in the film distribution business based in Madurai. Due to his profound love for films since childhood, he opted to join his uncles.
• In 1976, at the tender age of 7, Maran embarked on a cinematic adventure by watching the 1957 film “Manaalane Mangaiyin Baakkiyam.” During an interview, he shared how he was captivated by the image of a snake on the movie’s poster and the allure of the magical elements within. He also expressed that the film took him on a whirlwind journey of emotions.
• Blue Sattai Maran stepped into the Tamil film domain at the age of 15, engaging with his uncles’ film distribution enterprise.
• Before long, Sattai and his three siblings embarked on their own journey into the film distribution realm, establishing their own company. Yet, they couldn’t sustain their presence within the industry.
• Subsequently, Maran attempted his hand at several business ventures, all of which met with failure.
• Later, he got involved in the production team of various Tamil films such as “Vel” (2007), “Seval” (2008), and “Lingaa” (2014). Additionally, he joined Ram Babu Productions, contributing to the team’s efforts across 23 Kannada films.

The manager gave me two envelopes and some money to give to two Tamil newspapers. They were press releases. They read: ‘After the ‘super hit’ (movie name), the ‘actor’ will next be seen in ‘upcoming movie’. I just couldn’t take it! I turned to the manager and asked if he has a heart and how he can call this movie a super hit. For that, he told me not to worry and that the papers will change it.”

Additionally, he emphasized that not a solitary word underwent editing in the press releases. He went on to add,

I was furious. It was such a bad film and these papers were doing this!”

• During his tenure as a personal manager’s assistant, he received an intriguing proposal from two family friends to establish a YouTube channel focused on cinema. It was during this period that the concept of providing candid film reviews sparked within his mind. The two friends, both software professionals, took charge of technical aspects such as the green screen. Maran also enlisted the help of his friend Adhavan to direct the show, with the main challenge being finding a suitable host for the reviews. Despite reaching out to over 50 potential hosts, none of them expressed interest in the venture. Since they had already leased a small office in Vadapalani and paid rent for four months from their own pockets, Maran made the decision to take on the hosting role himself.

Blue Sattai Maran’s YouTube Channel

Anti Indian film poster

I couldn’t even say ‘Welcome to Tamiltalkies.net. But I managed to do something.”

• In his initial analysis, Maran explored a film starring Ajith, widely acclaimed for his fervent fan base. He contrasted the actor’s work in “Billa 2” with “Naan E,” a movie released concurrently.
• In 2019, his assessment of the Tamil film “Petta” was taken down due to allegations of copyright violations. Regardless, Maran maintained that this removal was strategically executed before the weekend to prevent any potential influence on ticket sales.

When we decided to do it, I knew I had to do reviews every week. So this meant 52 shirts in a year. It was too expensive, and plus I’m not worth all that effort. So we made it a uniform. Now seven years later, I wear the same Derbin shirt every week. I have only one of it. It was Rs.1500 when I bought it.”

References/Sources: [ + ]

Vijay Antony Criticizes Blue Sattai Maran for False Movie Reviews

Entertainment

Vijay Antony, a music director and actor, recently posted on his social media account, mentioning Blue Sattai Maran and other movie reviewers who provide false analyses of movies. He urged the public not to consider such reviews and to avoid making unfair judgments about movie Romeo.

Vijay Antony and Mirnalini Ravi starred Romeo and is still running successfully in theatres. Not only the Vijay Antony fans but also the Family audience enjoyed the movie. Since it's a romantic comedy film, the reach was above average, and it didn't receive any negative comments.

Blue Sattai Maran criticized the movie's screenplay and editing in a negative way as always. Notified by this Vijay Antony has posted in his X regarding the Blue Satti Maran review.

In it he mentioned, 'For some people like Blue Sattai Maran who wrongly criticized many good film, My deepest sympathies to the intellectuals who believe everything they say to be true and criticize Tamil cinema without celebrating many good film like Romeo.'

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