Tag Archives: Jigarthanda

Ko 2 Review

Ko 2 Review – Ko 2 is a Tamil political thriller released in 2016. Kumaran kidnaps the chief minister f the state. His demands are very peculiar in nature to begin with.

Making it a sequel to Ko seems to  be an after thought. They seem to have introduced some subtle references in the background. Apart from this there is absolutely no connect between the two. Bobby Simha has struggled to carry forward an already sluggish screenplay. Prakash raj and Nasser have very limited scope in the movie.

The serious scenes in the movie look comical while the comedy portions make you serious. The movie starts with an interesting premise but falls into the trap of creating a justification so strong to connect with the audience. The justification given is not connected to the initial premise of the movie and there is absolutely no foreshadowing on what the audience are supposed to expect. In the end, the movie that should have created a social impact ends up being a tale of personal vengeance.

The old Tamil movies Paalam starring Murali and Director Cheran’s Desiyageetham has been built on the same premise and were engaging throughout. The reason is their screenplay stayed core to the plot and the connect between the protagonists’ cause and the audience had been established well. Ko 2 fails to do that.

High points: The only high point of the movie has been the initial premise.

Low points: The screenplay is too loose and sways too much. Lack of utilization of Prakashraj and Nasser. Lack of proper research on the subject and no connect with the audience.

Overall I felt this might have been the movie Karthik (played by Siddarth) in Jigarthanda was making where Assault Kumar becomes Azhuguni Kumar.  Bobby Simha’s character’s demand to the abducted chief minister seems like “Teacher avan en pencila thirudeetaan” tone.

Can Skip it


Friday Fundas: Interval in Movies

Interval in Movies

The recent Tamil movie Kathai Thiraikathai Vasanam Iyakkam covered many aspects of Indian Cinema and there was an interesting piece on Interval blocks in Indian Cinema. The movie mentioned in this context was a Tamil movie Namma Veetu Deivam released in 1970. The husband (Muthuraman) kills his wife (K R Vijaya) in the outskirts of his village and returns home. As he approaches the door he finds his wife open the door and is shell shocked. This is where the interval break is. This raised some thoughts around interval breaks in cinema and how they have influenced the grammar of script writing.

In the Initial years all movies across the world had Interval breaks. The reason was the operator needed time to change the reels in the projector. In the modern days with the advancement in film and projection technology this time is non-existent. However the concept of Intermission or Interval break for 10 – 15 minutes is still prevalent in Indian movies and possibly Italian movies. Also in early days as the film roles were expensive two theaters could screen the same movie with a time difference and exchange the reels during the breaks. The reason it is continued still is for commercial reason. The break is an opportunity to attract the audience to the snacks counter and increase revenue.

Though the reason is commercial it has a heavy influence in the script writing for Indian cinema. The structure of the screen play is not the traditional 3 act structure but has an interval block in it making it a 5 act structure where the interval block is one of the peak points of the build-up phase and post the interval there is a revised context leading to the climax. The script writers make the interval block with high impact to raise the interest levels of the audience.

Let us look at some of the high impact interval blocks in Indian Cinema.

3 idiots
3 idiots

In the movie 3 Idiots the two guys go in search of their closest friend after years of graduation. As they reach the town where he lives in which is exactly at the midpoint of the movie they find an entirely different person in the name of their friend and they are also shocked to see their own photographs with this new person.


In the Tamil blockbuster Baasha, Rajnikanth is introduced as an auto driver who stays away from violence and undergoes torturous punishments to save his loved ones. But around the interval block when his brother and sisters are in danger we see him beating up the bad guys and it is revealed that he is a terrific don who is in hiding, his soft voice turns into a commanding voice that echoes through the hall “Naan oru thadava sonna… nooru thadava sonna mathiri…” (If I say it once its equivalent of saying it 100 times) It is one of the most powerful interval block for a Rajnikanth starrer.


In the Tamil movie Earem the first half has a series of murders happening and at the interval block it is revealed the murders are being committed by the ghost of the ex-girlfriend of the investigating cop. When I was in the theater watching this movie during the break a kid sitting in the cinema hall exclaimed with excitement “Wow! This is a ghost movie…” Interval blocks should contain such an excitement. The recent blockbuster Jigarthanda also had a very dramatic interval block.
While interval block is significant part of a script sometimes over hyping it has a danger of spoiling the movie. When the audience is left with a high expectation and they are down in the second half, the movie would fail. That’s where the audiences say only the first half of the movie was good. In general in a good script the tempo of second half of the script is higher than the tempo set at the interval block.

A Dirty Carnival

A Dirty Carnival – is a South Korean neo-noir film released in 2006. An upcoming film director Min Ho has to read a gangster’s life to create the script for his gangster movie. He follows and interviews his high school friend turned gangster Kim Byung-doo to understand the life of a gangster and make his movie. When the movie is released it is so close to the reality of the crime Byung-doo was involved in that he now has to kill Min Ho to save his secrets.

Sounds similar? Well this is the movie that many of the movie buffs have compared with Jigarthanda. Only the central plot is similar but the genre, treatment, the actual conflict and where the movie heads to is vastly different. They are two different movies with different story. So stop comparing the two movies.

A Dirty Carnival is a very serious gangster movie in itself. The movie is so realistic to the life of gangsters. You would see some realistic looking fights rather than the cinematic fights with visual effects. The movie right from the start follows Kim Byung-doo who is leading the life of a gangster and struggling to make his ends meet with an ailing mother, dependent brother and sister. The story is about his rise to power, his love for his childhood friend, his interactions with Min Ho for the movie script and the final conflict he gets into where he would have to kill his friend to live free. The story is very engaging right from the start. You would have the experience of looking into the life of a gangster. The performances, character buildup have been done very well. The editing of the movie is outstanding. If you are fan of gangster movies watch this one definitely.

Must Watch – for gangster fans