writer movie review the hindu

'Writer Padmabhushan' movie review: A pleasing coming-of-age drama

There is a simple and beautiful moment early in debutant Shanmukha Prasanth’s Writer Padmabhushan that not only illustrates the protagonist’s character but also doubles up as a whistle-worthy mass moment. Padmabhushan (Suhas) an aspiring writer has self-published his first novel, quite literally named ‘Tholi Adugu’. Having found little to no success, the only kind of validation he gets is when someone reads his book, and his friend’s barber shop is one avenue to seek it. When his attempt to make the visitor read his book sees fruition, we get a shot of the two seated opposite each other; the visitor, now invested in the story, keeps his legs down and bends forward, indicating his interest in the story, and a proud Padmabhushan, having received a shot of assurance about his talent, crosses his leg. The shot, which communicates the character’s pursuit, is simple but remarkable. That’s something I could say about Writer Padmabhushan as a whole.

The first half of Writer Padmabhushan is a collection of beautiful and strong moments emanating from multiple themes—failure, desperation, guilt, and familial bonds. In fact, it even moves at a surprisingly fast pace, packing in multiple threads.

Failure and how it influences one is one of its core themes. The prologue of the film, set in a classroom, ends with the declaration from the teacher that girls have won a writing competition. The camera lingers on the disappointed faces of young schoolboys, the failed team, before the story moves to the present. This opening finds its real meaning only in the end b ut it sets up the stage for a character that’s battling failure.

From a screenplay perspective, just when you feel that the film has introduced an arc that might snowball into the ultimate conflict or a resolution, we learn that this arc ends soon enough and the writing is jumping to the next level. For instance, when Padmabhushan hits his lowest, having received criticism for his work and after feeling that his book is equated to trash, he breaks down and decides to quit writing until he is truly driven. Here ends a chapter and a new one begins. Bhushan’s life changes when he receives praise and love for a book he hasn’t written.

He knows he doesn’t deserve it but a part of him tells that he needs to leverage the opportunity. This interesting plot point—one that also adds a mystery layer to the narrative—pushes him into a confounding state of mind that he has to live in throughout the film.

This, solely from a writing perspective, makes the first half of the film, backed by endearing characters in the form of Bhushan’s parents (Ashish Vidyarthi and Rohini Molleti), an amusing and pacy watch. Even the rom-com bits featuring, which often come across as the blandest part of such lively films, are full of energy and charm. A scene set in Navrang theatre is an absolute scream and that too stems from the character’s nativity. Likewise, in another delightful scene, Bhushan vows to his mother that he won’t have food until he meets a writing deadline. When he learns that she is cooking chicken, the vow, naturally, goes for a toss. See, these are simple, relatable moments.

At heart, Writer Padmabhushan is a personal coming-of-age film that many of us are bound to relate to on some level; be it the longing for appreciation or the heartbreak when our efforts don’t yield the fruits. It has a quirky and pleasant vibe that we often find in Malayalam films. There is not even a single character with a shade of grey in this light-hearted dramedy.

However, once the identity of the person who instigated the change in Bhushan’s life is revealed in the big interval bang, the second half of the film becomes, for the lack of a better word, stale with no surprises to pull off and too little motivation for the character and to the audience. I antagonised these portions much more severely because the sheer pace and liveliness that were suffused in the first half, go completely missing here and it begins to feel like the narrative is wandering without an intent—one that was clearly present in the earlier portions—to going forward. Thankfully, it all culminates in a beautiful climax stretch that (like last year’s Tamil film, Don) comes out of nowhere and moves you. Don’t worry, there is no death here. The only tears to be shed be happy tears in the end. And the background score accentuates these moments fabulously.

Suhas wonderfully humanises what could have been a caricaturish character, with all his desires and vulnerabilities intact. Bhushan is a beautiful character, one enhanced further by his performance, imbuing tiny mannerisms that make the character look less like a protagonist in a film and more like a real person. Is there anything that needs to be said about Rohini? About how she effortlessly makes the love she has for her on-screen son feel so real every time, with every actor? It is a pleasant detour for Ashish Vidyarthi, who made a career in Telugu out of playing cruel and crude villains, as the protagonist’s lovable father. He is an affable presence but one cannot help but be bothered by the disconnect created by the dubbing.

Writer Padmabhushan is not a flawless film. It has some issues craft-wise (continuity errors and budget limitations) and writing-wise too (in the second half, where you know that pressing a character further would have answered many questions) but it is the kind of lovely little film that we often see in Malayalam and wish something like that was made here, in our world. Well, they made one. A pretty neat one. In fact, in his introductory voice-over, Bhushan tells about the love Telugu people harbour for films. Earnest films like Writer Padmabhushan definitely warrant it.

Writer Padmabhushan

Cast: Suhas, Tina, Rohini, Ashish Vidhyarthi Director: Shanmukha Prasanth

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Writer movie review: An insightful, unvarnished peek into the police force

Writer depicts an honest policeman’s mental health struggle like no other film – the introspection is real and honest.

Language: Tamil

If you think of cops in Tamil cinema, you are bound to hear Duraisingam bellowing, “Ongi adicha ondra ton weight da.” Or, Aaruchamy saying, “Naa police illa porukki.” You might even hear, “Thimiru dhan pudichavan thimiruke pudichavan” in the background. If you’re an ardent fan of Tamil cinema from the 80s, then a montage of Vijaykanth from various films should run in your mind’s eye. In an industry that is obsessed with larger-than-life heroes, the police force is often used to create brash, loud, messengers of justice.

However, Writer’s Thangaraj (Samuthirakani) is an unusual protagonist. In his thirty years on the force, he has never hit someone. He gasps for breath after running a few metres. He marries for the second time to become a father and gets mocked at his son’s school as the grandfather. Thangaraj is a normal, ordinary policeman. He wants to be of service, but he is also pragmatic. This means he returns a three-sovereign gold chain to a woman who lost a six-sovereign one, or otherwise, she would get nothing. He fights futile court cases for a Police union. As a writer, he is the fly on the wall. Until, he crosses paths with Devakumar (Hari Krishnan), a Dalit-Christian Ph.D. scholar who has been detained by the police for no apparent reason.

Writer unfurls as a lifestyle movie, more than a cop drama. It takes its time to establish the lives of Thangadurai and Devakumar. But, this is a necessity to understand the nuances of social authority, oppression, and the justice system. Franklin Jacob turns a questioning eye towards the police department which is notorious for its concentration of power.

There are some solid stretches of irony-soaked writing that are both grounded and revelatory. Take the stretch where Thangaraj is asked to fabricate a crime scene for an FIR, after dismissing another cop for writing a cliched one. The cops do extensive research and spin a tale complete with geographical markers. The Deputy Commissioner of Police (Kavin Jay Babu who is terrific) appreciates Thangaraj’s creativity as if he has written a novella. Hah!

In an introspective moment, Thangaraj says “Police la adhigaram la iladha elarume adiyal than. (In the police force, any officer without authority is a servant.) Authority breeds and forces silence; it abhors questions. ‘Edhuku unaku indha detail? (Why do you need this detail) is a constant refrain throughout the film. Writer reminds us of the importance of information – you fear until you are aware. The privileged retain power with them by keeping information away from the vulnerable. The law enshrines the rights of the vulnerable. But can you ever truly own it when the people in power make you believe justice is a mirage?

Writer’s flavoursome writing gets added momentum with a great ensemble of performances led by a compelling Samuthirakani. The actor-director nails the balance between Thanagraj’s awkwardness and reliability, also weaving in the head constable’s emotional vulnerability with the necessary flourishes. He is superbly aided by Merku Thodarchi Malai fame Antony, who plays the thief-turned-office help, Rajan. But I particularly loved Kavin Jay Babu who plays the North-Indian Deputy Commissioner who hits it out of the park with his casual villainy. Not to mention, the Hindi-accented Tamil was on point.

Writer only falters a bit in the final act where it stacks revelations one after another. (There is an Ineya cameo, which again brings a new perspective to light.) But even in these relatively weaker portions, the film has enough emotional gravitas to keep us hooked. The narratively which was resolutely realistic until then also takes a few cinematic leaps to give a hopeful, yet honest ending. People may die, but ideas do not.

Rating: 3.5/5

The film is running in theatres.

Ashameera Aiyappan is a film journalist who writes about Indian cinema with a focus on South Indian films.

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Writer Movie Review (2021)

Samuthirakani's writer movie review - film produced by pa ranjith.

Writer Movie Cast & Crew

Pa Ranjith who has an eye for strong contents has bankrolled a new film titled Writer which stars Samuthirakani in the lead role. The film is directed by debutant Franklin Jacob and has music composed by Govind Vasantha. Does Writer address any important topic, leaving an impact? Read on! 

STORY : Writer follows the story of Thangaraj (Samuthirakani), a police constable/writer who tries to save Devakumar (Hari Krishnan), an innocent youth, from being convicted for a crime that he did not commit. Did Thangaraj fight against his own Police force to save Devakumar and did the mission end successfully is what Writer is all about. 

SCREENPLAY, DIALOGUES & DIRECTION:  With Writer, debut director Franklin Jacob explores a zone that was never tapped and he succeeds effectively in doing the same. The film showcases the hierarchical problems that happen in a Police Station among the officers and how the superior ones use their power to abuse someone. Writer also talks about the problems, pressure, and stress that the Police officials undergo and we have our protagonist who fights for a union for the police officers. One is not sure if there were any other Tamil films that touched this side of the police department. Kudos to Jacob Franklin and the team for the same. The writing is grounded and neat and director Jacob Franklin looks to be a filmmaker with a purpose.

Writer also raises the right kind of questions about many issues in society. Writer might have similarities with Visaaranai and Jai Bhim with regards to the idea about an oppressed being falsely framed for a crime, but the treatment in Writer is different. The approach is intense and the staging of scenes are also quite effective. While the first half of the film moves on an engaging note, certain issues pop up in the latter half. The flashback of Ineya seemed like a deviation and that could've been avoided. There are minor issues like these where the film doesn't hold you completely. The second half of Writer also has a few engagement issues.  

CAST:  Samuthirakani is in terrific form in Writer and he arrests us with a stellar performance that leaves a solid impact. He showcases his anguish and helplessness through his eyes and body language and he has surely upped the game as an actor. Hari Krishnan as the innocent ambitious youngster shines well earning the empathy of the audience. Kavin Jay Babu who played the DC in the film deserves applause for his intense performance and interesting dialect.

GM Sundar and Subramaniam Shiva are impressive in their respective roles. Antony, who played the ex-convict delivers a delightfully enjoyable performance that helps with some good laughs. Ineya, in a short-lived role, leaves a mark. 

TECHNICAL: Govind Vasantha's background music is commendable as it complements the intense mood of the film neatly. Pratheep Kaliraja's cinematography is to the point and there is no worry as such. The shot where Ineya confronts the DC with the horse deserves a mention. Though there are a few minor issues with regard to the edit, it doesn't fall as a major complaint. 

SO? Writer is a solid drama that brings out an unexplored side of the Police department! 

Applauses to Pa Ranjith for constantly backing quality projects and Writer is one more feather in his cap!

Verdict Samuthirakani shines in this gripping tale that leaves a good impact!  

Galatta Rating: ( 3 /5.0 )

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Writer Padmabhushan Review

Article by Nanda Gopal Published by GulteDesk --> Published on: 8:32 am, 3 February 2023

  |   Love   |   03-02-2023

Cast - Suhas, Ashish Vidyarthi, Rohini Molleti, Tina Shilparaj and others

Director - Shanmukha Prasanth

Producer - Anurag Reddy, Sharath Chandra, and Chandru Manoharan

Banner - Chai Bisket Films & Lahari FIlms banners.

Music - Shekar Chandra and Kalyan Nayak

Suhas proved his mettle as the lead actor with Colour Photo and the film also bagged the National Award. Simultaneously, he is also doing character and performing roles like he did in Hit 2. He is now back as the lead actor with Writer Padmabhushan. Unlike Colour Photo that was just confined to OTT, Writer Padambhushan is releasing in theatres. This is something new and exciting for Suhas. The film’s premieres were widely screened ahead of the film’s release and created a decent buzz. Here is the film’s review.

Padmabhushan (Suhas) works as a librarian. But his aim is to be a successful writer. His first book fails to succeed. His life takes an unexpected turn when an anonymous writer uses his name and picture. This makes him a successful writer and also gets his marriage fixed with Sarika (Tina Shilparaj). Here comes the problem when the writings of the anonymous writer gets stopped suddenly. Padmabhushan who is on a mission to find the original writer learns the truth. What is the truth? How does it change Padmabhushan needs to be seen.

Performances

For underdog roles, Suhas is the best choice. And he indeed keeps up this reputation once again in Writer Padmabhushan as well since he nailed it. He is apt for the Padmabhushan role. He pulls off the emotional scenes with so much ease. At the same time, he also brings cheers when it comes to humorous scenes. Asish Vidyarthi is good as the hero’s father. Unlike his usual roles, Asish Vidyarthi is seen as a super soft character and he did complete justice. Rohini is perfect for mother roles and she does live up to that tag once again. Tina Shilparaj is fine as Sarika, love interest of Padmabhushan. Gouri Priya gets noticed despite a role with little screen presence. Goparaju Ramana is alright as Sarika’s father. All the actors did well.

Technicalities

Writer-director Shanmukha Prasanth chose a very thin plot point and weaved a nice emotional story around it. He made sure there is enough drama to ably support it. Screenplay is flat but it drives the story forward with a suspense element. Shekar Chandra’s songs and background music are complementing. Kannullo Nee Roopame is soothing. Editing is crisp.

Suhas Concept & Emotion Climax Twist

Thumbs Down Weak Conflict Draggy Scenes

Writer Padmabhushan has a paper-thin point. It starts in Vijayawada with an aspiring writer struggling to get success but misses the path. Director Shanmukha Prasanth has not just made this the story of a struggling writer. There is so much more. It has undercurrent social message that is only revealed at the end. It is this climax twist and the message beneath it worked well for this Writer. This is where the writer in director scored the brownie points. For this story-telling, protagonist Suhas shouldered a lot with his natural performance. He once again delivered fine acting.

Writer has its own share of problems. It lacks strong conflict point. It is only the internal conflict of the protagonist. It is all about his struggles, lack of confidence on himself. The film appears to be draggy due to lack of solid scenes. The love story between the lead pair isn’t convincing enough. Why Sarika vouches for Padmabhushan needed better writing. This keeps us waiting till the end. But the end justifies. The strong emotion in the film drives the film. The parents love and the helplessness of the protagonist gets us connected. It is the twist that is saved till the end rescues the film. Songs may appeal individually but their placement obstructs the flow of narration. Suhas also does jig for songs which is funny.

It is not the regular commercial film one gets to see. No doubt, the logics also go for a toss. Despite all its shortcomings, Writer is passable for the emotions and its concept. It’s souls is intact which makes it a different film. It doesn’t work completely yet it doesn’t disappoint either.

Bottom-line : Book filled with some beautiful chapters

Rating: 2.75/5

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