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SAINA MOVIE REVIEW

Even as you wondered if Parineeti Chopra was the apt choice to have replaced the original Shraddha Kapoor, the talented actress proves you wrong in every frame and in every sense of the term.

Admittedly, Parineeti's shape was just not what the producer could have ordered to slip into Saina Nehwal's well-respected shoes. But then, the long homework where she stayed put in the Hyderabad house of the former world number one has paid handsome dividends.

A player of varied moods, Saina was the best bet in women's badminton till another Hyderabadi PV Sindhu arrived to disturb that composure. The bitter rivalry of the two should be good material for another director to bring on the other facets of the badminton world. That should be another time and dwelling on that will only shift the focus away from the immediate job.

The director has done to bring in the emotional side of Saina and importantly, the drills she took to keep away from the injuries. A tough sport by any standard, the level of fitness and the energy level has to be on the high quotient for the aspirant to reach the pinnacle.

The audience is showcased on the amount of load the ace player subjects herself to. She has a coach but the preparation has to begin from her even on the night before. There are the distractors but like any teenage girl getting orchestrated support from the parents, Saina's story is no different. As a teenage girl having smelled success, it takes a lot to keep that momentum and the status in place. The drills are on the higher side but she relishes the challenge at every count and keeps her a step ahead of her rivals.

Not since Damayanti Thambe (nee Subedhar) in the 70s, Indian badminton had seen a phenomenal talent in the form of Saina. By her own admission, Parineeti had unlearned everything she knew about the game and got to the intricacies of what it takes to be a professional. Getting skin deep into the character, the actress has brought about the varied emotions, embracing champion material. There are the inevitable highs and lows of a champion and the so-called back-breaking process is what separates the talent bank.

Parineeti is in her home ground, armed with the inputs she had painstakingly gathered from the time she came on board. Much like the ‘Three Idiots’ syndrome, there is no place for a second in life as in sports. Saina was to get a dose of it early in her innings when she got a slap from her mother for embracing a runner-up medal in an under-12 event. There is the familiar sight of her father comforting her, knowing the equation and love in the father-daughter affection. These segments are well brought out with the director doing well to build on the tempo for the rise of a champion not blessed with a perfect background to have the luxury of a coach early on.

True to her toughness, Saina takes it in her stride, working on her shortcomings and piling on her strong points. A lethal forehand is all it takes her to improvise on the backhand clear and coverage of the court. At the highest level, a player just cannot afford to have a chink in her armour is the hardcore lesson she learns the hardest way in the courts.

Giving a good leeway, Gupte marginally delves into the psyche of his characters, and the conversations veering around the parents. Every parent desires the best for the child but then, brings in the unwanted pressure too is the refrain one can draw.

The director has brought out the romantic angle where Saina gets the much-needed prop from her friend with whom she ties the knot. Saina is a huge fan of the revered Shah Rukh Khan, which too gets a place in the plot.

To say that Parineeti has lived her role will be saying the obvious. Unlike MS Dhoni where the cricketer had his share of love stories, the plot does not allow such luxury. Saina's tale is a simple girl rising to stardom against all odds. Keeping it simple must have been the mantra of the production house. It scores heavily on that count alone.

BEHINDWOODS REVIEW BOARD RATING

Public review board rating, 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      

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‘Pathaan’ Review: A Bollywood Espionage Action Spectacular So Fast and Furious — and Chaotic and Derivative — It Makes ‘RRR’ Look Classical

It's James Bond meets Jason Bourne meets Jason Statham meets Fabio in an overwrought epic.

By Owen Gleiberman

Owen Gleiberman

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“ Pathaan ,” the new Bollywood espionage action spectacular, opened wide this past weekend in the U.S., where it amassed an impressive tally of $9.5 million. That’s exactly what “RRR” made on its opening weekend in the U.S. close to a year ago — though, of course, that was before “RRR” went on to become a crossover cultural phenomenon, with a visibility and acclaim in the American media that Indian films seldom, if ever, attain.

For decades, Bollywood movies, at least when they were released here, had an undeniable exoticism. They often repackaged Hollywood forms, most notably the musical, but with their own rhythm and flavor and spice. Baz Luhrmann drew upon the rapture of Bollywood when he made “Moulin Rouge!,” and films like “Lagaan” (2001), a transporting three-hour-and-45-minute class-war operetta about a cricket match (it was the last Indian film before “RRR” to be nominated for an Academy Award), and “Dangal” (2016), a wrestling epic rooted in the rising mores of girl power, had inspirational plots that staked out their own nationalistic identity.

In recent years, however, something in Bollywood has shifted. What you’re seeing in “Pathaan” isn’t so much the apotheosis of an Indian action film as the fusion of decades of international styles of mega-powered meta-pulp: the layered double crosses and high-flying daredevilry of the “Mission: Impossible” and “Bourne” franchises, the twirling-in-and-out-of-slow-motion balletics of Hong Kong action cinema, the time-stands-still hypnotics of Sergio Leone, the defiantly over-the-top vehicular madness of the “Fast and Furious” films, and the bodies-bodies-bodies party vibe of a sexy-chic tequila commercial, all poured into a smelting pot and sealed with the who’s the biggest badass? mano-a-mano obsessiveness that’s one of the defining features of the YRF Spy Universe, of which this film is the latest installment.

His mission is to stop Jim (Abraham), an agent who has gone rogue and leads Outfit X, an international terror organization that commits atrocities for profit. I wouldn’t even try to describe the plot of “Pathaan,” which zigs and zags all over the globe, and all over the place, in a way that defies logic. The film’s only real logic is its pop fetishization of power (bullet power, fire power, 12-pack-ab power), along with its enthusiastic mutating of genres — now it’s a heist movie, now it’s a human-superhero-with-machine-wings movie, now it’s a contagion thriller with Jim threatening to unleash the power of Raktjeeb, a killer virus that makes COVID look like the common cold. What’s in it for Jim? From what we can tell, the sheer megalomaniacal pleasure of it all.

This may sound like a recipe for fun, but “Pathaan” has a stop-and-go rhythm, and a strung-together structure, that grows wearying. (Two-and-a-half hours of frenetic derivative pulp is a lot of pulp.) There’s a car chase through Dubai, a motorcycle chase on ice, and a hand-to-hand fight at the climax in which Pathaan and Jim go at each other so hard that the wooden shack in which they’re fighting starts to slip down the mountain stilts it’s perched on. “RRR” was no model of restraint (and some critics salivated over its overwrought fairy-tale technological bravura in a way that felt vaguely patronizing), but it was a work of high classical precision next to “Pathaan.” Yet I must say I’m glad that Indian films are finding a home here. Here’s hoping, as in the old days, that they bring a new spirit to our cinemas, rather than just blending in with what we’re already doing.           

Reviewed at AMC Empire, Jan. 30, 2023. Running time: 146 MIN.

• Production: A Yash Raj Films USA Inc. release of a Yash Raj Films, Etalon Films production. Producer: Aditya Chopra.
• Crew: Director: Siddharth Anand. Screenplay: Shridhar Raghavan, Abbas Tyrewala. Camera: Satchith Paulose. Editor: Aarif Sheikh. Music: Ankit Balhara, Sanchit Balhara, Vishal Dadlani, Shekhar Ravjiani.
• With: Shah Rukh Khan, John Abraham, Deepika Padukone, Dimple Kapadia, Ashutosh Rana, Salman Khan.

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‘Pathaan’ Review: Fighting the Good (and Long) Fight

Filled to the brim with action set pieces, “Pathaan” stars Shah Rukh Khan as a secret agent saving India from havoc unleashed by a vengeful former operative.

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By Nicolas Rapold

The all-out action movie of the sort honed by Hollywood is not as prevalent in Bollywood. But “Pathaan,” a record-setting addition to a series of spy adventures, rolls out a flaming dessert cart of chugging guns, midair melees and ceaseless showdowns.

Shah Rukh Khan stars as an affable Indian government agent, Pathaan, who’s pursuing a vengeful former agent named — somewhat less than diabolically — Jim (John Abraham). Jim’s been hired by a rogue Pakistani general to sow havoc in India because of a dispute over Kashmir. He turned smirkingly nihilistic after India once refused to pay ransom for him and his (now dead) pregnant wife.

Plotting or politics is an afterthought in this delivery system for action on planes, trains and automobiles, in Dubai, Moscow, Paris, the Spanish coast and apparently the Italian Dolomites. The director, Siddharth Anand (“War”), opens big with Pathaan’s breakout from detainment, swiveling the camera to follow kicks and sending a helicopter aloft indoors.

Other setups have the same top-this sense of fun. Anand’s crew boasts the stunt coordinator of “Top Gun: Maverick,” Casey O’Neill, and the “Mad Max: Fury Road” stunt performer Craig Macrae. But the director doesn’t have the greatest feel for tempo, or a consistent flair for staging. A monotonous fight on a train is only redeemed by a Looney Tunes escape from derailment.

Lending welcome panache is Deepika Padukone as another deadly operative, Rubina, who may prove helpful to Pathaan. The sweet rapport between Padukone and Khan loosens up the film’s endless fracas, and it’s the spark for, yes, a song. When Pathaan spots Rubina poolside in Spain, she launches a joyful crowded bump-and-grind number. (“The moment I feel a wave of modesty, I throw it to the wind!”)

As a villain, Jim’s a bit of a cold bath, and not just because he starts video-calling in threats of biological warfare. “Pathaan” is in some ways a save-the-world superhero movie without suits, and while less self-serious, the hefty length can lag. More is not always better — though the gusto of Padukone speedskating to the rescue at one point goes a long way.

Pathaan Not rated. In Hindi, with subtitles. Running time: 2 hours 26 minutes. In theaters.

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‘Pathaan’: Review

By Namrata Joshi 2023-01-25T15:02:00+00:00

Bollywood emerges victorious from a troubled time with Shah Rukh Khan returning to the big screen as a Bond-like action hero

Source: Yashraj Films

Dir: Siddharth Anand. India. 2023. 146mins

Much like its three predecessors in the YRF Spy Universe series of action thrillers — EK The Tiger (2012), Tiger Zinda Hai (2017) and War (2019) — Pathaan pivots on a wafer-thin plot; this time involving an exiled intelligence agent returning to take on a terrorist organisation. It’s a chaotic, protracted, wild ride that takes the audience across global locations and through past and present, but the amped up scale, imagination and audacity, the spectacular action set-pieces, clever writing and in-your-face charisma of its stars including Shah Rukh Khan in a long-awaited return to the big screen make it, in Indian parlance,  paisa vasool -  a film well worth the price of admission. And that will come as a relief to an embattled Bollywood.

Star Shah Rukh Khan, otherwise known for his romantic persona, shows off his bare chest and rippling muscles and, in the process, scorches the screen as a full-blown action hero.

A lot is at stake when it comes to Pathaan , produced — like the previous titles in the series — by leading production house Yashraj Films. The Hindi film industry has struggled over the last few years, with big budget films failing to make a mark at the box office and political baiting by conservative fringe groups. As the reportedly $30m-plus  Pathaan opens worldwide (with both Hindi and Tamil and Telugu versions screening within India) hopes are high for its prospects, although success will largely rely on audiences turning up on India’s Republic Day holiday and the following long weekend. It’s Shah Rukh Khan’s first major role since Aanand L. Rai’s Zero in 2018, and that should help. Plus, there have already been multiple controversies to keep it in the public eye, including the colour of a bikini worn by SRK’s co-star Deepika Padukone.

In keeping with the occasion of the release, Pathaan sports a suitably patriotic heart with the Indian tricolour fluttering in some scenes and the salutation of Jai Hind  (“Victory to India”) punctuating a few conversations. The film is also very much in line with the unbridled masculine narratives currently dominating Indian mainstream cinema: SRK may be best known for his romantic on-screen persona but he falls in line here, showing off his bare chest and rippling muscles and, in the process, scorching the screen as a full-blown action hero.

He plays exiled intelligence agent Pathaan, brought back on duty to take on rogue agent Jim (John Abraham) who is running a private terrorist enterprise called Outfit X and is armed with a biological weapon of mass destruction, a virus called Raktbeej (a reference to a demon in Hindu mythology who supposedly self-perpetuates with every drop of his blood that falls on the ground). 

But while there’s plenty that puts Pathaan in the league of James Bond movies — including excellent action sequences, stunning global locales (UAE, Turkey, Russia, Siberia, Italy, France, Afghanistan and Siberia) and Deepika Padukone’s novice Pakistani Inter-Services Intelligence agent Rubina Mohsin — Pathaan himself isn’t simply smart and suave. He cries, he gives into love and cracks silly jokes about getting his long hair shampooed at the hairdressers. The robbery of a Moscow vault is punctuated, for example, with a silly but satisfying reference to SRK’s psychopath act in the popular film Darr (1993).

Pathaan plays safe with its stance — or the lack of it — on the contentious issue of Article 370 of the Indian Constitution, which granted special status to the state of Jammu and Kashmir. Yet its nationalistic spirit comes underlined with grace and dignity. Pathaan’s adversary might be from Pakistan but the film underscores that a few bad men don’t embody an entire nation. An orphan left behind by his parents in a cinema hall, Pathaan finds a proxy family on one of his missions in Afghanistan. His heart is Indian, but he belongs to the world — a welcome return to the simplistic but humanistic nationalism of Hindi cinema.

Most enjoyable, however, are the meta moments on the plight of Bollywood and the trinity of Khans: SRK, Salman and Aamir. There is, for instance, an extended reference to the Japanese art of kintsugi — fixing broken pieces of pottery with gold to create an even more beautiful and precious work of art. In the film, it is used to discuss bringing together injured, unwell and retired agents to form a new unit called Joint Operations and Covert Research. Yet it could also be a reference to Bollywood itself; a hope that it may come out stronger and more resilient after its ongoing trial by fire. After a long time, Shah Rukh Khan has given Bollywood a reason to smile.

Production company: Yashraj Films 

Distribution: Yashraj Films [email protected]

Producer: Aditya Chopra

Screenplay: Shridhar Raghavan, from a story by Siddharth Anand and dialogue by Abbas Tyrewala 

Cinematography: Satchith Paulose

Production Design: Rajat Poddar

Editing: Aarif Sheikh

Music: Vishal Dadlani, Shekhar Ravjiani, Sanchit Balhara and Ankit Balhara, 

Main cast: Shah Rukh Khan (SRK), Deepika Padukone, John Abraham, Dimple Kapadia, Ashutosh Rana

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Ganapath Movie Review: Tiger Shroff Goes From Loafer To Leader In This Pointless Origin Story

Updated Oct 20, 2023, 01:24 PM IST

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'Pathaan' has all the ingredients of a masala potboiler — slowmo entries, iconic battle of good versus bad and most importantly a sexy-smouldering Shah Rukh Khan, who can fight the good fight on and off the screen.

Pathaan Movie Review: An entertaining globetrotting spy thriller that’s massy, messy and outlandish

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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).
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Pathaan Movie Review : An entertaining globetrotting spy thriller that’s massy, messy and outlandish

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Our overall critic’s rating is not an average of the sub scores below.

Pathaan - Official Trailer

Pathaan - Official Teaser

Pathaan - Official Tamil Teaser

Pathaan - Official Telugu Teaser

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Pathaan - Motion Poster

Pathaan | Song - Jhoome Jo Pathaan

Pathaan | Song - Besharam Rang

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love srk Pathaan ❤️❤️��������

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Pathaan movie review: Shah Rukh Khan's comeback film is high on action, low on logic

Pathaan movie review: shah rukh khan and deepika padukone's actioner is worthy every penny even as it defies gravity and logic..

Pathaan is fast, furious and about missions that are impossible. Bringing perhaps the last superstar of our generation, Shah Rukh Khan , back on screen in a full-fledged role after four years, Pathaan is worth the wait and all the hype. And the best part is that it wastes no time in introducing the man to us in his full glory. 'Zinda Hai', as Pathaan says in the trailer, surrounded by armed blood-thirsty men, the scene appears within 10 mins of the film and that's a bonus. The film is a perfect addition to this ambitious spy universe that previously saw Salman Khan’s Tiger and Hrithik Roshan’s Kabir. Director Sidharth Anand, who has earlier helmed action thrillers Bang Bang and War, once again presents his characters in the most glammed-up avatars, giving you enough drool-worthy moments. From Deepika Padukone's outfits to John Abraham's chiselled muscles to Shah Rukh Khan's CGI-enhanced six-pack abs -- Pathaan has too much in store that doesn't let you complain, albeit you don't look too deep for a meaningful story or logic. (Also read: Pathaan release live updates )

It revolves around Pathaan (Khan), an ex-armyman turned undercover agent who gets caught on a mission. He has now returned to save his country from a former R&AW agent Jim (Abraham) who has turned rogue after he was wronged by his own people. The film introduces its characters with solid back stories. An ex-ISI agent, Rubia (Padukone) becomes a part of the mission and has her loyalties questioned at several junctures. And that's pretty much about it. The whys and hows get answered in the due course of time with a lot of in-your-face action and hopping from one picturesque location to another with views that sometimes distract from the actual action unfolding in front of you.

You've seen Khan do Chaiyya Chaiyaa on top of a train, but Pathaan gives you much more. He's fighting on top of a Hummer, then somewhere mid-air on a rope tied between two helicopters and then jumps on to a truck. Basically, there's very little action on the ground and you'd see men in Pathaan mostly flying through the most high-octance action sequences. Also, when you have Khan and Abraham fighting it off on the big screen, you don't really need anything else to boost that adrenaline. And yes, the train isn't forgotten. Perhaps, the best and highest point of the film is when Pathaan meets Tiger (Salman Khan) and the two have quite an elaborate action sequence inside and then on top of a moving train. It was hard to focus on what was happening on screen with loud cheering, hooting, screaming and whistling throughout the duration of this scene. It was nothing short of celebrating true stardom with two superstars being in one frame in their best possible avatars.

At 146 minutes, Pathaan doesn't bore you but does seem a tad stretched in the second half when you're longing to arrive at the climax. There are some dialogues that make you laugh or sound too heavy, but the overall writing isn't impressive enough to leave a mark. Pathaan is high on action but it's better if you do not question the logic behind gravity-defying lifts and drops for there's none. They are a visual treat and a spectacle that immerses you without even trying too hard. It gets a bit too unrealistic at times, but that's what you get when filmmakers try to mount a film on the scale of a Hollywood actioner. The action is top class but some VFX felt weak and you could so easily make out the green chroma screen in those sequences. Another thing that kept me confused for most part of the first half was Shridhar Raghavan's screenplay and the non-linear narrative. The pace with which it kept jumping from one timeline and one continent to another, it just got too messy after a point. It is at the pre-interval block, that pieces of the puzzle start to fall in place.

It might have taken over three decades to get to play an out-and-out action hero, but it's never too late to pack a punch. He's charming, gritty and lets his eyes do most of the talking. The wit he brings on screen is straight out of his #AskSRK sessions and even in the most intense and deadly scenes, Khan makes you smile with his comic punchlines said with a straight face. Padukone in her hot and sultry avatar amps up the glam quotient so effortlessly. She gets her own share to perform and shine despite the men taking a major share of screen time. With the kind of finesse she brings in action sequences, her own, fleshed-out action flick won't be too much to ask for. Abraham makes you love him as a brooding baddie. Forget the muscles, for you can't take your eyes off his swelling veins through his tattooed arms. Adding gravitas to the story, Ashutosh Rana and Dimple Kapadia lend an able support to the cast and have their own lighter moments to shine.

Pathaan is your true-blue commercial, masala entertainer that's not trying to send across any message or be a social commentary on the current state of affairs in the country. It's fun, non-fussy and fantastic at the same time. Go watch it for Shah Rukh Khan and you would only come back with a smile, and maybe grooving a bit. Don't miss the scene just before end credits for it's not everyday you see two superstars in a banter about their stardom.

• Deepika Padukone
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• John Abraham

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Tv/streaming, collections, great movies, chaz's journal, contributors, ponniyin selvan: part ii.

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Now's not the best time to appreciate "Ponniyin Selvan: Part II,” the back half of a highly anticipated Tamil language adaptation of Kalki Krishnamurthy ’s revered multi-volume historical drama. The indeterminate future’s probably the moment for this sequel, by which time S.S. Rajamouli's influence might not seem as important to contemporary Indian pop cinema, and Indian movie lovers can (maybe) see with clearer eyes the many imitators of "Baahubali," Rajamouli’s trend-setting two-part mythopoetic fantasy.

Adapting “Ponniyin Selvan” has been a dream project for a few Indian filmmakers, including writer/director Mani Ratnam , who’s best known to American cinephiles for helming the epochal 1998 Bollywood romantic drama “Dil Se.” Ratnam has also admitted that his two-part version of “Ponniyin Selvan” could not have been made without the inspiration and success of “Baahubali.” It’s easy to see why based on “Ponniyin Selvan: Part II,” a sequel that, like Rajamouli’s “Baahubali: The Conclusion,” often feels like an involved-but-satisfying de-escalation of the first movie’s dramatic tension. You can’t enjoy “Ponniyin Selvan: Part II” without having already seen “Ponniyin Selvan: Part I,” not unless you’ve read Krishnamurthy’s books.

Some good news, which is also bad news: many viewers have probably already read Krishnamurthy’s popular epic, which was originally serialized in “Kalki” magazine throughout the early 1950s. Anyone who hasn’t read the book, but still wants to see “Ponniyin Selvan: Part II” on a big screen should know that “Part I” was more about the itinerant Vanar prince Vallavaraiyan Vandiyadevan (Karthi) than the beloved title character (Jayan Ravi)—a nickname for the 10 th century Chola dynasty Prince Arunmozhi—or his hothead older brother Aditha (Vikram).

Arunmozhi and Aditha necessarily take more central roles in “Ponniyin Selvan: Part II,” and so do the other main subjects of “Ponniyin Selvan: Part 1,” like the princes’ troubled and presumed wicked stepmother Nandini ( Aishwarya Rai Bachchan) and their treacherous rival Madhuranthakan (Rahman). Everybody suspects Nandini of scheming to betray her husband—and also murder Aditha, who also suspects and has romantic tension with Nandini.

There’s more Nandini in “Ponniyin Selvan: Part II,” and a lot more supporting characters who either support or defy her, like the Chola chieftains who not-so-secretly back Madhuranthakan, or the Chola princes’ many advisers, like their sister Kundavai ( Trisha Krishnan ) and, oh yeah, Vallavaraiyan Vandiyadevan. Vallavaraiyan, an itinerant fabulist, zips around “Ponniyin Selvan: Part I” without a formal invitation; he negotiates facetime with various high-powered characters using token favors—a sword, a signet ring, and hand-written messages—and effectively unites the many threads of Krishnamurthy’s sprawling narrative.

In “Part I,” Vallavairyan embodies the Byzantine, freely-associated story-telling traditions that clearly inspired both Ratnam and his two Tamil-speaking co-writers. What arguably puts “Ponniyin Selvan: Part 2” over the top, as an overburdened sequel to a long-gestating adaptation, is Ratnam’s characteristic visual acuity, his co-writers’ careful attention to detail, and his mega-watt ensemble cast’s performances. Nandini, in particular, seems more like an emotionally complex character in “Ponniyin Selvan: Part II” than she did in the last movie. And both Arunmozhi and Aditha smolder more often, though only Vikram gets to show off with equally angsty dialogue like, “Happiness and peace elude those who hate themselves.”

All of the low-key craftsmanship that went into the otherwise high-toned “Ponniyin Selvan: Part I” is still present in “Ponniyin Selvan: Part II,” which was shot concurrently with the last installment over 150 days from 2019 through 2021, and then split in two a la “Baahubali.” Ratnam’s characters have less time indulge in romantic sighing and unrequited romance, though he does make the most of those scenes. I won’t spoil your enjoyment by telling who gazes longingly at whom, since being led around by the nose is a good part of the fun in both “Ponniyin Selvan” movies. That also makes judging “Ponniyin Selvan: Part II” a little difficult right now, since it, like “Ponniyin Selvan: Part I,” will likely appreciate with time.

There’s probably nothing in this sequel that could not have also been done by the makers of the many other recent “Baahubali”-inspired mytho-historic epics, so there’s not much that essentially distinguishes “Ponniyin Selvan: Part II” as “A Mani Ratnam Film,” as an opening credit says. Then again, it’s a relief to see that “Ponniyin Selvan: Part II” looks and moves as well as it does, even if one suspects that it will also hold up when it inevitably surfaces on streaming services like Prime Video, where you can still catch up with “Ponniyin Selvan: Part I.” Ratnam and his collaborators stick the landing on their gargantuan pot-boiler, and while Krishnamurthy’s world may not look as grand as it seemed, either in the moviemakers’ heads or on the page, it is big enough to get lost in.

In limited theatrical release now.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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Film Credits

Ponniyin Selvan: Part II (2023)

165 minutes

Vikram as Aditha Karikalan

Aishwarya Rai Bachchan as Nandini / Oomai Rani

Jayam Ravi as Arunmozhi Varman

Karthi as Vanthiyathevan

Trisha Krishnan as Kundavai

Prabhu as Periya Velaar

R. Sarathkumar as Periya Pazhuvettarayar

Sobhita Dhulipala as Vanathi

Aishwarya Lekshmi as Poonguzhali

Vikram Prabhu as Parthibendran Pallavan

Prakash Raj as Sundara Chozhar

• Mani Ratnam

Original Music Composer

• A. R. Rahman

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