Dha Dha 87 Movie Review

Dha Dha 87 Movie Review


Charuhaasan  ,Saroja (Keerthi Suresh Granny) ,Anand Pandi ,Sri Pallavi  ,Janagaraj  (Jana),Kathir  ,Bala Singh ; (A) Dr.Mohandas,Manimaran ; (A) Thirukumar,Marimuthu   ,Rahul Thatha ,Vijay Sri G  ,


Producer – Kalaiselvan (Kalai Cinemas),Director – VijaySriG,DOP – Rajapandi,Music – Leander Lee Marty, Al Ruf an, Deepan Chakravarthy,Lyrics – VijaySriG,Editor – Nijandhan,PRO – Nikil,Art – Nandha,Designs – Nijandhan, ‘Pr od uction Manager – Saravanan ,Casting – Siranjeevi ,Executive Producer – G Media,Production – Kalai Cinem a s “Dha dha 87”,Release – Thiru Entertainment 


“Dha Dha 87” utterance a firm positive emote of reckoning towards affection, a beautiful feeling sustained even after the skins had been dropped down. The flick fluctuates with the trio of dramatic eccentrics overlaps in the first half. In 1988‘s Sathya character was performed by Kamal Hassan, a possessing man after a couple of decade s Charuhasan had been dragged in the Sathya eccentric and Amala (Geetha Nair), was approached to an old lady Saroja, who is grandmother for Keerthy Suresh.On the other hand, Jail Pandi (Anand Pandi), full-time job in sear ch of a girl, unluckily girls dislike him in the scenario Jail Pandi getting attracted on Sri Pallavi, the old love story of Sathya and Jail Pandi’s aggressive love interconnecting the screenplay.

In the opposition, two crooked gang leaders were involved in the awry activities both the raucous men focused on Jail Pandi, for the giving love torture, the old man Charuhasan targeted on Jail Pandi were betrayed to kill hi m.Even Jail Pandi is deciding to go for suicide and his mother rebuke that he is not fit for love and ask him to sui cide with the clumsy screenplay the film travel with another aspect in the second half which made dispute, utt erly a strong disagreement followed.The debut director Vijay Sri G, time-tested to impart that sexual desire una vailable in front of warmth. The team expressed “Dha Dha 87″ is a love story of Charuhasan and Saroja, but their love portions are short and crisply for the audience.

 Normally, Indian cinema gives awareness on the consumption of alcohol and drugs in not good for health in the film” Dha Dha 87″ one more worthy sentence appended touching a woman without her willing is punishable, Jail Pandi who is a happy-go-lucky guy that he shows adorableness towards girls, which gets inconvenienced among girls in his place a gorgeous girl Jenni (Sri Pallavi), enters in Jail Pandi’s housing board area, Jail Pandi keeps his full of love with Jenni initially Jenni’s father Janagaraj opposed him by sending towards police station.In his old age Sathya (Charuhasan), evokes his voice against the troublemakers. In the same area, who executes unlawf ulness to the society and alternative gang sustenances offensive behaviour with young girl children, these scen arios makes against towards Jail Pandi.

In the second half, the film come to a conclusion, Jenni has been faces of the aftermaths from the teenage. Which the climax ties with the old pair that they get married at the age of 87 and proves the love connects with the hea rt.Actually, as an audience observed Charuhasan visual on the big screen pronouncing Vedic Slogam and innoce nt characters, for the first time he had come as an aggressive eccentric, which is not matched to him. The hero An and Pandi who cries from the beginning and didn’t stop even in the climax too. There must be fortitude to cho ose a such role that had done by Sri Pallavi.The first half director miscarried towards screenplay and in the seco nd half Sri Pallavi real face furthering up the narrative. With the question towards the director, Koothandavar temple festival visual portion adapted for a female!!!a good try about feeling.

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However, my disappointment soon turned into disbelief and then to anger. The film is set in north Chennai where Anand Kumar plays ‘Jail’ Pandi aka ‘Jollu’ Pandi, an unemployed youth whose only job is to incessantly stalk wo men in his area, forcing them to accept his love (hence the ‘jollu’). Sri Pallavi plays Jenny, daughter of ex-army pe rsonnel (Janagaraj) who moves into the neighbourhood.While there’s an inevitable and boring love angle, the fil m also has a local power war between corrupt smalltime politicians and rowdy gangs. But even if you can wipe off that look of self-reproach (on having chosen to watch this film) and swallow your impatience, it’s understan ding of trans people and their thoughts on love will get you riled up.

Also, the film does not have a plot-line, only opportunities to deliver “messages”. We’re made to believe that the re’s more to what meets the eye with a few woke dialogues on acid attacks and stalking. But there really isn’t.I’m sur e you’re asking ‘What about Charushasan and Saroja’s (Keerthy Suresh’s grandmother) characters?’ By the end of the film, I actually quite forgot that I’d stepped into the movie hall expecting to watch some ‘cutsey rom ance’ between an elderly couple with a good dose of ha-ha humour. The two get a maximum screen time of three minutes together. However, Charu manages to twirl his moustache, roll his eyes and deliver a few dialogues on his reputation, his unrequited love and his hate for caste. Unfortunately, actor Saroja and her cute smile are bli nk and miss flashes in the film. Actor Janagaraj too join them in the list of underutilised characters.

Every scene that follows after Jenny’s revelation to Pandi is sadly missing in sensitivity. There’s one particular scene when Pandi questions a trans woman on her body parts, under the pretext of “understanding” who they really are. He also asks her why she didn’t go to a hospital.While the director could’ve offered decent answers to these questions (in spite of the questions being outrageous in the first place), he brushes them under ‘I am like you (a man) but I have the heart and mind of a woman’ and the scene ends with both the characters crying. At this point, Pandi’s frequent emotional outbursts become overly annoying.

The film reverts to the stigma and discrimination that trans people go through repeatedly but does nothing to ease them. It also ends with one of the most tone-deaf and crude statements you might have ever heard in your life about trans women.In retrospect, it is quite amusing, in a strictly annoying way, how the director has added this disclaimer – ‘To touch a woman without her consent is a punishable crime’ right after the ‘Smoking kills and liquor drinking is injurious to health’ lines. I almost thought I was going to enjoy watching the film.Even though 2019 is still young, I make no mistake in saying Dha Dha 87 is one of the most misleading titles of the year. For one, the film is not on old people falling in love. The first night scene that was released on YouTube does not even find a place in the film’s runtime!

Leave aside romance, it is not even about an 87-year-old don. The film, instead, is a tangled mess of pseudo-acti vism that is presented with a terrible lack of understanding of gender and sexuality. In one of its earliest scenes, a local rowdy, high on drugs, is shown sexually abusing a very young girl child and in the very next scene, we are taken to a local gang war triggered by caste. While we are left hanging as far as the horrendous act of child sex ual abuse is concerned, the director throws in a couple of dialogues on how love has no caste right after. The man who committed the crime is killed later in the movie, but it’s more of an excuse to establish the don’s character rather than addressing the crime itself.Characters are often made to spout the word ‘jaathi’ throughout the film, but no one gets into specifics and these lines remain lifeless. It reminded me of the stiff and flat dialogues we hea r on PSAs translated from a different language.

This IS MY Personal Review So Please Go And Watch The Movie InTheaters Only

Written By- T.H.PRASAD -B4U-Ratting-3.5/5