Pattas Movie Review
Dhanush – (Dual Role),Sneha as Kanyakumari , Mehreen Pirzada ,Naveen Chandra ,Nassar ,Munishkanth, KPY Sathish ,KPY Kothandam, Sneha etc.
Directed by -R. S. Durai Senthilkumar,Produced – KumarThyagarajan ,Arjun Thyagarajan ,Written – R. S. Durai Senthilkumar,Music by -Vivek-Mervin,Cinematography – Om Prakash,Editer -Prakash Mabbu,Production Company – Sathya Jyothi Films ,PRO – Suresh Chandra ,etc.
Bursting out of Tamilian’s traditional superior skill – “Pattas” connecting an acquirement with the emotional to avenge for a perceived wrong soul. After the expectations of “Enai Noki Paayum Thota” Dhanush’s dual role ec centric following in the film “Pattas”. Some of the portions and father get in the second half recalls Vijay’s film “Mersal”. The film was directed by RS Durai Senthil Kumar, which he had to establish Tamil Nadu ethnic art “Adi murai” other than reading from the books, trending on social media, envisioning on the big screen would reached out the audience about traditional values and decomposing of the arts.In the first half Dhanush (Shakthi), has be en projected as an energetic and stealer guy. In the parallel, Sneha is being influences the screenplay, Kanya ku mari (Sneha) was getting released from the prison and she plans to kill Nilapparai in his famed academy.
Fortunately, Kanya visualize Shakthi in the same place. Even the felon man Nilapparai observes Kanya and he takes steps putting to death. Once in a situation, Shakthi realized the relationship with Kanya and she becomes as Shakthi’s Guru and Kanya stimulus Adimurai art, which was incorporated with Shakthi’s blood. Films “7aum Arivu”, “Maan Karate” visualize the values of Tamil Nadu worthily arts, in the list “Pattas” added. In the first half moves with Shakthi and Sadhana Sha (Mehreen Pirzada) eccentrics in an aggressive manner. In the second half Thiraviyam Perumal eccentric bursting out the screenplay with the performances.Thiraviyam Perumal’s role was effective and Kanya characteristic is being supported throughout the script. The film had 142 minutes curious made only in the second half. The songs were okay, missed to take own BGM, anyway Shiva Tandava Stotram brings vitality. revengin g script – entertainment
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RS Durai Senthilkumar’s Pattas makes no pretence about what it wants to be – a “mass” entertainer for the festival season. And not just that, it talks about the revival of an ancient martial art form which originated in Tamil Nadu, fanning some Tamil pride in the process. It’s the perfect formula for a Pongal release. But, this isn’t a lazy director. He doesn’t simply proceed to tick the boxes, but gives the audience enough fresh material to keep us engaged. The film begins with two thieves, Pattas (Dhanush) and Puncture (KPY Sathish), breaking into a famous martial arts academy and stealing the trophies that the owner’s son has won over the years. It isn’t a promising opening, with the comedy mostly falling flat and with only a few lines landing well. Perhaps the producer couldn’t get Kajal Aggarwal’s dates, Mehreen Pirzada plays the loosu ponnu heroine exactly like her. The caricature romance between Pattas and his “arrogant” neighbour Sadhanashah is meant to be amusing but only ends up being annoying.
However, once the story connects back to the prelude, which shows Kanyakumari (Sneha) and the incidents concerning her, it picks up pace. Senthilkumar’s last film, Kodi, which had Trisha playing the villain, broke several stereotypes about a woman negative character. In this film, he does it with the Amma character who is usually only present in Tamil cinema to feed the hero and shed copious tears. Sneha is terrific as Kanyakumari, both in the extensive flashback as well as in present times. With her warm smile and expressive eyes, the actor makes her mark all through, especially in the stunt sequences. How refreshing it is to see an Amma character who has a personality and isn’t relegated to three maudlin scenes! Kanyakumari reminded me of Devasena from Baahubali; in fact, though Pattas is quite modest in its ambitions, the tropes are similar – two men in competition with each other, a slighted son and his blood-thirst, betrayal, a young man who does not know his origin story, and a journey towards rightful revenge.
The interval block is likely to bring back memories of Asuran for the audience, the Dhanush blockbuster which released a few months ago. With his lithe body and fast moves, the actor is every bit convincing as Dhiraviyam Perumal, a skilled practitioner of the martial art form of Adi Murai, the second character he plays in the film. His romance with Kanyakumari, too, is believable and makes us root for the family. When playing double roles, the actor must be able to make the audience distinguish between the two not just by name and appearance but also their body language and characterisation. As the trained fighter Dhiraviyam, Dhanush turns his body into a machine, his every move confident and graceful. As Pattas, he looks more fallible, his punches less packed and more hesitant.
I didn’t care much for the generic white guy villains or the random shots of the senior Muay Thai guru who conveniently gives his validation whenever required and disappears, though. The writing in these scenes is hurried and in a bid to establish the superiority of Adi Murai, Senthilkumar at times borders on insulting other martial arts. It’s one of those “Indians knew everything before the rest of the world” parochial lines of thought which just seems petty. There are also one too many happy coincidences, with two pivotal characters running into each other just by destiny. Naveen Chandra plays the villain, and while the performance isn’t fantastic, I’m just relieved to watch a proper, mainstream film with a fleshed out backstory for the antagonist. The songs are unnecessary but fun to watch. The frames are full of colour and there’s nothing to complain when Dhanush is setting the ground on fire with his energetic dance, especially ‘Chill Bro’. The background score (Vivek-Mervin) is rousing when it needs to be but doesn’t intrude. The editing, however, could have been better. For instance, a character from the flashback suddenly appears in present times and becomes part of the hero’s team. Yet another coincidence.
You know where exactly Pattas is going – that ending is written on the wall from the beginning of the film – but despite the predictability, Senthilkumar manages to retain our interest. Pattas’s triumph is that it’s enjoyable while it lasts, much like a firecracker.RS Durai Senthilkumar has good instincts. Pattas is one of those masala (as opposed to “mass”) movies in the Moondru Mugam/Apoorva Sagotharargal mould: the father dies a Gruesome Death™ and the hitherto-sheltered son (played by the same star) learns about his past and extracts Gruesome Revenge™. There’s usually a scene where the son meets his biological mother, and it’s usually a tearful scene — and yes, the scene in Pattas checks all these boxes. But with a bit of class. The point of the meeting is different. There’s a bit of theft that harks back to an earlier attempt at thieving. There’s a bit of action that harks back to an earlier action moment. There are tears, but they remain in the eyes of the son and the mother. Instead of words, the camera does the communicating — with a quick zoom to the son’s eyes, and then to the mother’s. It’s almost like an invisible, unspoken connection has been forged. It helps that both actors (Sneha as the mother, Dhanush as the son/father) can actually act.
The director’s instincts are evident in the songs, too. Instead of a picturesque romantic track (with Mehreen Pirzada), we get a “situation song”. The woman has been boasting about how much she earns. The Dhanush character vows to deplete her monthly salary. That’s what this song is about. Even the customary opening song for the hero is done with some elegance. The sequence isn’t edited to shreds. A static or slightly moving camera — Om Prakash is the cinematographer — stays on Dhanush and the dancers, so we see and enjoy the “one-take” choreographic moves. (Vivek-Mervin’s rousing, firecrackers-under-your-seat music proves that the “Anirudh genre” is now an actual thing.) Another number is a typical celebration, but the dance moves are adapted from Adimurai, the homegrown martial art that forms the basis of this film’s plot. Pattas Movie Review: Dhanush Double-Roles His Way Through An Action Drama That’s The Dictionary Definition Of “Formula” These things aren’t enough to make a movie good.
The heroine is not just a prop and works with the villain (Naveen Chandra) and helps the hero? Not bad! After Kodi (the earlier collaboration between this actor and director), we get another strong female character in a hero-driven movie? Not bad! The first major fight sequence doesn’t belong to the hero? Not bad! The villain’s camp actually has an ethical person, like Vibheeshana? Not bad! Speaking of the epics, a mother instills war-knowledge in her unborn child, the way Abhimanyu learnt about the Chakravyuha while still inside Subhadra? Not bad! Even character writing-wise, a man who is casually referred to as “visham” actually ends up using poison to wipe out his enemies? Not bad at all! But why stop with a series of… not bad-s? Why not aim high enough that the audience says: Good? If you can add so many small touches and elevate generic moments, is it all that much of a stretch to elevate the whole narrative, the entire screenplay?
Or is pace the real problem? Why do today’s films feel like they are on constant fast-forward? Why not linger on the relationship between a martial-arts master and his two protégés, so we feel the friendships and enmities we are supposed to feel? Why don’t we react more strongly to the moment where a dying father (a cool death, by the way) anoints his young son with his blood?The smaller missteps — like the eternally terrible foreign actors in our films — are not deal-breakers. The biggest problem is the mechanical quality that distances us from everything on screen. When the mother finishes narrating the flashback, you want a beat or two to linger on the son, who has just realised that his entire life-as-he-knew-it is about to change. But even as this scene is unfolding, the editor is already splicing in footage from the next scene. It’s all about speed, speed, speed. Maybe there is a generational change underway, with younger viewers being increasingly impatient with older forms of storytelling. So yes, perhaps, the existing styles have to change. But at what cost? Surely we don’t want the movies reduced to mere video games!
This IS MY Personal Review So Please Go And Watch The Movie In Theaters Only
Written By- T.H.PRASAD -B4U-Ratting-4 /5