SETTAI MOVIE REVIEW

'Delhi Belly' was a rebel amongst films which got released in the year it was done so. It was a truly different attempt and the profanity-laden film was a smash hit. Now, director R.Kannan, whose previous, 'Vandhaan Vendraan' is an absolute dud, tries to adapt the script to Tamizh cinema, in 'Settai'. Now that's a very tricky and tight rope to walk, as Tamizh cinema is notorious for shunning brazenly themed films. But R.Kannan has managed to somehow make it work, to an extent of even getting a 'U' certificate for the film ! Now, that's an eye-opening worth attempt. So is the 'Settai', truly naughty in nature ?

For Arya, this film should be a cake walk, as there's nothing challenging for him to do so. But its somewhat weird to see him have this disinterested and insipid performance throughout the film. There's no zing to his performance, and whatever emoting made, were just customary. His compatriots though were much better. Premgi Amaren, has a 'different' role this time, as he gets to be more subdued, compared to his previous roles. There must be a reason, why Santhanam is now titled as "Comedy Superstar". He is the real saving grace of the film, as he packs in all his usual punchlines, and being in a adult comedy film, he was definitely in his comfort zone. But as you get to see more and more of him these days, his jokes are getting to be predictable. Nevertheless, he still brings the chuckle out from us ! Hansika Motwani, was apt for her role as the glamorous bimbo, but has little time space. Anjali gets to play the better character of the heroines, and though she is a good performer, she does not look comfy in that polished, modern look. Deepa Venkat's dubbing for her was a good changeover for the character, but someone else would have pulled off an even more convincing performance. Plus, she really needs to keep her shape, checked ! Nassar proves that what experience means as an actor. His composed and cool performance as the antagonist, is a treat. The rest of the cast such as Subbu Panchu, Ali, Manobala, Pradeep Ghabra, Chitra Letchumanan, Suja Varunee, Nakshatra Nagesh, Sayaji Shinde, Balaji and etc sufficed the need of the script.

Deepali Noor's costume designing was a treat. All the characters looked their role, perfectly and more importantly, showed off the nature of the characters, themselves. Silva's stunt sequence was well choreographed, especially the climax shooting and chase. Videsh does a very good job in the art department, with the intricately detailed, yet simple sets for the film. The bachelors' room, the half-furnished post apartment, the hotel room, and song sets were well erected and looked authentic. Leo John Paul's editing is slick, as he keeps the duration of the film crisp and also maintaining the pace of the screenplay. The climax shooting sequence was a nicely edited. P.G Muthiah's cinematography was clean and neat. His color tone was apt for each sequences as the screenplay travels, and his lighting works out well, especially for the bachelors' room sequences, which brings out the natural look and feel. Also, the slow motion effect for the climax shooting portion, was well handled by the ace cinematographer.

S.S Thaman's music score for the film is decent and pleasant. "Laila Oh Laila" was picturized on the triumvirate of Arya-Santhanam-Premgi, who were present on a set of a song shooting. Neetu Chandra does a hot, special appearance here. And the song storyboard progresses into Santhanam, dreaming of dancing along with Neetu, but of course, 'intervened' occasionally by the other two. The camera movement and editing work complemented each other, in this song. "Arjuna Arjuna" was picturized on Arya and Hansika, in a half-furnished posh apartment, set. The pristine white, ambiance is a feast for the eye, and P.G Muthiah has captured the good color tone of the set work, such as blue and monochromatic colors. The slow motion effects, coupled with some wide angles, were put to good use as well. "Neethaandi Osthe Ponna" was shot on Premgi, in a wacky costume, gate crashing at his ex-lover's wedding function. The brightly-lit stage setting, brings out the fun factor of the song, which has some quirky lines. "Poyum Poyum" was shot on Arya and Anjali, romancing in the beautiful, natural landscapes Swiss mountains. The cool ambiance complements the song, and there are plenty of shots of beautiful lakes, highlands, and valleys. "Agalaadhey Agalaadhey", whereas was shot on Arya and Hansika, dancing in and around city streets of Switzerland. The archetypal street alleys, city landmarks and a couple of foreign dancers are all there, and funnily the song reminds us of Arya's "Thathi Thathi" number from 'Boss Engira Baskaran'. The theme song, which is inspired from the original, "Bhaag D.K Bose" of 'Delhi Belly', appears towards the climax and during the end credits. There is a cool remix of "Ponaal Pogattum Poda" song, which is a replacement of the "Saigal Blues" number appearing in 'Delhi Belly'. The background score is apt for the film, with some quirky sounds, edited into the score.

 Off-color humor theme has not been tried out in Tamizh cinema before. The crude, toilet jokes have been deemed to be impervious for Tamizh audiences. So, it is a risky experiment for R.Kannan in adapting Akshat Varma's story and screenplay into a Tamizh film. But what we get to see, in the end is a tamer version of 'Delhi Belly' with the adaptation being handled by three heads, which are R.Kannan, G.Dhananjayan and John Mahendran. They have toned down much of the original's content, while retaining most of the sequences. The adult jokes were the actual highlights and USP of the original, hence when you tone down the content, you get a lesser intended impact. But still credits to R.Kannan, for handling the necessary toilet humor sequences, such as when Nassar gets to inspect the apparent 'diamonds' for the first time, well. It did bring out the intended effects. But its bewildering to notice some inexplicable creative decisions taken by the team. Why is the film set in Mumbai (with a posh Tamizh newspaper office !), when every character speaks Tamizh, in the first place ?! The first half of the film moves in a dull pace, but picks up in the second half, thanks to the crackling dialogues spewed by Santhanam. Though the dialogues were handled by John Mahendra, who does a fairly neat job, Santhanam deserves a big share of the credit, since he was in charge of the dialogues of the comedy portions.

'Settai' is mischievous in sporadic moments, but does not have the unabashed dirty 'spirit' of 'Delhi Belly'. A 'domestic' version of a 'wild' product.


Ratings: 2.75/5 STARS

BY:TAMIL