In both pieces, the story begins with the same moral complication, a family man who is a diner owner takes out several gangsters who attempt to wreak havoc on his property. Cronenberg portrays a small town hero in Viggo Mortensen as he plays Tom Stall who exudes warmth and poise in his role ordering around his employees as if they were part of his family. In Kanagaraj’s version, he enlists the help of Tamil megastar ‘Thalapathy Vijay whose Parthiban portrays him as a larger than life character owning the most vibrant coffee shop in the Himalayas and moonlighting as an infamous animal rescuer.
How then, in one’s mind, (apart from feeling sympathy for the man’s plight, which I really can’t apply justice to) should forth a captivating tale out of The Murder Case In Browell Cafe? Violence brings havoc wherever it occurs, and homicide is perhaps the worst of them all. But just consider this. Not only does vengeance serve as a motivator and mean, but violence does as well. The minutest display of brute force suffices, and any regards for restraint are out the window. Now, how would one go about making a tale out of this in a productive manner?
Well, there’s always room for a hearty and evergreen tale of vendetta and its prowess in bringing forth captivating vengeance that vindicates. And that’s where violence really excels. The endowed capabilities that come along with it, which include the rage and anger one has, adds punch to the story and more effectively achieves its objective too. And from the looks of it, it has been quite the motley tale with all its underlying themes and points. With a run time of 164 minutes that surely would be enough for Kanagaraj to weave a heroic tale of violence and alter the history of harmony.
Before Parthiban throws a treatise towards the beast and grapples with it in the snow, it rips his arms apart and gnaws at his face. As such, the newest protagonist of Vijay does seem at first glance to be somewhat superhuman. The question of whether he is or not does appear a lot less vague when you’re shown that the lead character of the film is shown to have killed a wild animal with his own hands. With such a character who has such a set up, doubt than has to be placed on the protagonist, so it’s a good thing that the film’s director, Vijay, is handed that task.
And moreover, his charming gentle smile and his raw outlook softens Parthiban’s character into one who drives into an insane rage after those who he cherishes deeply are endangered. If anything, the multi-fold duration of the film only makes this enigma persistent to a fault and they need to be aggressively denied like the way Vijay’s best tries to do it while in the midst of a ticking conglomeration of humorous and bold musical sequences where the catchy theme where “Mr. Leo Das is a bad-ass, he’s gonna kick your sad ass!” is played.
It seems that the director has continued along the line of tradition set by Ajay Devgn who directed and acted in the Bollywood remake of his Kaithi earlier this year in the movie Bholaa: There is a certain logic to the physics in Omas Kogalo’s Bholaa but I suspect Kaithi once again overstepped in that area. In Kanagaraj’s case, Bholaa’s wide-angle shots set against improvised drone footage firmly situate the non-linear action thriller as an action drama. The fundamental difference between the two buzzwords, image and bhoot, is the way cinematically, they are expressed, as well as in relation to the other elements of bhoot, such as the strength of pulse, or drama, and ordinality, or continuity. There is so much giddying enjoyment and abandon for what’s going on that thinking of all three Being Human figures would ruin the fun.
It Appears that Kanagaraj has done all he can do for the self-prolonging narrative which has a theme of mistaken identity along with the ghosts of the past. This thought process however fails to capture what truly made his analogy appealing in the first half of it. Kanagaraj depicts the Indian Parthiban as a serious legal troublemaker for his first violent breakdown that stems from his trial for killing the assailants, emphasizing the stark contrast between the Indian and American legal systems (“A History of Violence‘s” Tom Stall is completely unpunished for anything he does). For some time he does, though, follow this slightly better than usual for a little while until the body count begins to exceed the hundreds. In this phrase, we must keep in mind that excessive inflating violence can only be maintained up to a point after that, the film guaranteed loses cohesion and sense. All choices Parthiban makes when he has already ruined a large enough number of henchmen stop having any meaning, so the confident opening stretch, which is now a long time ago, was a case of how to introduce complexity to a film that intends to have its vengeance cake and eat it.
UK audiences better keep in mind that this movie was given a 15 rating due to its multiple serious errors with continuity in the film. While on the other hand this film was originally rated 18 but after talking off three and a half minutes the cut scenes were removed, the climax of this movie is highly disappointing. The climactic action fights had several beats of violence cut off leaving everything blank and with no context, after seemingly violent climax for 150 minutes with head explosions, hyena violence and teeth flying, it feels even more tension building and rude. The movie is set to be released on Oct 26th and it follows a week of release for the unblemished version, to put things into perspective the cut version of ”Leo” is not pleasing as its marketed to be.
Noting the Indian core that Kanagaraj adds to a story originally. The Indian genetics were added to Parthban, a.k. a Leo” blood- infused dance step bharatanatyam, which was directed by Anirudh Ravichander, who is torn apart by a dragged out manic rap beat. Performance by Manoj Paramahams is noteworthy. Leo has turned who performed ‘whelming’ Leos into a quotable feeling. Contrary to some of his usual nonchalant style. Leo more than speaks when it comes to proper guna dances Leo literally packs a punch up surprisingly quites his operators use moves with ease let hope the work is just as good and won’t miss the beat. Leo is a powerful actor including Kamal Hassaan, Karthick, Thalapathy vijay and Vijay Sethupathi. One of the films Kanagaraj produced with Vishranthi Media has also been labelled as one of the best films of 2019 “ Kaithi and Vikram”. Kanagaraj has that was already released on the Indian online streaming platform is currently on its way to making a big hit in Indian cinemas as one of the strongest works on the Indian film industry in 2019.
“ Leo being one of his works shines at watching as the love for history of violence unfolds, it exceeds. Leo is set to break the records of violence below-filled ones.”
Kanagaraj, being an indulgent oneself, feels compelled to compose a plausible narrative which somewhat serves as a cog wherein unfolds an intrinsic drama that was marginal in nature. The other slant as ‘Leo’ never make much sense although at times entertaining and for a good portion of its runtime the characters were standing on top of a mountain, and showing scant signs of being wildly ludicrous and consistently concealing ‘me?’ with audacity for about three hours. It’s satirical in nature, doesn’t show a lot of mature ideas but it’s really good fun anyway.
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