Pattas Review

Introduction

In 2020, R. S. Durai Senthilkumar wrote, directed, and produced Pattas (also known as Firecracker), an Indian Tamil-language martial arts movie. In addition to Dhanush, Sneha, Mehreen Pirzada, and Naveen Chandra, who all have supporting roles in the movie, Nassar, Munishkanth, and Manobala also appear. Vivek-Mervin created the film's score. It's their second joint project after Kodi. The movie illustrates Adimurai, a traditional fighting style practiced in Tamil Nadu. Dhanush and Sneha trained in martial arts to prepare for their parts before filming.

The movie debuted in theatres on January 15, 2020, Thai Pongal Day. The film received reviews that ranged from favorable to mixed, and it was a commercial success.

Cast:

• Dhanush in a dual role as
  
  • Dhiraviya Perumal
  • Shakthi Dhiraviya Perumal
• Senha as Kanyakumari (Kanya)
• Mehreen Pirzada as Sadhana Sha
• Naveen Chandra as Nilapparai a.k.a Nilan
• Nassar as Muthaiah Aasaan
• Azhagu as Kanyakumari's father

Review of Pattas:

A mother (Sneha), dressed in a saree and panting from weariness, hurries through the forest while tightly clutching her young kid. A group of immigrants who had veins protruding from their toned arms chased. She is attacked. They begin by pushing her around before becoming slightly more violent. She is hurt, and the deep gash across her temple oozes with blood. The young child lands with a loud thud on a broad tree bark. The mother cries out in pain. Now she strikes back. Just as the cops are about to arrive, she pushes two of her fingers through the neck of one of the foreigners while acting like Bruce Lee, ripping off his Adam's Apple. Her crime, violence against the most almighty beings known as white humans, earned her a sentence of nearly 20 years in prison.

When not committing theft, Dhanush, a millennial petty criminal, dances to songs with PUBG references ("winner, winner, chicken dinner") and sings about not taking a shower when there is a water shortage. During those years, the young child who was purportedly killed in the forest has grown up. He goes by the name Pattas and is a bit of a loser and a bum. He will soon learn that his tale will assume an almost mythical shape.

Adi Murai is a traditional Indian martial technique, and like his father before him, Thiraviyam Perumal, whom Dhanush also portrays, was a master of it. When Pattas was a fetus cuddled up in her belly, his mother told him war stories. The dearest friend and brother of Perumal (Naveen Chandra) eventually betrayed him and killed him. So Pattas must put the thief behind him and become the person he was meant to be in the present, many years later. To defeat the person who murdered his father, he must compete (in an MMA ring). Indeed, fate waits for no one. A great masala premise would be this. It achieves its desired effect by incorporating high fantasy into the context of heightened reality. It is a contemporary adaptation of Baahubali.

The issue is that despite his screenplay being chock-full of meaty writing, R. S. Durai Senthilkumar needs to make a finished product that moves you on a deep level. Pattas might have been another "masala" epic for Dhanush to launch his career. Unfortunately, it seems like a three-and-a-half-hour film was whittled down to 150 minutes to make it more digestible for modern viewers (I've lately learned that there are individuals who watch movies at home at 1.5 times the usual speed, like real, live, breathing humans). Before moving on to the next story point, it is directed and edited to hit each one fast.

Durai Senthilkumar gives each specific moment little attention. The space between characters is severely restricted. There are never any scenes showing Pattas merely internalizing the life-altering revelation about who he is when he discovers it. During the primarily excellent flashback segment, the bond between Perumal, Nilan, and his father (Nassar) doesn't feel fully developed. Sections of a book have been taken out, and we are given the TL; DR version.

Even the change from the dramatic reminiscence to the transition has no rhythm. I can't help but think of the scene in Baasha where Manickam's brother confronts him at home. The scenario gradually intensifies until their mother becomes enraged. After that, Manickam cautiously enters his room and shuts the entrance behind him. As the song builds, the camera lingers on Rajinikanth as he closes his eyes, and the background story gradually fades in. In Pattas, Sneha's voiceover is awkwardly cut to the flashback.

Where is the accumulation? The controlled, slow escalation? Yes, I still leaped out of my seat and cheered like a 14-year-old girl at a BTS concert, but this time, my enthusiasm wasn't motivated by an irrational urge to be an animal; instead, it was caused by the fact that Dhanush is the kind of star whose one billion volts of electricity zaps you like a lightning bolt from the screen.

The best part of Pattas, though, is the flashback, which takes place in a village covered in sand and dust. It is not only alive, but it is also quite heated. The planet has been constructed well. Aalaporan Thamizhan in Mersal gave Vijay fans chills, and watching Dhanush perform Adi Murai in front of hundreds of kids during the song "Morattu Thamizhan Da" gave me the same type of chills. It also caused me to cry warm, passionate tears. They have an excellent connection that harkens back to the days of Pudupettai, and their romantic song with Dhanush and Sneha is mature and sincere.

How frequently can one mention the talent of actor Dhanush? When Nilan unveils his idea from the top of the watchtower, notice the tiny twitches on his face. Nassar is ideal for the role of the Shifu or father. In addition to a superbly crafted, impactful death scene, the action scenario that revolves around a burning dojo is emotionally intense. I would have liked more time spent on this scene in the movie.

In addition, I wish Durai Senthilkumar had the same level of concern for the rest of Pattas as he had in the flashback because, during the past 30 minutes, it has fallen flat on its face. A completely unexpected streetfight between the hero and the villain to close out the proceedings is followed by several tepid kickboxing contests that lack suspense and emotion. It needs to be clarified how this was written. Why couldn't the MMA fights have progressed to a son against? Son match that would have mirrored the father vs. father fight that had previously occurred?

There are further squandered opportunities. Consider the application of the brilliant song "Mavane." During the necessary training montage routine, it blares across the speakers. However, I can't help but ask why it wasn't utilized during the flashback scene while Perumal was in action (consider how well it is used in the trailer). In a masala movie, these tiny echoes are crucial. Think about how the phrase "King of the Sea" is employed in Vada Chennai. When Rajan enters the past, you are the first to hear it. The same musical soundtrack also supports Anbu later, in the present, when he assumes leadership of his slum.

Pattas is still a fun movie, despite all of its flaws. Historically, Women have been mistreated in the genre, often reduced to hip-shakers in dance numbers or damsels in distress. Sneha has a substantial role in this situation and gets to kick some serious ass. There is no strange obtrusive song that whisks you away to picturesque areas in Europe. Still, the entire album by Vivek-Mervin is fantastic, and they do a tremendous job of integrating them into the story. And Dhanush is one of those actors who can bring life to the darkest scenes. It possesses every element required to establish itself as a genre classic. Unfortunately, the chef wasn't quite in top form then.

Music and Composition

Vivek-Mervin, working for the first time with Senthilkumar, Dhanush, and the rest of the cast, wrote the lyrics and composed the theme for this movie. Vivek and Dhanush also wrote the songs. Lahari Music has acquired the audio rights.

Three of the seven tracks on the album?three of which were made available as singles?are from the album. The first single, "Chill Bro," sung by Dhanush, debuted on December 1 and quickly gained 3 million YouTube views. The album was released at the Suryan FM Radio Station in Chennai two days after the tracklist was made public on January 9, 2020.

Reception

In general, both critics and moviegoers gave the film favorable reviews. Dhanush is the hero of this mainstream movie, according to IndiaGlitz, who gave it a 2.5 out of 5-star rating. According to The Times of India, the action drama received a Rating of 2.5 out of 5 stars, "predictable from the start to the end." According to Behindwoods, who rated Pattas 2.75 out of 5, "Pattas is a well-made popular entertainment with excellent acting that highlights our traditional martial arts," says the author. A commercial entertainer for Pongal family audiences, according to Sify, who gave it three out of five stars. You might be satisfied if you enter with low expectations. Firstpost rated it 2.75 out of 5 stars with the comment, "Watchable only for Dhanush's swagger and dynamic style."

India Today gave the movie "Pattas," which was produced by Durai Senthil Kumar and starred Dhanush, Sneha, and Mehreen Pirzada, a 2 out of 5-star rating and stated that it "deals with a highly formulaic story that is muddled with drama." The Indian Express rated the movie Pattas, starring Dhanush, Sneha, and Mehreen Pirzada, a 2.5 out of 5-star rating and stated that it "has "style," but less substance." According to the Deccan Chronicle, which gave the movie 2.5 out of 5 stars, The movie largely relies on the actor brand and bases itself on a Pongal concept." According to The News Minute, which gave the film a rating of 3.5 out of 5, Sneha receives an essential part in which she excels, and Dhanush, with his lean figure, is just as believable as a martial artist.

Dhanush's Pattas premieres on primary screens today for Pongal, according to Zoom TV, which gave it a 2.5 out of 5-star rating. Sneha and Mehreen Pirzada play the female leads in this comedy. The main issue is the mechanical quality that separates us from anything on the screen, according to Baradwaj Rangan of Film Companion South. All of it revolves around speed. Younger viewers may be growing impatient with more traditional kinds of narratives due to a generational shift that is taking place. It may be necessary to update the current fashions. What price, though? That we oppose films being turned into glorified online games is obvious.