By Dolores Quintana

I will admit that my expectations weren’t high for Harold and the Purple Crayon, but I was pleasantly surprised by the film. It was charming and sincere, not just a kid’s movie but a film that explores disappointed dreams of adults and the role of art and imagination in life. It has a storyline that can appeal to kids and adults. It’s playful and emotional. I really loved the cast, especially Lil Rel Howery, Tanya Reynolds, Benjamin Bottani, Ravi Patel, and, especially, Jemaine Clement and Alfred Molina as the narrator. Watching Tanya Reynolds behave as a real life porcupine was adorable. The comedy in the film really came to life with the work of the supporting cast. 

The film’s synopsis says, “Inside of his book, adventurous Harold (Zachary Levi) can make anything come to life simply by drawing it. After he grows up and draws himself off the book’s pages and into the physical world, Harold finds he has a lot to learn about real life—and that his trusty purple crayon may set off more hilarious hijinks than he thought possible. When the power of unlimited imagination falls into the wrong hands, it will take all of Harold and his friends’ creativity to save both the real world and his own. Harold and the Purple Crayon is the first film adaptation of the beloved children’s classic that has captivated young readers for decades.”

Zooey Deschanel and Zachary Levi pulled their weight, and Deschanel, in particular, was given more to do than she normally gets, and it showed in her work. However, Zachary Levi was not the MVP of the cast and he should have been since he has the titular role as Harold. His work can be described as workmanlike and adequate except when he starts to show more as the film progresses. Sadly, it’s not enough to save his performance fully, but it’s more than I have seen him show ever. 

It is a problem that I have had with the three leads of three recent family family films. The lead character, who by all rights should be the star of the show, isn’t and gives what can only be called a passable performance. In many of these cases, the slack was pulled up by the supporting cast, but that makes me wonder why one of them wasn’t the lead and what might have been.  

Harold and the Purple Crayon had lots of undercurrents that posed questions in my mind, like the disappointment of artists who don’t get to fulfill themselves in their chosen crafts, the torture of working a retail job, and how people cause chaos in the world by doing whatever they want without considering the consequences of their actions, especially in movies where wonderous things happen. 

That one came to the forefront with the actions of Harold juxtaposed with the actions of Gary Natwick. Even though Harold didn’t intend to cause chaos, he frequently does. In most family films, the consequences are rarely shown. In this film, they are, and that is refreshing. 

Gary, as a villain, is awful, but you still see the sadness and disappointment that leads him to make bad choices. No one is painted as totally bad; there are levels to the characters’ motivations and actions. There’s a lot more about the characters and what makes them tick than there is in most family films. Gary’s storyline and Jemaine Clement’s performance have pathos and are really funny in a way that will keep adults entertained during the film.

I find that makes the film much more interesting and relatable. The director, Carlos Saldanha, who is a Brazilian animator who co-directed Ice Age, did an excellent job and has a light touch with the heavier concepts in the story. The writers David Guion and Michael Handelman built a strong story and characterizations. Props for setting the film in Providence, Rhode Island. It’s also nice to see a film set somewhere outside of the main population centers and the live action with the inclusion of animation works quite well. 

Harold and the Purple Crayon is a joyous celebration of art and love that is kept from being sublime only by the performance of its lead actor. The supporting cast does wonderful and amusing work that would have been better served by a stronger lead. But still, it is a thoughtful, emotional, and entertaining film with a light touch on some serious subjects that still retains childhood magic. Director Carlos Saldanha deserves praise for his good work in adapting a beloved childhood book.

The legal pressure on TikTok just got more intense.

The U.S. Department of Justice on Friday sued TikTok and its Chinese parent ByteDance for allegedly breaking child privacy laws, accusing the companies of collecting personal information on children under the age of 13 without their parents’ consent.

The lawsuit comes after TikTok settled a previous legal dispute with the Federal Trade Commission in 2019 after the agency accused the social video app of violating the Children’s Online Privacy Protection Act. TikTok paid a civil penalty of $5.7 million. Since then, the Department of Justice said, TikTok has been under a court order to remain compliant with the act.

“The Department is deeply concerned that TikTok has continued to collect and retain children’s personal information despite a court order barring such conduct,” said Acting Associate Attorney General Benjamin C. Mizer in a statement. “With this action, the Department seeks to ensure that TikTok honors its obligation to protect children’s privacy rights and parents’ efforts to protect their children.”

TikTok in a statement said that it disputes the allegations, adding that many of the government’s complaints relate to past events or practices that have been addressed.

“We are proud of our efforts to protect children, and we will continue to update and improve the platform,” said TikTok spokesperson Alex Haurek in a statement. “To that end, we offer age-appropriate experiences with stringent safeguards, proactively remove suspected underage users, and have voluntarily launched features such as default screentime limits, Family Pairing, and additional privacy protections for minors.”

The popular app, like other tech platforms, has options for children and adults.

Young people can join with a kids’ mode that limits what they can see. TikTok asks new users for their age when creating an account.

But the DOJ alleges in its lawsuit that children have been able to easily circumvent TikTok’s guardrails and establish adult accounts and that TikTok has made it unnecessarily difficult for parents to delete their children’s accounts. The government also says in its lawsuit that TikTok retained the email addresses of children reporting tech issues to the app longer than necessary and in violation of the law.

“Defendants’ insufficient policies and practices thus allowed children to create a non-Kids Mode TikTok account, gaining access to adult content and features of the general TikTok platform without providing age information,” according to the lawsuit. “Without parental notice or consent, Defendants then collected and maintained vast amounts of personal information from the children who created and used these regular TikTok accounts.”

TikTok remains a major social media force, with more than 170 million users in the U.S., but its future remains uncertain in the nation. U.S. government leaders have raised security concerns over TikTok ‘s ties to China. In April, President Biden signed a law that would effectively ban the service in the U.S. if ByteDance does not sell TikTok’s U.S. operations.

TikTok sued the U.S. government in May, alleging the law violates 1st Amendment rights to free speech.

A still from ‘Mazhai Pidikkatha Manithan’
| Photo Credit: Special Arrangement

Director Vijay Milton is back after six years, and the first few minutes of the Vijay Antony-starrer, Mazhai Pidikkatha Manithan, gave the impression that it’s a worthy comeback for both the Vijays. The film starts with a pleasant surprise that it’s a sequel to Vijay Antony’s Salim (2014), which itself was a sequel to his 2012 film Naan. The quick-paced cuts connect the dots swiftly and bring a sense of familiarity to the protagonist of Mazhai Pidikkatha Manithan from the get-go; but little did we know that they will also happen to be arguably the most fascinating part of the film.

Karthik (Vijay Antony), who had stolen Salim’s identity in Naan and became a doctor in Salim, has become a covert agency agent who lost his friends and his lady love in an ambush on a rainy day. Now, as a man who lost everything in the rain, and bogged down by survivor’s guilt, Karthik attempts to start afresh. With the help of his Chief (Sarathkumar), he reaches the shores of Andaman and finds refuge at an eatery managed by a mother-son duo. But little does our hero know that despite touching land, he is still in troubled waters when he crosses paths with a local loan shark, Daali (Dhananjay).

A man with a past wanting a fresh start away from the horrors of his past, only to be pulled back into it, is a trope that’s anything but new to Indian cinema. The idea of a double life is something even Vijay Antony himself gave a shot with Pichaikkaran,which turned out to be one of his biggest hits. Be it the drastic change in the protagonist’s life — that comes with the heft of getting accustomed to a new place, new people and new responsibilities — or the mass transformation where he reveals who he really is and what he could possibly do, Mazhai Pidikkatha Manithan faulters everywhere Pichaikkaran triumphed.

Mazhai Pidikkatha Manithan feels like a hodgepodge of several action films featuring such a protagonist. The core idea seems to be cut from the same cloth as The Equalizer films while a yesteryear killer seeking vengeance for his puppy would remind you of a particular film series starring Keanu Reeves. Inspirations are justifiable when used as crutches to support an otherwise interesting tale, not when turned into stretchers expected to carry an insipid plot.

A still from ‘Mazhai Pidikkatha Manithan’
| Photo Credit:
Special Arrangement

Past the predictable story, it is the shoddily penned characters and scenes that water down this film. We have the damsel in distress in the form of Sowmiya (Megha Akash); a gabby Burma (Pruthvi Ambaar), who gets thrashed often making us feel that the treatment meted out to him is totally worth it; his mother (Saranya Ponvanan), who says the most unrelatable lines in an attempt to sound profound; and of course, the ever-threatening villain (Dhananjaya), whose idea of terror is serving poison flavoured coffee. Even dependable seniors like Sarathkumar and Saranya, and a cameo by Sathyaraj, fail to save the film from the shallow waters of mediocre writing.

The streaks of potential you see now and then, sadden you further. In a scene, Daali’s ego is bruised after an encounter with a dubious cop (Murali Sharma) but that sub-plot leads nowhere. The triangular love story between the three primary characters doesn’t feel organic. A bit more information on the agency headed by Captain (Sathyaraj) would have added more value to the backstory; instead, the film settles on putting him in expensive clothes, placing him in an embellished underground lair and making him say something along the lines of the actor’s iconic ‘Thagudu, thagudu’ lines.

The film’s title tells you of the poetic feel the makers have gone for, and it’s quite dramatic to place a character with an aversion towards rain on an island surrounded by water, but Mazhai Pidikkatha Manithan fails to capitalise on these tropes. What we are left with is a painfully formulaic plot riddled with uninteresting characters and unsurprising happenings that are sure to rain on your parade.

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Mazhai Pidikkatha Manithan is currently running in theatres