On “Jigarthanda.” On the current state of Tamil cinema. On criticism, and why it’s important to not just praise a film because it’s… “different.”
Sometime last month, in the sify.com coverage of an interaction that had something to do with the teaser of the Suriya film Anjaan, the star was thus quoted: “Expectation about every film of mine is getting bigger and I have to satisfy the classes, masses, families and kids. My kids, wife and parents have to watch and enjoy my films. The business of my films is big and it has a market in Kerala, Andhra, Hindi and overseas. So the content and presentation has to match the sensibilities of all these audiences. So my responsibility is huge.” This is easily among the more depressing things I’ve read lately. I’d be thrilled by Suriya’s criterion for choosing films if I were a distributor, but as a viewer, as a fan of cinema, I’m left wondering: “Does he only care about ‘satisfying’ these various audience segments? What about ‘satisfying’ his creative urge? How about, once in a while, using his stardom to prop up an offbeat venture? Or is that not allowed to happen anymore, once you become a huge star?
And yet, at some level, I understand why someone like Suriya, who’s easily one of our better actors, doesn’t experiment as much as he used to. As his stardom has increased, his films have become unsurprising – they’re just well-oiled machines. But these machines make money, and that’s important – for his career, certainly, but also for the industry, if only because some of the profits may end up financing a smaller, edgier film, which cannot hope to have the kind of audience a Suriya film has. In the same report, he was quoted as saying, “Working with [the director] Lingusamy was a pleasure and there was no pressure at all. It was happiness from day-one to last day of shoot and when it was pack-up time, I felt like the last day in college. He knows how to satisfy the audiences and hence I was relaxed.” If that’s what Suriya wants from his on-set experiences – no pressure, happiness, relaxation – then that’s his choice, and he’s only voicing what most people want, once inside the theatre.
But if Suriya and the other big stars are taking care of the fun side of cinema, who’s looking after the serious side, the artistic side? Who’s making the kind of films that are more than just about satisfying kids and wives and parents? Who’s making the kind of films that we can be proud of, that sticks in the mind long after we’ve left the theatre, that we can sit down and discuss and analyse and lose our minds over?
Let’s backtrack a bit and consider something else, the tax levied by the state government (30 per cent in Chennai city; less elsewhere in the state). I spoke to a prominent trade analyst to get a sense of this, and discovered that there is a special committee set up by the state government that reviews films that are (a) certified “U” by the Censor Board, and (b) have a Tamil title, and decide whether or not to exempt this film from tax. In other words, a film like Jigarthanda, which was certified “UA”, will not even be considered by this committee. Plus, unlike in other metros, there is a government-mandated cap on the ticket price: Rs. 120. So Jigarthanda, when it plays in Mumbai or Delhi, will earn two, three, four times the amount per viewer than what it will earn in its primary market, Tamil Nadu.
Then there’s the question of profit sharing between the distributor and the theatre owner. In the first week, usually, it’s a 55-45 model – 55 per cent of each ticket sold (with or without entertainment tax) goes to the distributor, and 45 per cent to the theatre owner. In the second week, it’s usually 45-55, and in the third week, 30-70. With every successive week, the theatre owners get more, the distributors less – so it’s a cause for celebration for theatre owners when a tax-exempted film like Dhanush’s Velai Illa Pattadhari (VIP) becomes a blockbuster. This also explains why, despite that film being two weeks old and despite the enormous buzz around Jigarthanda, the latter wasn’t able to get the biggest theatres in the multiplexes last week, when it was released. It’s UA-rated, and so theatres stand to make less from it (in its first week) than they would from VIP (in its third week). And if this is the case in Chennai, which is the only major market for offbeat films – unlike Hindi films by filmmakers like Anurag Kashyap, that play in metros across the country – then one can only imagine what it’s like elsewhere in the state, in the B and C centres.
The system, thus, is loaded against any filmmaker who does not want to make the kind of films that Suriya wants to make. So, in this climate, the very existence of a film like Jigarthanda is a miracle. The chorus of praise for the film is understandable, perhaps even necessary – if social-media hype can get more audiences to theatres to see such a film, then so be it. This film must become a hit – if only as a sign of encouragement to others who want to make such films. And yet, there is the feeling (maybe only to me) that this is the sole reason for the film’s near-hysterical critical raves – namely, the miracle that it was made in the first place. And this piece is about the need to celebrate films like Jigarthanda, while also remembering to evaluate them based on the bar they set for themselves. It is difficult, yes. We feel churlish and nitpicky while talking about the things that don’t work in these films when even with these “flaws” they’re far superior to ninety per cent of the films we see. But to not do so would be unfair to the film, and unfair to the filmmaker.
(to be concluded next week)
Lights, Camera, Conversation… is a weekly dose of cud-chewing over what Satyajit Ray called Our Films Their Films. An edited version of this piece can be found here. Copyright ©2014 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Prakash
August 8, 2014
very well put Rangan… please go ahead….
LikeLike
vignesh
August 8, 2014
Agree with many points.
Big stars cant take risks much unless they produce the movies like what kamal doing now(suriya’s next after next is produced by himself). many parts of tn having illegal ticket pricing where exhibitors and distributors cheating producers as well as the public. As said in sathuranga vettai “Money is always ultimate”. Many people enjoying Different kind films via pirated sites/prints than legal way. Different films has its own reach but sadly not in a legal way. They should look for that legal way.
LikeLike
Nishanth
August 8, 2014
Not defending the movie right away but if part 2 of this article is going to say that “Jigarthanda” is just “different” and nothing else, then that’s going to be extremely unfair. As unfair as your review of the film itself, which surprisingly, left out many, many fine aspects of the films. Some gloriously intelligent pop culture references (the entire Nayakan Thalapathi paradigm is more than just a dialogue, heck, Sethu even marries {almost} a Banupriya equivalent), some amazingly innovative camera shots and scene choreography (like the one where Sethu jumps into the car to shoot off the 5 men out to kill him, the fact that an entire song in the movie (Jigar) is sung in Gibberish, The scene where Karthik prefers to stand outside the cinema hall and count down to the moment when the big secret will be revealed, a ala Antony Hopkins in “Hitchcock” and so on…
LikeLiked by 3 people
vignesh
August 8, 2014
Expecting an article from you about how theatre experience influencing a viewer’s thought on films and how a disliked/liked film on theatre/dvd looks opposite while watching it in dvd/theatre
LikeLiked by 1 person
Srinivas R
August 8, 2014
This whole taxing policy in TN is flawed. I mean taxation based on censor certification is so dumb. Consider this , “Jilla” was U certified ( inspite of the stalking , harrasment and a rowdy turning to police etc.), so it would be cosidered for the tax exemption ( don’t know whether it was actually exempt from tax), but Jigarthanda and Aranya Kandam won’t be. How ridiculous is that? I mean even if you take the “good values for society” as a criteria for tax exemption, I fail to see how a “Jilla” or a “Veeram” or a “Anjaan” deserve any tax benefit.
P.S. Jilla is just an example , but it is representative of what tamil masala movies usually end up being.
LikeLiked by 2 people
MANK
August 8, 2014
Brangan, this is very very scary. So what happens when Anjaan releases next week. Is Jigarthanda going to be removed from almost all its theaters , even if it is running housefull?. Terrible!
If this is the case of an U/A film , what about an A film. That selvaraghavan is a true braveheart – to make Ayirathil oruvan as an A film.
Nishanth, thats what we have been discussing and dissecting at length in the comments section. Brangan himself has remarked about these points out there. There is a limit to what he can include in reviews .
LikeLiked by 1 person
nona
August 8, 2014
We definitely didn’t have to see your friend dance to Jigarthanda. Boy, that was scary!
LikeLiked by 2 people
Prakash
August 8, 2014
Rangan
I appreciate your views. But from the business angle, there are few things that need to be taken into consideration.
In Tamil Nadu – where the ticket sales are still the main source of revenue – show biz is a zero sum game. Meaning, the number of screens, number of seats per screen, number of shows per day and the tariff are all fixed. Thus, for a given period of time, the ‘maximum possible revenue (MRP)’ is a ‘constant’ for any feature film eligible for exhibition. It doesn’t matter whose stars in it, who the director is and how rich the production value is.
Any investor who wishes make money through ticket sales will have to take his share from the MRP only. So this is eventually a ‘one-person’s-profit-is-another-person’s-loss’ type of business.
In kollywood, presntly, huge investments are made. Big ticket projects are in pipeline. There are producers and established business houses. There are film financiers. There’s black money. There’s a star system. There’s a convention as to how one can become a director. There are reliable actors who are believed to be safe bets ( Prakashraj, Saranya). There’s ‘protocol’ to deal with press. There are movies are waiting in the cans to be exhibited.
The stakeholders are one too many.
In this setting, the share from the generated ‘maximum possible revenue’ can be given *only* to those stakeholders who come from this system and not to some outsider ( with a likelihood of disrupting the system in the long run) . Even within the system there’s hierarchy. Dhanush fights for his share, while for ‘thala’ it is bestowed’ upon him.
So any one who bypasses the system is unwelcome (simply because, there are already enough people fighting for their share in the MRP.)
So, the message is, yes, you can play small small games like pizza and naduvula konjam pakkaththa kaaNoM and make some money but trying to create a parallel industry is a strict no no.
As for this Jigar movie is concerned, Subburaj has conned every single one. The teaser was meant to mislead. The caption was a blatant lie. Movie length is a known issue (so every one talks about this and overlooks other flaws). No one imagined the movie to be this racy and backed by a solid script. The press meets announcing the movie release was not a pleasant one. After all its a sidharth ( who’s’ literally a nobody in TN) movie by a kuRumbada iyakkunar.
While it was a pleasant surprise for viewers, It was an absolute rude shock to the industry stakeholders.
Kollywood will not forgive him for what he has done. You’ll know what I mean when Subburaj tries to make his third venture 🙂
LikeLiked by 7 people
brangan
August 8, 2014
MANK: The people I spoke to said that most of the money is made in the first two weeks, so I don’t know if the release of “Anjaan” will really affect “Jigarthanda.” Because this is not some slow-growing hit. It’s an out-of-the-gate success (at least in some markets; in the other markets, it probably never had a chance).
Prakash: What an interesting comment. Thanks.
nona: ROFL. That’s not my friend. Some random dude I found on YouTube. 🙂 I swear, my diligent — “ratham therikka therikka” — links-curating gets no appreciation 🙂
LikeLiked by 1 person
kums
August 8, 2014
wow…and the best comment award goes to Prakash 🙂
Hope Karthik has already recruited the gangsters for his next film 🙂
LikeLike
venkatesh
August 8, 2014
Ok, this is interesting but its not new. This has been known for a while now as in the mechanics of the business have not really changed but the scale has. Its a lot more larger and blanket now.
What i don’t understand is what stops small producers from looking at other avenues of distribution ? This is an established practice in the West.
Additionally, for some bizarre reason our stars always want to be “stars” – we don’t have a George Clooney equivalent at all. Don’t know why
LikeLike
Equanimus
August 8, 2014
Prakash,
In this respect, I’d urge people to take a closer look at the next-gen film that had truly nuanced meta (self-reflexive) strains – சூது கவ்வும். In a lovely turn at the end of the film, Das goes back to do what he has best figured out retains his state of autonomy while the trio go up the ladder and work for the new-gen politician. I found this to be a really thoughtful move on Nalan Kumarasamy’s part.
And as an aside, isn’t there a intriguing parallel in Das’s idea of keeping one’s distance from (and not disturb) the establishment but ends up rubbing shoulders with them and how சூது கவ்வும் grew beyond its size? [There were a few generic reactions from some stars about the increase in wayward characters, casual/excessive drinking scenes (the latter bit esp. seemed specifically about this film) etc. I myself took this cue from one such instance you’d pointed to earlier.]
LikeLiked by 1 person
ramitbajaj01
August 9, 2014
It was Jigarthanda’s first day in Pune. I went very excitedly, but was surprised to see the hall empty. Not even 20 persons. As the movie began, the reason for less attendance became apparent. There were no subtitles. I really wonder if a regional movie wants to earn revenues outside its region, why won’t it include subtitles? Why is it so content targetting only regional people even outside its region?
LikeLike
Ravi K
August 9, 2014
“Expectation about every film of mine is getting bigger and I have to satisfy the classes, masses, families and kids. My kids, wife and parents have to watch and enjoy my films.”
It’s great if a film can accomplish that and be good at the same time. But it shouldn’t be the main criteria of making a film. Masala films are so fragmented in their approach to targeting all these audience segments that it makes for schizophrenic films. Here’s the action scene for the guys. Now here’s the romantic scene for the women, some comedy that has nothing to do with anything else, etc.
Re: Jigarthanda. To me, a filmmaker actively compromising a good film based on commercial demands is a worse sin than simply not quite fulfilling the film’s full potential. I think the latter is the case with Jigarthanda. But I didn’t feel like Subbaraj was kowtowing to any commercial pressures, and ultimately the film’s issues were not fatal to my viewing experience anyways.
The commercial restrictions are imposed by distributors and producers, but those can be overcome by people willing to go against the grain. What they can’t overcome is is that the government uses tax and outright censorship to heavily influence the kinds of films being made. Heavy violence doesn’t seem to phase the censors, but anything political (other than unchallenging, generic political content), sexual, or otherwise challenging is not allowed, even in “A” rated films. Who will make such films if they know they’re going to be chopped up or outright banned? In India something like “Gandu” can only be made on a shoestring budget. Or, investors can fund such films on larger budgets, knowing that they will forego the Indian audience and have to look to foreign markets, likely in Europe and the US. No wonder so many of our films are dumbed-down pablum.
It’s not that a film has to be hard-hitting or filled with cursing, sex, etc. to be good. But those kind of films need a space too.
I think there is such a dearth of good films and such a glut of bad ones that when something remotely good comes along we overpraise it.
LikeLike
oneWithTheH
August 9, 2014
Kai Po Che is an example of a fine “masala” movie. I am using the term very loosely here.
There are songs, parent sentiment, sister sentiment, friendship, love, lust, tension, drama, comedy and cricket! The remarkable thing about it was the writing. It doesn’t make you realize that you are going through a gamut of emotions as the film progresses. The transitions are seamless.
I would say masala films in Tamil suffer from don’t-care level writing more than anything else. As Ravi K says above, it’s just an enumeration of boilerplate scenes than trying to put some effort in trying to figure out how to weave them together sensibly. This whole idea of trying to please x, y, z is B.S, IMO. It’s just a presumptuous statement by an actor on the pretext of satisfying their so-called fanbase. “மச்சி! சும்மா கதவுடாத டா! ” is what I’d like to tell these actors. Do their fans make a written request to the actor asking for 10 punch dialogues, 5 fights, 2 duets, 2 kuthu(includes one sarakku) songs in their movie?
“I think there is such a dearth of good films and such a glut of bad ones that when something remotely good comes along we overpraise it”
But this has always been true no? Has there ever been a time with a series of really good films and a couple of bad ones in between? It’s always been the other way around.
LikeLike
Arun
August 9, 2014
Does the tax exemption have any effect on the ticket price? NO.
The experience at most of the cinema halls do not justify the price of the tickets. The benefit of a tax exemption does not get to the viewer. Why should there be a tax exemption for this business at all?
LikeLike
prasanth
August 9, 2014
rangan, did you watch thalaimuraigal?
LikeLiked by 1 person
Vikram
August 9, 2014
Rangan, your viewpoint is interesting. Just because a movie is different doesn’t mean it has to be praised. Fair point. But if the audience don’t encourage offbeat stuff, then they will be saddled with masala stuff. The issue around Jigarthanda reminds me of Kannada movie Ulidavaru Kandante. The trailer created a lot of hype (in fact, it was the best trailer I had seen in many years). People thought it was a whodunit, but the movie turned out to be something else. There were outright negative reviews, especially with regards to the Kannada dialect used and pace. I absolutely loved the movie and watched it four times. However, movie turned out to be average and the director (first time and lead actor) and the producer clashed publicly over the budget. My fear is that the director might try and direct a “safe” movie and the audience reaction might have nipped a promising director.
LikeLiked by 2 people
brangan
August 9, 2014
Equanimus: I don’t think he’s saying that the film is the best ever or anything — just pointing out why it has (in his opinion) stumped the film industry. I don’t think “Soodhu Kavvum” (definitely a much better film IMO) got this kind of success/WOM. It was seen as a quirky little thing, and was praised by a few… IIRC. Quite unlike this film, whose perception in the minds of the public has really become something.
ramitbajaj01: That is very sad and very unprofessional.
Ravi K: But this kinda stumps me. I know people who’ll say they stand for “good cinema.” But given the chance to visit the theatre, they’d rather go see the “big blockbuster of the moment” than the other kind, and then come back and wail about how no one’s making any “good cinema.” And then they’ll watch this “good cinema” on a laptop and claim it was nothing special 🙂 What I’m saying is that we are also to blame for this state of affairs.
Arun: Yeah, I too don’t see why this business needs tax exemption in the first place. I can see the value in something like what the NFDC was like in the 1980s, subsidising the Benegal/Nihalani kind of cinema. But to subsidise a “VIP,” to me, seems kinds pointless. It’s just putting more money in the pockets of people who already have a lot of money.
prasanth: No, I haven’t found it anywhere. Even asked some “thiruttu DVD” types but couldn’t find it. Is it on the web?
Vikram: I’m not saying “don’t encourage offbeat stuff.” I’m just saying “encourage it for the right reasons and be measured in realising what works and what doesn’t work.” I’m saying that the binary Twitter model of a film being either all good (“it rocks”) or all bad (“it sucks”) is dangerous, and we should locate the film along the median, wherever it falls (in our eyes, of course). It is possible to praise a film while also taking into account its problem areas.
Is this Kannada film you speak of available with subs?
LikeLiked by 1 person
Equanimus
August 9, 2014
BR,
Oh, wasn’t disagreeing with what Prakash says. Just meant to share a related thought on சூது கவ்வும் that I continue to find very interesting.
And agree that, while சூது கவ்வும் itself was well received for its table stakes, this one’s reception is in a different league and has won over the audience at large. (I also enjoyed it to an extent, just don’t know what to make of the film beyond being an enjoyable and alternately teasing/tantalising watch.)
LikeLike
gopalan
August 9, 2014
The biggest earner vis-a-vis efforts put in for Jigarthanda is TNGovt
chunk of 30% of the gross price.Every Satyam viewer in chennai pays Rs.37 to Govt.,the exhibitor / producer gets much less than this.
The so called high earning star films making 50cr to 100cr give “0” revenue to govt.
Release of such star films demands big services from govt such as regulating traffic around cinema halls, deployment of police force for crowd control, putting pressure on corporation in cleaning around halls of multiple point of sale and milk abhishekams etc. Tax payers money goes in to all these services for which Govt gets zero revenue.
Its high time the tax rules are reviewed and rationalised.
LikeLiked by 1 person
Vikram
August 9, 2014
Thanks Rangan. But I will let you know if it’s available with subs. I agree that the Twitter model of review is dangerous, but don’t you think a reviewer needs to give some leeway to an offbeat stuff? Ulidavaru Kandanate got scathing reviews from most Kannada newspapers and it didn’t do too well in old Mysore belt. But the movie was well appreciated in coastal Karnataka (the movie is set there). And between your review on Lucia was top notch.
LikeLike
vignesh
August 9, 2014
Maidsh6Mahesh babu takes that risk in his last flick which didn’t do well as expected now he get back to routine it seems.
LikeLike
vignesh
August 9, 2014
Did you saw kanada film(now being in tamil/telugu) lucia? I would like to know your thoughts on that flick.
LikeLike
Equanimus
August 9, 2014
And (to clarify one point; not that anyone cares) my interest is just in the way how films (in this case, specifically, சூது கவ்வும்) portray this self-reflexive dimension, not interested in seeing this as a David vs. Goliath competitive situation otherwise. சூது கவ்வும்’s portrait stands on its own, I’d argue, as a universal take on a ‘startup’ becoming an ‘enterprise,’ so to say, irrespective of the specifics of TFI reality. Have no especial understanding of how the industry functions either. Like any other thing involving commerce and especially one in which stakes are so high, I suppose it’s bound to have its own business machinery. (One only has to look at how rapidly remakes are spawned off in other languages the moment a film strikes gold at the box office.)
LikeLiked by 1 person
Bhavadas
August 9, 2014
Agree 100% ! Personally, I dont care what a Suriya or a Vijay approaches their films. If Lingusamy makes money, I know I can expect to see another Balaji Shakthivel or Suseenthiran or Myshkin film getting the production value its deserved production value thanks to, for example, Thirupathi Brothers. I will support Anjaan so an Anjaathe can be made 😀
LikeLike
bhog
August 9, 2014
@ Bhavadas – That actually a depressing way to look at it. Why can’t UTV (TAMIL) make straight good movies with those directors and give them freedom ? Remember what happened with Myskinn and mugamoodi ? He mentioned he was not able to make the movie he wanted to as he was controlled.
In my opinion utv tamil has done more harm than good for this industry.
LikeLike
Satish Selvam
August 9, 2014
@Vikram: Thanks for bringing up Lucia. I remember going ape-shit crazy once I was done with the movie and was going through so many reviews online..to check if the general public too shared my amazement/enthusiasm at the movie.
It was my mistake that I did not see BR’s name ..but his article had perfectly summed up my reactions from the film. Excellent review BR :).
http://www.thehindu.com/todays-paper/tp-national/stranger-than-fiction/article5208712.ece
I wish to see more Kannada movies ..espc Upendra’s movies (have heard that he is a trendsetter who manages to balance between the mass & class films) …my problem? I need subtitles!! 😦
Now re-reading a couple of your articles:
http://www.thehindu.com/features/cinema/a-golden-shawl-for-the-dead/article2973927.ece
LikeLike
Bhavadas
August 10, 2014
Yes, it is depressing but UTV wont listen to me. Hence, I would support Lingusamy, who supports different movies like Vazhakku, Goli Soda and Sathuranga Vettai. I loved these, especially the first, and am happy Paiyya was a hit. It is beacuse of prople like P Madhan, V S Rajkumar, K Anand and Saravanan that few of the movies close to my heart got made. I believe Suriya, directly or otherwise, might be contributing towards these independent movies being made. independent movies need money of the masses collected through commercially successful movies. Because those who go and see Anjaan 4 or 5 times might not go see Vazhakku… even once.
LikeLike
Ravi K
August 10, 2014
Brangan wrote: “I know people who’ll say they stand for “good cinema.” But given the chance to visit the theatre, they’d rather go see the “big blockbuster of the moment” than the other kind, and then come back and wail about how no one’s making any “good cinema.” And then they’ll watch this “good cinema” on a laptop and claim it was nothing special 🙂 What I’m saying is that we are also to blame for this state of affairs.”
I only occasionally see big blockbusters. They’re all kind of the same, so unless it’s a Shankar film or otherwise looks fun/interesting, I don’t bother. I paid to see Soodhu Kavvum in the theater and bought the official Blu-Ray. I am not one of these laptop people 😉
Part of the problem is that for viewers like me outside of India, the smaller films don’t always play in theaters here. Official DVD/Blu-Ray releases rarely happen, and the ones that are released are often poor quality. The DVD I bought of “Pizza,” which I’m pretty sure is official and was purchased from a reputable website, made the film look like was filmed on a pizza box. I still have no way of seeing Onayum Aatikuttiyum other than downloading/streaming it. I keep hearing it’s brilliant, and it’s impossible to find legitimately.
I do get what you’re saying. Not enough people support the good films. The big blockbusters can handle a little piracy, but the smaller films need every legitimate ticket sale they can get.
LikeLiked by 1 person
Bhavadas
August 10, 2014
Ravi K – Watch it online and just book a ticket at any theatre. Crude but the economic impact is the same.
LikeLike
Rahul
August 10, 2014
Ramitbajaj, I had a similar experience. There was a Dhanush movie playing in Toronto, I think it was Maryan. I tried to call the theater to find out if it has subs. The phone had a recorded message on about the showtimes. Then , we made the trek to the theater, the guy at the ticket counter had no idea. The ticket checker at the gate told us what I already suspected, that there are no subs. Well, there is a Sarvana Bhavan nearby so the trip was not a complete waste of time.
I know the question about lack of subtitles has been raised here before, but is there an even remotely reasonable answer to this ? How much does it cost to subtitle a movie?
LikeLike
Vikram
August 10, 2014
@Satish Selvam, I am glad you like Lucia. If you get a chance, watch Ulidavaru Kandante. It is directed by a first-time director, but the shot taking and attention to detail is impressive. I wouldn’t recommend Upendra’s movie. Although he has something radical to say, he is just too loud and vulgar for my taste.
LikeLike
Ravi K
August 10, 2014
My local theater has started playing more Tamil films with subtitles in the past few years (including Jigarthanda), but their website never indicates it properly. They will put “English subtitles: no” in the details for the Tamil films, but they sometimes have subtitles, so you have no idea about the presence of subtitles until the film starts.
LikeLike
ramitbajaj01
August 10, 2014
Rahul, I also wonder if there really is too much cost involved for subtitling that filmmakers don’t include it. Do they have to come out with different reels? Are reels with/without subs not compatible with each other? I wish we could get answers somehow.
LikeLike
Pady Srini
August 10, 2014
Now I understand how big is Kamal. He still has a decent following in the 4 states and abroad. He can afford to make a Guna and still make it commercially successful.
LikeLike
Rahini David
August 11, 2014
Reg: they’d rather go see the “big blockbuster of the moment” than the other kind.
I plead guilty. But then, how many weeks will this other kind movie run? If I miss the first weekend, I might as well forget about it. But a very average pot-boiler of the surya kind is going to be there. So when I do get the time, money, company and inclination, I look around and pick what is available. And more often than not it is going to be a Surya or a Karthi movie.
Reg: “I have to satisfy the classes, masses, families and kids”
Well, MGR and Visu are the only people who ever really took old women into account. Why can’t they just admit that men of the 15-45 age range are the main targets and women of the 18-28 age range are the next targets and that is that?
LikeLiked by 1 person
MANK
August 11, 2014
Pady Srini, But Guna was a flop. It got killed by Thalapathy when it was released. Though over the years it has become a cult film .Ditto for Mahanadi. His more artistic films that worked well everywhere are Tevar Makan and Virumandi.
Vikram, you are right about Upendra. I had seen a couple of his films some time ago- one of them titled Upendra itself. Boy! that was enough for me 😉
LikeLike
aandthirtyeights
August 11, 2014
Brangan, I was in Court (I’m a lawyer) when I heard a matter being argued on how this Committee that decides whether a movie should get an exemption or not is not driven by any guidelines. (Apparently, one of its members cannot even speak Tamil!) So, these members can do what they want — in their sole discretion, not guided by any principles, they can give or not give an exemption to any film.
It’s not enough, then, that you have a U certificate. This committee has to decide that you are exemption-worthy. What will play on the Committee’s mind? That, I think, is equally worrying.
LikeLike
MANK
August 11, 2014
In UP, The only consideration for tax exemption is whether the films’ star a member of the bachchan family 😉
LikeLike
Pranesh
August 12, 2014
I dont agree with TR on a lot of things, but he raised a valid point about the Tamil name/tax exemption. How a name like Va Quarter Cutting got an exemption is beyond me.
LikeLike
venkatesh
August 12, 2014
RIP Mr.Williams
LikeLike
KayKay
August 12, 2014
Venkatesh I know! Still can’t believe it!
LikeLike
MANK
August 12, 2014
Venky,Kaykay. Yeah unbelievable. And what a way to go!. Suicide- god, its impossible to believe that man who spread so much fun, so much happiness and light would be grappling with his own depression demons.RIP Sir.
LikeLike
Ram Murali
August 12, 2014
Feel horrible reading the news of Robin Williams’ tragic death…liked him a lot in his more serious roles…”awakenings” had Williams and De Niro in peak form…there was also this movie with him in a photo processing center…he made u actually feel for the deeply flawed character…portrayed his loneliness superbly…of course, “Goodwill hunting” and his monologue to Matt Damons in the park was so awesome…as also his, “prick stole my line” line which was such a nice finish to the movie…
RIP, Mr. Williams…too bad u left us too soon…
LikeLike
MANK
August 13, 2014
Lauren Bacall passes away at 89. This has been a really tragic week for films. Well hers was a life & career fully lived . I will always remember her for the quartet of great films she did with Bogart- To have and have not,The Big Sleep,Dark Passage and Key Largo. – And Also for a few of them like Written on the wind & Murder on the Orient that she made without him. One of the last few remaining celebrities of The Golden Age of Hollywood. She had such class , fire and style – thats very much missing in todays starlets. RIP.
LikeLike
hari
August 14, 2014
Ram Murali that movie was one hour photo, a splendid movie.
RIP Robin Williams
LikeLike
Pady Srini
August 15, 2014
OMG…Anjaan made Singam2 feel like a masterpiece. Back to 80s….
LikeLike