NO SPICE. NO DICE.
Is the lack of masala the only reason for Anbe Sivam not doing well?
MAR 2, 2003 – AS POSTERS SPRING UP AROUND THE CITY celebrating 25-day runs of the Pongal releases, you can’t help thinking how unfortunate it is that Kamal Haasan’s best film in quite a while, Anbe Sivam, had to duke it out with the box-office behemoth that is Dhool.
Vikram’s release is, of course, the ultimate feel-good masala fest. (You’ll probably have to go all the way back to Agni Natchatiram to see such awesome technical prowess and youthful energy put in service of such a non-existent story.) When the camera swoops and swirls around the dancers in the impossibly-catchy Koduvaa Meesai Aruvaa Paarvai, it’s your spirit that soars, and when Paravai Muniamma belts out her gaana underscoring the thunderous climactic fisticuffs, the exhilaration factor is through-the-roof. Audiences, understandably, are tearing into this cinematic equivalent of a triple sundae with every imaginable topping.
In comparison, Anbe Sivam has come to be seen as that tall glass of milk your mother made you drink every morning. You know it’s good for you, but something about it, not just the quick-sugar-fix competition from Dhool, has made moviegoers resist its charms and elicited mournful discourses on the future of good Tamil cinema.
What is it, other than the obvious lack of heavy-duty masala? It cannot be the story, about spoilt yuppie Anbarasu (Madhavan) who tries to shake off well-meaning leech Nallasivam (Kamal) while travelling to Chennai. This framework, after all, allows lyrical drama (arising from Nallasivam’s social activism) to coexist with hilarious slapstick, along with the embarrassment of riches you’ve come to expect from Kamal’s serious films.
Throwaway moments like Anbarasu whining about wading in knee-deep water, while a child gleefully jumps into this very flood. Dazzling dialogue from Vikatan Madhan – Anbarasu calls himself A.Ars because enakku Anbu pidikkaadhu! Touching tragicomic sequences like the aftermath of a fellow-activist declaring her love for Nallasivam. Heady romanticism as when a couple paints a mural, him suspended from a rope that she directs to the lilting strains of Poo Vaasam Purappadum Penney. A beautifully-staged piece of street theatre.
Even without these bits, there’s the attraction, after ages, of a superb Kamal performance. We’ve seen him act for so long now that everything – his laughter, his cries, the softening of his face in the romantic passages – is familiar, but Anbe Sivam contains one of those obsessive makeup-makeovers that results in a persona that’s different, yet familiar. With thick glasses and facial scars, a dislocated jaw and paralysed limbs (you even see a toe sticking out when he’s lying down), Kamal appears a grotesque version of his Mayor in Indiran Chandran, and it’s an amazing transformation!
Such efforts induced ticket-buyers in droves to Indian and Apoorva Sagotharargal, so why are they staying away from Anbe Sivam?
Could it be due to the excess that’s increasingly crept into Kamal’s screenwriting? In Aalavandhan, as if abstractions like good and evil being joined at the hip weren’t enough, there were hints of voodoo, suggestions of necrophilia. Every single idea that crossed Kamal’s head seemed to have found its way into the writing, with sometimes scant regard for fitting in with the rest of the film.
This happens in Anbe Sivam too. When Kamal’s writing is in top gear – Thevar Magan – you are so drawn into the film that it’s only later you comprehend the density of ideas within. Here, time just seems to stand still, especially with silence ruling the soundtrack, when trademark Kamal musings – about globalisation, MNCs, pharaohs, the nature of divinity, Adobe software – come to fore. (The superb lyrics in Vairamuthu’s title song say more about the central themes in less time!)
The writing has also begun to feel overly familiar. You see scenes staged in other states featuring languages particular to that region (Orissa/Oriya here, like Calcutta/Bengali in Mahanadhi), distracting morphing sequences (as in Hey Ram), the sympathy-grabbing flashback and railings against the Indian Condition (as in Mahanadhi), the tragic public accident with graphic shots of dismembered victims (like in Thevar Magan), and big names wasted in minuscule parts (Seema here, Hema Malini in Hey Ram).
And Kamal the writer being in service of Kamal the star, there’s a much-longer-than-necessary flashback, detailing Nallasivam’s romance and involvement in communism, and featuring a lengthy action segment, with Kamal using an umbrella the way he used a book and stool in Thoongaathey Thambi Thoongaathey some twenty years ago. With all this, we completely lose track of Anbarasu for a while and his changes in character, post flashback, don’t impress as they should.
Stronger collaborators could have brought in some fresh air. (Director Sundar C’s inputs here are as invisible as Suresh Krissna’s contributions to Aalavandhan.) They could have disabused Kamal of his notions of catering to fans, suggesting perhaps that these admirers would only be too happy to see their idol age on screen in ways that do not involve fights and duets. They could have seen that Anbe Sivam, while leagues ahead of the average Tamil – why, even Indian – film, would leave the casual cinemagoer unimpressed by its cerebral concerns, the serious moviegoer struggling with these other issues.
But while the spirit of collaboration shines through in Dhool, Anbe Sivam is clearly Kamal’s latest solo attempt to bend, twist, shape-shift Tamil cinema into forms never-before seen. An impressive and necessary goal, no doubt, but how will he go about it after this debacle? Will he reinvent himself with fresh blood from the industry? Or stick to his own ideas hoping that one of them is bound to become another Thevar Magan?
Whatever, now that, with Dhool, the mantle of song-dance-sentiment-fight heroism has emphatically been passed on to the next generation, let’s hope Kamal finds his way back to a moviegoing public that’s increasingly cold-shouldering his ambitious efforts. He should. He will.
Copyright ©2003 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Kiran
March 19, 2008
Very nice review. The movie as a whole really worked.
I remember there was this really nice scene where doctors try to save a child and they fail.
The only real beef I had with the movie is that Kamal before the accident and Kamal after the accident seem like two different people entirely. The transition to the new character was too quick and not very nuanced. Compare and contrast that with Hey Ram. But that’s nitpicking compared to the way the movie works as a whole.
This is where recent tamil films disappoint me. The mainstream ones are usually full of jingoism with over the top performances and unnecessary lectures/admonitions.
The offbeat ones are more often than not fairly light romantic stuff. A very nice movie that I saw some time back though the movie vanished without a trace was Azhaga irukkai bayama irukirathu.
I miss those days where you see a movie and talk about them a few days later. The recent ones do not hold your attention that long do they?
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brangan
March 19, 2008
Kiran: Actually, this isn’t a review as such. I think they wanted me to contrast AS and Dhool… But thanks.
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Shankar
March 19, 2008
I also feel that AS had one of the better staged accident scenes in tamil cinema…the bus accident…no graphics, just shot very well.
I loved the film, though. It’s a pity that the film didn’t succeed in a big way.
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Deepauk M
March 19, 2008
I would like to believe that Dhool’s success was’nt what kept people away from the theatres. Maybe a combination of a lack of understanding of the movie’s intricacies and the queasiness for the people that did understand.(Not everyone likes to be called “coolies” knowing that its true at some levels.). Of course its not like I havent been wrong with theories. Here is a link to something I wrote a long while back on the movie. I mention the range of real world instances he has drawn on in the screen play – I thought this was significant.
http://www.allthingskamal.info/blog/2007/09/28/kamal-a2z-anbe-sivam/
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Sagarika
March 20, 2008
brangan: My heart skipped a beat when I saw “Anbe Sivam” listed here this morning. I did a “yessss,” jumped for joy, then started to read the words on this page. And I must admit, I’ve never seen myself morph this quickly from a grasshopper to groundhog! Of course this is NOT a review (as you rightly admit to Kiran above), it’s merely a rumination, an analysis, on why AS proved to be a not-on-the-same-league running-mate (yes, you can tell we’re in election-campaign mode in this part of the world) to “Dhool.” The fact that your write-up in fact stays true to its intent does nothing to assuage my disappointment at not finding what I eagerly came looking for. I mean, stuck with arrhythmia and nothing to show for? 🙂
Deepauk M: On the other hand, you the man! Although your post is not really the ode to “Anbe Sivam” that I was hoping to read from brangan — in the off chance that he, like me, had fallen head-over-heels in love with the movie (in a “to hell with its scripting flaws” sorta way, which I now know is not the case)– it’s a good review, definitely one that leaves my disappointment somewhat assuaged. Thank you. The reference to “Manaivingurathu oru karpanai walking stick. Manam Nondaama Irukkanum Ille” was particularly priceless. And here’s a more accurate English translation, I think: “In concept, wife is an imaginary walking stick. Isn’t it desirable to keep your heart from limping?”
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randramble
March 20, 2008
Was Dhool really that good?
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brangan
March 20, 2008
Deepauk M: that was great. Thanks.
ranbdramble: This isn’t about the “goodness” of Dhool so much as its “enjoyableness/timepassness” I had a blast the first time I watched it on screen, though a recent TV viewing wasn’t as fun…
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raj
March 20, 2008
BR, AS was an excellent movie but the flash back, as you observed, brought it down by severarl notches.
On an unrelated(actually, related) note, I believe Scorsese actually shot Nicholson frolicking with several women for THE DEPARTED, peer Nicholson’s suggestion to ‘improve the characterisation’, and later dumped the footage. Now, if only some of our film makers could do the same to kamal – shoot thesee song sequences etc to satisfy his personal and ‘fan club’ desires(as he claims) and then dump them and stick to the main stuff – wouldnt it be great?
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randramble
March 20, 2008
Baradwaj, that’s what I meant. I couldn’t tolerate it (except for Vikram) the one time I watched it.
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Deepauk M
March 20, 2008
Sagarika/brangan : I didnt really intend it as a review, just as an excercise in why I did not agree with all the flak the flashback sequence was receiving. Also I realise I have the luxury of not having to be objective, something that, I’m sure, keeps rangan from being the unabashed fan I am of the movie.Either way, thanks and glad you guyz enjoyed it.
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Sagarika
March 22, 2008
brangan: What you say here of Dhool — “..I had a blast the first time I watched it on screen, though a recent TV viewing wasn’t as fun…” — definitely strikes a chord. It’s one of the reasons I’m hesitant to watch some of my favorite movies (from growing up) again, now. Case in point, I burned myself recently from watching “French Kiss” for the second time, after 12 years. While the first viewing back in college had completely swept me away, the more recent viewing significantly diluted the impact some of the scenes and dialogues originally had on me…Kevin Kline’s Luc Teyssier only appeared half as charming as he did back in ’96, and I HATED that! But Like it or not I’m now stuck with the “it took me to the moon and back” notion of the movie overwritten (for the most part) with a “yeah, it’s an ok romcom” perception. There’s no way I can go back to the “high” I remembered feeling just before I popped that darned disc into the drive — and man, that truly SUCKS. I guess one can never underscore enough the risks of inadvertently overwriting treasured movie memories with trinkets in the course of repeat viewings (clearly an occupational hazard in your case) but hey, c’est la vie!
And then I read your (similar) admission on the Sujatha post: “…in general, I find that very few films are as good as you remember them to be.” So there is such a thing as a “first impression” but no foolproof way of preserving it forever except…wait, I may be onto something here…my first real understanding of what a hot-off-the-presses brangan movie review means, and perhaps why you’ve been doing this for as long as you have! Oh to have your first movie moments frozen in time, for posterity…can we ever thank you enough when we’re old and gray and aching to recall what has held our imagination in sway, today?
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omfgitsrohit
July 18, 2012
Nice review. Agree with your points. But I guess I feel more strongly about self-indulgence than you do. The film really pissed me off.
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