PARTNERS IN GRIME
Selvaraghavan and Dhanush reunite in a lowdown and dirty tale of a gangster from the slums.
MAY 30, 2006 – I KNOW A LOT OF PEOPLE who won’t watch Selvaraghavan movies. I’ll tell them he’s the most excitingly raw filmmaker in Tamil cinema today, that even if his films don’t hold up as a whole there are enough individual moments of brilliance — but they just won’t go to his cinema because of the kind of lowlives his protagonists are. I know I’m treading on thin ice here, but at the heart of this is the whole high-class versus low-class business. A lot of people mistake Selvaraghavan’s movies for low-class movies — that is, the movies created for the sweepers and the factory workers and the ayahs and the auto drivers. They’ll watch Mani Ratnam’s Aayitha Ezhuthu, where Madhavan’s lowlife is presented in impressively art-directed squalor, but they can’t bring themselves to watch 7G Rainbow Colony because the hero says the heroine regards him as “therula kadakkara saani.” In other words, crassness in a character is apparently okay, but crassness in the presentation isn’t.
But this crassness is the key to Selvaraghavan’s work; it’s why his films get under your skin like a nagging itch. Pudhupettai charts the rise-through-the-ranks of a hoodlum named “Kokki” Kumar (Dhanush), and the early parts of the film show Kumar as a schoolboy. (Yes, a crass schoolboy.) In one scene, he’s trying to outrun his mother who’s after him with a cane, and yet, when he passes a pubescent girl, he stops momentarily to leer, “Enna, vayasukku vandhuttiya?” You’ll never find this happening in a Mani Ratnam movie, because his instincts are resolutely middle-class; a respect for women is ingrained in him. Yet, you have to admit that this is what someone like “Kokki” Kumar, who grows up in the slums, is likely to do. As a member of the middle-class, as a member of the balcony audience, you cringe at this moment, but at the same time, you are grateful for the visceral reaction it produces — no, provokes — in you.
No wonder, then, that the first song in the movie goes Enga area ulla varaadhey! This could almost be a warning to a certain section of the audience, because Kumar and his cronies say that Pudhupettai, Vyasarpadi, Ennore and Kasimedu are their areas, while Anna Nagar, KK Nagar, T Nagar and Boat Club are ours. But the thing about this film — as with all of Selvaraghavan’s films — is that it may be about them, but it isn’t necessarily only for them. Anyone with an interest in cinema would be part of the audience for Pudhupettai, because it’s been made with brains and a vision. Right from the first scene in a jail cell, you can see Selvaraghavan knows exactly what he’s doing. The right half of the screen is lit in a lurid red, the left in an equally lurid, phosphorescent green. You think the frame, the image, perhaps indicates the split-personality of Kumar (who’s in the cell), but much, much later, when Kumar gets into politics, Selvaraghavan zooms in on a map of Chennai; the areas that belong to Kumar are in green, his rival’s are in red.
This is just a tiny visual payoff, but the major innovation of Pudhupettai — other than the fact that it asks us to invest in a protagonist who’s basically a sewer rat with no redeeming qualities — is in its telling. The heavily melodramatic story is narrated as a series of flashbacks, and Selvaraghavan doesn’t let his scenes play out so much as let them fade in and fade out, making them seem like random bursts of memory. (That’s why there’s no beginning-middle-end feel; the climax doesn’t wrap the movie up with a neat bow so much as set it adrift on a different course.) Early on, for instance, you see in the background Kumar’s mother being slapped by her husband; the screen turns black, then when she’s serving her son dinner, her cheek is swollen. End of moment. (Many of these sequences do not have a background score, though I couldn’t see why because there are other places where Yuvan Shankar Raja goes rather overboard with symphonic swells. Somehow, it doesn’t sound right when the lives of these people are underscored by horns and cellos.)
Selvaraghavan shows an impressive feel for his material, and there are as many scenes that exist at a level of poetry as there are that play rousingly to the gallery, especially the song sequences. Yuvan’s chartbusters are so smoothly blended in, I couldn’t pick out the point where, say, the dialogue ended and the Variya number began. The energy of the dancers seems to spill over to every nook and corner of the slum. And though this isn’t the kind of film that warrants a comedy track, there are surprising laughs throughout. The best segment in the movie shows Kumar being taught how to carry out a hit — he’s being trained by a senior hood, in a twisted variation of a senior police officer showing a rookie cop the ropes — and it’s funny and scary at once, just like the other bit that’s at once funny and horrifying. (A member of Kumar’s gang — one of a dazzling array of relatively unknown character actors — recalls asking his mother why she lay down beside the tailor whenever his father was out; he got a bucket of scalding water for an answer.) There’s a lighter side to these mean streets, all right; it’s just tinged with blood (or maybe hot water).
As is inevitable in movies dealing with gangsters — and this is merely a reflection of our society today — there’s a point after which politics slowly creeps in. Till then, we’ve seen Kumar’s life with his parents, his life with a local prostitute (played with enormous dignity by Sneha), but soon the story shifts from the personal to the political, and then back to the personal, and then again to the political… This may be one of the big miscalculations of Selvaraghavan, for however fresh and exciting the way he presents these events, the life and times of a party hoodlum aren’t exactly new to us. There’s little here we haven’t seen earlier, or cannot predict. The self-indulgently arty pacing in these scenes doesn’t help either. These are the times the film looks like it has nowhere to go, and is getting there extremely slowly.
The other problem is Dhanush. He certainly looks the part, because Kumar is described as “pencil-la kodu potta maadhiri,” but more than the physical appearance, Kumar needs to look like a kid who gets no respect from the grown-ups. He may lop off hands and chop off heads, but there are others around him who have done all this and more, and they can’t digest taking orders from this skinny newbie. And everywhere that Dhanush is required to be a still presence, he’s fine. He’s actually more than fine in his scenes with Sonia Agarwal, who’s presented — as she was in 7G Rainbow Colony — as this ideal object of desire, a contrast from Kumar in every imaginable way.
But Kumar is also made to do things like talk directly to the audience, and at places like this (and where he’s required to rave and rant), Dhanush is so self-consciously showy, it’s hard to take. But that’s also probably the character itself, for it isn’t everyday we get to watch a Tamil movie where the only instincts the protagonist possesses are those of an animal. Kumar needs food and sex, he knows fear, he can express rage, he’ll do anything to save his skin, and… that’s it. Even the emotions he displays towards the prostitute he’s with seem more territorial than anything else; I wasn’t sure that he ever loved her, just that he didn’t want to share her with anyone else. It’s only when he has a child that we see glimmers of selfless emotion for another person; after all, even animals have feelings for their young.
With a better lead, and with a little less self-indulgence, Pudhupettai could have been something of a mood masterpiece, but even as it is, it’s a fascinatingly idiosyncratic work. Selvaraghavan may have borrowed an image of a man being pushed into a freshly-dug grave from Zhang Yimou’s Shanghai Triad, and there may be a nod to Coppola’s Godfather Part II in the courtroom sequence where Kumar intimidates a witness who’s turned approver by bringing the latter’s mother to the courtroom — if he squeals, she’ll die — but this is largely a very fresh, very original work. You can see it in the colours used; they’re loud, yes, not in a T Rajendar-art-direction way, but in a way that suggests that they’ve leapt out of your subconscious. A good portion of Pudhupettai works at that very primal level, the way folk art does. I know there’ll be lots of people who’ll turn up their noses and stay away, but that doesn’t change the fact that, for all its flaws, this is very high-class filmmaking.
Copyright © 2006 teakada.com
Krishna
October 18, 2007
Hey BRangan, cmon, I have been waiting for your review of MANORAMA – SIX FEET UNDER. Whats the ETA on it? IMHO its the very best to come out of Hindi cinema this year.
As always, your reviews rock..
Cheers
Krishna
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APALA
October 18, 2007
Dear BRangan:
People in TN who trashed the movie are already calling it a “classic” & “master-piece”!! I do not understand why they could not say that when the movie got released!! (Same thing they did for many of Kamal-sir’s movies – especially “Hey Ram!” Some even said that it’s not a tamil movie (because of all the languages spoken in the film!) I just can not stand them!
Anyway, I enjoyed the movie and I thought it was at par with “city of god”. I wished that they had picturised the Yuvan’s solo song and Kamal’s song fully!! But it’s one of the best movies to come from (otherwise sick thala – thalapathi movies!!) Tamil film industry!! Kudos to Selva!
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brangan
October 18, 2007
Krishna: Am working on a big project that’s sucking up all my time. I barely am able to do the reviews I’m assigned (like Resident Evil… aaargh!!) But once this is done, hope to ctach up with the backlog.
APALA: People are now calling it a masterpiece? That’s news to me — though good news.
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Navin
October 19, 2007
Branganji, all the very best for your very big project. A Bollywood book?
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S
October 19, 2007
Big Project Mr.Baradwaj, something exciting is in store for us then:):) You can’t drop 2 words and let us break our heads.
I liked your guru music review more than your rahman -15 year piece. This is from a person who is trying hard to break of her Rahman-only music mode. Apart from SEL, other some songs, I haven’t been able to enjoy anybody else’s(current day) music as much. So, it was extremely nice when you wrote about Rahman’s growth(in terms of music) as well as pointed out elements I had never thought of before. Time to revisit the guru album.
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Priti
October 19, 2007
am afraid am one of those ppl… who wont watch selvaraghavan’s movies no matter wat, n who will just refuse to believe u wen u tell them that his movies r nice… 😀 i know its stupid to look out for “taste” in the portrayal of reality, but somehow, i cant slip out of this mentality… his movies r too crass… n he just doesnt believe in subtlety! his characters dont even speak at normal volume… i happened to be observing a few dubbing sessions of pudupettai at prasads, n selvaraghavan’s insistence on loud, grating dialogue delivery really got to me… i thot some portions of the movie sounded perfectly fine, with no sound… shud vehemence always be equated to full throated screaming? i dint watch the final product (no surprises there), but u have mentioned it, some portions of the BGM have been very loud…
some parts were very very hard hitting, despite the lack of sound, and even in the ambience of a dubbing theatre, where u dont for a moment forget its all makebelieve.. still…
oh, i am so gonna get the brickbats! 😀
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oops
October 19, 2007
I’m still looking for a DVD version with english subtitles. I can’t find it, in every store i ask. That’s frustrating… and i don’t understand why. Usually, original DVD’s do release with eng – sometimes french- subtitles…
😦
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Vijay
October 19, 2007
“I’ll tell them he’s the most excitingly raw filmmaker in Tamil cinema today”
On what basis? I assume you formed this opinion even before Pudhupettai, because you have mentioned it in the past tense in this review. Based on Kaadhal Konden and 7GRC, he came across as a director whose films had an incongruous mix of cliched scenes and shock value-boosting “raw” scenes that you talk about. Many scenes in Kaadhal Konden were conceptualized before in other movies like Darr/Guna and so on. Then suddenly this child labour/abuse scene pops out of nowhere, just to show that the movie is an attempt at “realistic” filmmaking, after the goofy romantic scenes between the lead guy(not Dhanush) and Sonia. The first half of 7GRC was pretty mundane except for a couple of scsnes in the colony and the uncensored words spoken by the hero to abuse his father and others. Sonia has a permanent scowl on her face for the first 70 mins of the film, if you notice.And then suddenly Sonia’s decision to sleep with the guy towards the end to show how realistic and pushing-the-envelope our amn could be. The guy doesnt have a strong individual style yet, was the opinion I had up until Pudhupettai.
And his male leads were poor actors almost always. And that definitely takes away from a film”s impact. All great films MUST have strong performances from their leads.
Selva fails miserably here however hard he tries. He also shoots songs as an afterhtought. Like he would want to do away with it but at the same time cant and hence has to infuse them somewhere. Nothing special there(and certainly nowhere in Manirathnam”s league). These were my overall thoughts on Selva up util PP.
Havent watched PP yet, so my opinion is bound to change. And I dont think his recent Telugu film was great shakes either.
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S
October 19, 2007
The problem for me is he seems to be almost celebrating the crassiness. The 7G hero does get hte girl right – atrocious!
All along 7G rainbow colony, I just wanted slap that Arvind(role he was playing). I also suspect more than a faint presence of Selva in that role. And don’t even get me started on dialogue delivery, in that same tone, pitch.
Anyway, if I step out of the chennai theatre, tkses would anyway be there.
On top of this, Maniratnam seems to be celebratng Selva and now you, arre bhagawan!
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rs
October 19, 2007
when i watched pudhupettai, i couldn’t decide whether i liked it or not. actually i admired it for its crassness because it didn’t seem forced.
where women were concerned, selvaraghavan showed kokki as a pig alright.
but once he set the mood, he probably didn’t know what to do with the film.
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raj
October 19, 2007
You have removed the No Entry Review and put up this?Is there some sort of message for me in this, BR? 🙂
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Pradeep
June 18, 2008
I have no idea why people compare this film with Cidade de Deus, that wonderful wonderful masterpiece from Brazil. Apart from the central gangster theme, I don’t see much in common. Do you?
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prakash
July 17, 2009
plse find out the english subtitles for this movie
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udhay
April 16, 2013
superb review…..
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udhay
April 25, 2013
when do u think brangan sir,that the tamil flim audiences will mature an accept and appreciate flims like pudhupettai……….
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udhay
April 27, 2013
again….. B RANGAN… what’s ur take on Aayirathil oruvan…….
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Amit Joki
March 3, 2016
Dhanush was showy, but as you said it’s the character that he portrayed that was showy. Mind you that it was his initial years at the career and even then, his acting wasn’t all acting, in the sense, he wasn’t caught acting in his first few films.
This probably means that Selva wanted Dhanush to act the way he did.
I seriously can’t get over the fact that you thought someone else could do justice to this role. Seriously, who did you have on mind?
Also, the tagline of Pudhupettai is Survival of the fittest, and Dhanush though not the fittest, did everything he could, to survive, that’s why you don’t someone who looks convincing when he beats around the goons.
Sathyama solren….endha actorum…andha railway station la thondaya pudichu picha kekratha paathurunthena…gubeernu sirichirpen.
He owned the role.
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CC
January 25, 2018
I was certainly one of those people you mentioned in your opening line, who never wanted to watch a Selvaraghavan movie again after enduring 7G Rainbow Colony. More than the setting and crassness, it was the actors who put me off there. I only watched Pudhupettai for Dhanush, whose performance in Maryan I grudgingly admired at first and grew to love. And I believe this movie works to a large extent because of him. Both physically and at a performance level, I simply can’t see anyone pulling this off as well.
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Sai Raja
July 6, 2018
“With a better lead”- Still holding on to the same opinion @BRangan?
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seshadri kannan
July 9, 2020
@brangan, as i read this review in 2020, fresh after watching the movie on prime ( only my second time), I realise how much your writing has evolved over the years! And with it your tastes too. You no longer have to write about that one good tamil movie amongst other star praising vehicles because tamil movies have become so much better.
I was wondering if you could write an article on FC about this changing landscape and how perhaps some directors played an important part in it and what movies ticked off this change. Even your view of this movie has evolved over the years!
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