LOVE LETTER TO A LOVE STORY
APR 6, 2008 – ONE REASON THEY’RE CALLED “MOTION PICTURES” could be that they’re never at rest inside your head. They infiltrate, then gestate, then mutate – sometimes combining with memories from other movies and morphing into a different genetic creation altogether, and sometimes overlapping with your own wishful thinking to become an amalgamation of the film you saw, the film you thought you saw, and the film you wanted to see. The latter – the film I wanted to see – came up recently when a recent acquaintance, a film-school student, and I were jamming about the movies in general, and about Balu Mahendra’s Moondram Pirai in particular.
We both agreed it was one of our favourite films, and I said what was most fascinating for me was the unresolved sexual tension between Kamal Hassan and Sridevi (well, between the characters they play, actually, but then you knew that). Seen from one viewpoint, there’s nothing stopping them from nudging the emotional aspect of their relationship towards a more physical plane (in fact, he firsts meets her in a brothel, where he picks her from a lineup, and surely not because he wants to coo Kanne kalaimaane into her ear) – but on the other hand, acting on this impulse would border on paedophilia, because she has regressed into childhood. After hearing me out patiently, this film-school acquaintance – RS Prasanna, who’s recently completed a documentary on Balu Mahendra (more about that later) – had just this to offer: “But none of this is explored in any way in the film.”
And I countered that it was there, if you looked for it. It’s buried in the landscape of the film’s narrative – and if you marked an X and started digging at the point where Kamal discovers that a local has tried to rape Sridevi, if you stopped to think about the fury that this discovery engenders in him, you’d see it right there. Couldn’t Kamal’s rage be as much the result of the would-be rapist’s actions as the fact that this man has dared to look at Sridevi as a woman – an impulse that Kamal is no doubt suppressing every minute of his life with her at home.
Every time he tries to think of her in grown-up terms, she’s made him revise that notion. He gets her a sari to wear, and he imagines her in front of him, the very vision of womanhood – even motherhood, if you want to mine these frames for further subtext, for in this dream, she cradles him in her arms, nestles his head near her bosom and feeds him a glass a milk – but when she finally comes out of the room she’s gone in to change, she’s back to being a child, the sari bunched around her in hideous, hilarious tufts. So after this rebuff, couldn’t you view Kamal’s anger towards the man who tried to rape Sridevi as the explosion of these festering frustrations? “Here I am, controlling my every hormonal impulse, letting the lover inside me be quashed by the father and the brother and the tender caregiver inside me – and you think you can just barge in and have her body?”
This contention, of course, led to a lot of heated debate – the kind where no resolution is possible because both parties are right; we are, after all, talking about subjective and hypothetical interpretation – and the good that came out of this is the advance copy of the Balu Mahendra documentary that Prasanna dropped off subsequently, for my viewing. (Note to self: The next time you’re railing at the heavens at your choice of profession, at having to sit through One Two Three and Race and Rama Rama Kya Hai Dramaaa, remember these rare moments of grace.)
Titled Balu Mahendra – Art & Craft: A Master Class Session, the film has the director talking about various aspects of his craft and career, and revealing unexpected shades of his personality. I never got this from his films, but the man comes off as something of an unabashed romantic. His first viewing of Pather Panchali was at a film society he formed in his college, and when the screening got over, he recalls that it was raining outside. “I went out and got drenched and danced and laughed,” like Durga and Apu in the film. “That was our way of celebrating Pather Panchali.” And later, a different kind of confession, that one of his hobbies is “butterfly watching, if you know what I mean.”
In between, filmmaker K Hariharan lauds Balu Mahendra as “an emotional Hitchcock,” and Kamal Hassan remembers fondly that, at first, he thought, “Either this guy is a genius or he’s mad.” A pause. “He was both.” Proof comes through clips from Balu Mahendra’s work, mostly from Kokila, Moondram Pirai, Sandhya Ragam and Veedu – and thankfully, none from Neengal Kettavai, that steaming pile of contempt he hurled at his audience – and once again, I was struck by a scene from Moondram Pirai, the one where the dinner that Kamal is preparing gets burnt and he vents his bile on poor Sridevi.
I haven’t seen the film in a long while and I’d forgotten what an accumulation of Kamal-isms this stretch is. He needs to go out and buy food now, so he hurriedly pulls on a pant and a shirt. He opens a drawer in this haste (to locate his wallet) and its contents crash to the floor – among them a bottle of ink, now reduced to a spreading stain of red. Kamal – the peerless manipulator of props that he is – skirts around the mess and tries to push the drawer back into its recess. No amount of fidgeting helps, so he drops it in irritation. He continues tucking his shirt into his pants, and locates the wallet in another shirt hanging on the wall. He grabs it and tries to stuff it into the front pocket of his pants, and he tries again, and then discovers that these pants have no pockets, so he places the wallet inside his shirt and strides out. People often point to Kamal being inspired by Marlon Brando, but Marcel Marceau is a more likely progenitor in this case. It’s a masterly physical performance by an actor at the peak of his powers, in a film by a director at the peak of his powers – and it’s just one of the reasons Moondram Pirai will never meet the fate that befell its protagonist. This is one film that will never end up sad, alone, forgotten.
Copyright ©2008 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Saraks
April 5, 2008
I have to say that your friend is right in this case. I recently watched Balu Mahendra’s interview and he said that he was able to cast the most romantic pair of that time(ever), without any hint of sexual tension between the two in the film. That doesn’t completely tell him what he was thinking when he made the movie, but you know that is what he thinks of(at least says) about it now.
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Dpac
April 5, 2008
Aaah.. im turning HULK green …
that docu available anytime soon?
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Sagarika
April 6, 2008
brangan: A timely write-up this, thanks. I’ve been wondering about Balu Mahendra lately. I too liked Moondram Pirai but if asked to pick my top 3 BM favorites, it would rank #3, the first two being Azhiyaadha Kolangal and Moodupani. (I thought dusky beauty Shoba was heartstoppingly gorgeous back then and I also seemed to dig the varying hues of ominousness that was Prathap Pothen). Maybe because I practically grew up on songs from those two.
For me everything used to be by Ilaiyaraja back then…Only recently did I bother to find out that the poetry-on-screen that’s “Poovannam Pola Nenjam” was by Salil Chowdhary. (I guess I wasn’t alone in wrongly crediting that to Ilaiyaraja…apparently a million other did as well, quite sad.) This song, in my opinion, is the landmark for squeaky-clean-yet-immensely-romantic duets in Tamil movies. When “Valai Osai” in Sathya took my breath away some years down the road, it was this song and Shoba in her white sari that instantly came to mind, not to mention all the greenery, the locales (with an urban twist, in Valai Osai). The other movie “Moodupani” (this one with songs by Ilaiyaraja) was my first exposure to the guitar singularly setting the romantic pulse onscreen…yes, I’m referring to “En iniya ponn nilavae.” And when “Payanangal Mudivadhillai” came along and the other guitar-and-moon number (“Ilaiya nilaa, pozhigiradhu”) became the rage, the Prathap Pothen guitaring was what promptly came to mind (except that Shoba, this time around is in modern-day attire as opposed to the sari in Azhiyaadha Kolangal, and as opposed to Poornima who’s also in a sari in “Ilaiya Nilaa)…Such minor details, contrasts in imagery — all the debris that drift up from years of movie memories colliding, colluding, “never at rest inside your head” — “morphing into a different genetic creation altogether, and sometimes overlapping with your own wishful thinking” are what color our hopes and dreams today, I think. And yes, Balu Mahendra gave us plenty of that.
The one thing I’ll always remember about his movies is the songs were integral to the flow of the story just like in KB’s films (and in many cases even help moved the story forward…unlike today’s Tamil films where you could completely do away with the songs and yet leave the script untarnished).
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Deepauk M
April 6, 2008
Finally. Something worth sinking your teeth into. The oedipal and electral subtexts ooze out of Moondram Pirai. Aren’t Kamal’s character and, if character extrapolation is allowed, according Freud and Balu Mahendra every man just looking for a mommy replacement in his mate? But unfortunately he ends up with a woman who is looking for her daddy. I’ve liked to believe that Moondram Pirai is just carrying this idea to its extremity. And the ending of the movie hints at the end that all relationships that start with unrealistic expectations are doomed to meet. Few film makers have explored the man-woman paradigm in as many ways as Balu Mahendra. Olangal, Moodu Pani, Moondram Pirai, Kokila (which I have not seen but hear is absolutely brilliant, something that even kamal considers as one of his best performances). He has even done something of a dark comedy that says monogamy might be overrated, Irattai vaal Kuruvi. I remember Vetrimaran ( director of last years smash hit Pollathavan) saying in an interview that assisting Balu Mahendra was one of his most enlightening experiences.
It would be almost criminal to talk about Balu Mahendra or Mahendran (whose uthiri pookkal is in my opinion one of the best tamil movies ever made) and not mention Ilaiyaraja. I remember a few weeks in grad school, during a rather severe bout of homesickness, when I has 3 songs from Olangal on permanent repeat on my computer. Having heard How to name it independently I would love to see how Balu Mahendra used them in Veedu and Sandhya Raagam. I’ve been looking for DVD’s of those movies with absolutely no luck.I wish I had the opportunity to watch the documentary. Is it releasing outside India, or at least in some theaters in India?
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Sagarika
April 6, 2008
Deepauk M: I find it almost unbelievable that in the overall schema of “your comment vs. my comment” juxtaposition thus far, the order has (for the first time?) been reversed! 🙂 OK, putting it in a sentence people can actually make sense of: Yay, I beat you to it this once! (But I knew you’d find your way here sooner or later the moment I read the words “unabashed romantic.”) 🙂
Joking aside, your reference to J.Mahendran just made my day! The very mention of Uthiri Pookkal made me deliriously happy. Since I tend to connect with movies (from back then) primarily thru their songs, I couldn’t help looking up and listening to Azhagiya Kanne once again…I was instantly transported way way back in time! I’m pretty partial to Vijayan movies. (Ok, selfish reasons for one – my dad was a spitting image of Vijayan, especially when he was overdue for a haircut…he’s often got “hey Vijayan paaru” when he’s out buying veggies. But quite simply, Vijayan was one of a kind whose very presence spoke volumes…made us shudder.) He was in his element in that movie. (One can’t obviously speak of Vijayan without immediately thinking of his Niram Maaratha Pookkal debut, which was I guess his first and last romantic-hero role…Ah that song “Aayiram Malargaley” – and I try hard to ignore the cardboard-cutout Rati’s wide-mouthed lipsynching, and prancing around in all white that threatens to steal away part of my joy — thank you, Bharathiraja!). Ashwini, Sarath Babu and that little doll-of-a-girl (I’ve always been jealous that “baby” Anju — not to mention Meena, especially when Anbulla Rajinikanth came out — was my sister’s and not my classmate in school! Why couldn’t I have been one year younger?)…such powerhouse performances Uthiri Pookkal had.
Now one can’t talk of Uthiri Pookkal and not talk about Mullum Malarum (the movie that first made me fall like a ton of bricks for Rajinikanth — and that was just the start of it…you haven’t yet heard me mention, yes, Johnny!). Now my head is simultaneously buzzing with “Sen thaazham poovil” and “En vaanile, orey vennilaa.” OK, I’m itching to switch gears now, can we drop Kamal-Sridevi and dive right into a Rajini-Sridevi discussion? — to me, they were a much more romantic pair (Dharma Yuddham, anyone?). Now how can I not reminisce about “Aagaya Gangai” and “Oru thanga rathaththil” (flat-out the best modern-day movie brother-to-sister ode, ever!)? I think those three movies indisputably established Rajini as the model brother and model lover, if only thru the early-to-mid 80s time warp…small mercies!
P.S. Your mention of Olangal triggered memories of a comment by raj on brangan’s review of, hold your breath, The Train!…Two completely unrelated movies, I know (and thank God for that), but you know how it goes with comments…one thing leads to another and viola, The Train stops at Olangal! Its tunes (especially Thumbi vaa) must be oh-so-popular to be dubbed into Tamil, uh, twice?
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hmmmm
April 6, 2008
Moodupani – *pukes*. What an embarrasing film for Balu mahendra? Ilayaraja saves the day. Of course he does.
Veedu, Moondram pirai and Sandhya raagam are the three best Balu mahendra films hands down.
Udhiripookal, Mullum malarum and Johnny are the three best Mahendran films.
As a filmmaker, Mahendran is more consistent (except for that pathetic Arvind saamy flick). Balu mahendra comes up with consistent shockers like Un kannil neer vazhindal, Moodu pani, Neengal ketta vai..etc
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raj
April 6, 2008
Mahendran, Balu Mahendra both, as pointed out by Deepak, cannot be mentioned without mention of IR.
Fittingly, Mullum Malarum, the only movie where the 3 collobarated remains the best of IR among his works for these two.
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raj
April 6, 2008
BR, a thanks for that lovely piece.Moondram pirai lends itself to multiple interpretations. Balu Mahendra himself claimed once in an interview that the movie started as a concept in his mind with the climax – I kind of interpreted that as being woken up from a dreamy early morning fantasy by the splash of the bucket of cold water. At that moment, you realise that it was a dream but cant yet accept it – you want it to continue but cold reality tells you that it isnt going to. Sometimes, you just try to close your eyes and try to see if the dream would continue. So, those monkey somersaults are kind of your annoyed-frustrated-efforts-to-relive-thedream-15-secs-after-being-splashed-with-cold-water. And then, ofcourse, Kamal added a lot of colour to that in that final scene. I am not sure if Balu exactly described it this way or this is my extrapolation of something he mentioned in that interview.
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Arun
April 6, 2008
excellent piece…why was the print version snipped so much?
//”Kamal – the peerless manipulator of props..”
yeah , was grinning ear to ear as I read that 🙂 ! now I cant wait to watch that scene from MP again !
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Vijay
April 6, 2008
“As a filmmaker, Mahendran is more consistent (except for that pathetic Arvind saamy flick). Balu mahendra comes up with consistent shockers like Un kannil neer vazhindal, Moodu pani, Neengal ketta vai..etc”
hmm..Mahendran was consistently mediocre after Nenjathai Killadhe.
Balu Mahendra swung between extremes to get back at the producers and the audiences who dismiss his legit efforts.You can add Raman Abdullah to his list of deplorable films. Maybe Vanna Vanna pookkal too?
I often feel directors of the calibre of Balu Mahendra sometimes enjoy the advantage of their films being overanalyzed for hidden meanings.
Because of who they are, their films are turned inside out and analyzed for non-existent subtexts and layers attributed to the director.
I believe thats what happened here with brangan and his sexual tension analysis Often a director might get new angles to look at his own creation after reading reviews like this 🙂
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Vijay
April 6, 2008
But I have to admit that Moondram Pirai would have been much better without Kamal’s over-the-top indulgence in the last 10-15 mins. Watching it now, it looks more amusing than heartbreaking. You see how Kamal has come a long ways from Moondram Pirai to Anbe Sivam.
That brought the film down by a couple of notches. And also the Silk Smitha item number that Balue Mahendra had to forcibly insert and the Poornam Viswanathan-Silk Smitha subplot.
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madhu
April 7, 2008
jesus sagarika…. maybe you should get your own blog.. how many times do u use the thesaurus when you comment here btw? simplicity sweetheart, is way underrated..:)
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hrishi
April 7, 2008
Baradwaj: I have mentioned earlier its a shame you dont review more tamil movies. recently watched pirivom sandippom, which is an intereseting film, deserves a review from your side. can you recommend a few reliable blogwriters/reviewers for tamil movies? other than the usual crap from the mainstream portals?
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brangan
April 7, 2008
Saraks: But the fact the director didn’t put it there doesn’t mean it’s not there. As DH Lawrence said, never trust the teller, trust the tale. At least, that’s how I like to engage with films.
Dpac: Dunno Dpac. No clue if it’s going to be release, that’s why I didn’t do a review of the doc.
Sagarika: MP is, in my opinion, the quintessential BM film. Almost everything else he’s done (except perhaps Kokila), pales in comparison.
Deepauk M: oozing “oedipal and electral subtexts”? Ah, a man after my own heart 🙂 Loved your take on looking for parent replacements. Just beautiful.
hmmmm: “What an embarrasing film for Balu mahendra?” I wouldn’t call it embarrassing, but somewhat out of character, like Tik Tik Tik for Bharathiraja. And yes, Saasanam was such a shocker!
raj: That’s a great bit about the conception of the film. Never heard it before. Thanks.
Arun: Because word count in print is much less. You’d have noticed the same with the reviews too, right?
Vijay: Actually, I quite like Metti and Poottaadha Poottukkal.
madhu: “jesus” right back at you! 🙂
hrishi: Have you tried Balaji’s reviews? bbthots. blogspot.com?
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raj
April 7, 2008
i’ll have to agree with Vijay also – that guys like Balu take advantage of the multiple interpretations by viewers. Balu was also more guilty of using his standing to waste producers’ money on some listless projects – Vanna Vanna Pookkal, whose ‘concept’might be traced back to the day he got his electricity bills due for 2 years from the EB – “…thats when I realised I need to pitch a idhu-award-varum-sir-type of movie to any gullible producer..”, I can imagine Balu saying this to himself – some of his project are really obviously aimed at just doing something for getting that cheque.
Infact, thats where Mahendran stands out – his movies might be flawed as in Saasanam but you cant accuse him of just taking on a project for money’s sake without commitment.
Not that I condemn that(as though that would count for anything!) – artists like them should receive every inch of support they can be given. But, sometimes you can almost see a gleam in Balu’s eyes when someone brings up Neengal Kettavai – as though saying “look that was just a con job on my producer, shall we move on?I got my bills paid, didnt I”. 🙂
Or, maybe, I am just imagining things
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Deepauk M
April 7, 2008
@Sagarika: Uthiri pookkal and Nayagan will always define Vijayan for me. Sad, because I’m sure he is a finer actor than that.
Mullum Malarum: According to info I read somewhere (I forget the source) some theatre operators used to put the interval at the place where Rajni goes against the road-roller, just to ensure the audience would return to see if Rajini made it. This however was not where Mahendran had intended the break. So he was really surprised when it happened at a theatre he was watching the movie. Everybody wants to be Alfredo, I guess. 🙂
Dharmayuddham is by all accounts not fantastic, except of course for Ilaiyaraja. But he is, at most times, the exception to being unexceptional. Aagaya Gangai is my third favorite Malaysia Vasudevan duet – after Ennamma Kannu and Vetti Veru Vaasam (I love the gamakkams in the charanams.). Seriously, “Thengai” Srinivasan as a Portugese organ smuggler? Also I prefer the quiet singer of Johnny to the chirpy reporter of Dharmayuddham. But Sridevi definitely had talent, however underutilised it remained in Hindi films. Regarding combinations, I think that Johnny comes first and Meendum Kokila comes a very close second.
@BRangan – I am always guilty of (over?)analyzing Kamal and Balu Mahendra movies, as suggested by Vijay. Glad that you enjoyed the comment. Is there anyway I can watch the documentary? Pay for a DVD perhaps?
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Balaji
April 8, 2008
BR, considering all the negative comments on ‘Neengal Kaettavai'(which I haven’t seen), I’m surprised no one’s dissing ‘Un Kannil Neer Vazhindhaal'(which I, unfortunately, have seen), which I thought was universally considered BM’s worst film. I remember hearing that UKNV, which painted a pretty poor picture of the police, was BM’s ‘revenge’ on the police for harassing him over Shobha’s suicide.
Appreciate the referral 🙂
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Suchi
April 8, 2008
[Apologies if this is a duplicate comment. I had some trouble submitting it.]
I saw Moondram Pirai when I was quite young and thought it was the worst kind of sop! I was also dismayed by the portrayal of Sridevi’s mental illness–such unthinking, irresponsible reinforcement of the stereotype. Worse, it seems to have set the tone for such portrayals in Tamil cinema.
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s
April 8, 2008
I am going to get a lot of flak for this ,neverthless, will ask.
I felt Veedu was a way too slow. What was the need for showing the whole act of chokalingam Bhagavathar walking for few minutes from oonjal to get a glass of water. I was really young when I watched this movie, but felt the real life chokalinga bhagavather would be much faster in getting his glass of water.
If it was to show the whole helplessness of the family, wasn’t one look at Thatha enough for that?
I don’t mind slow movies at all but I shouldn’t feel the slowness in it, that’s all.
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Anon
April 8, 2008
Skilled as he is, BM’s body of work is mostly unoriginal. Most of his movies are freemakes.
Mist – Psycho
Two Tailed Sparrow – Micky+Maude
Julie Ganapathy – Misery
Sathi Leelavathy – She Devil
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cram
April 8, 2008
I never understood why BM is rated so highly. I find his cinema far too pretentious and self-indulgent, and what galls even more is his unabashed lifting – for 30 years now!
He’s been trying this psychological exploration stuff for years with little success.
And his sishyas like Bala are doing the same stuff, insulting our intelligence.
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Vijay
April 8, 2008
I agree about the originality part. Anon, you have to include Marupadiyum in that list too (from Arth)
People who are complaining about slowness and other pretentious stuff in Balue Mahendra’s movies. Hmm.. I wonder what you would say about Mallu art movies- Adoor’s movies and such.I remember watching “Eli paththaayam” as a kid and falling asleep 🙂 Maybe if I see it now I might feel different
Atleast BM is not that asbtract
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Sagarika
April 9, 2008
raj/brangan/Deepauk: “Or, maybe, I am just imagining things.” raj, that would be me. All that talk about IR being the saving grace for some of BM’s “worst” fare has set me thinking. Maybe I didn’t really “love” the movies I raved about as much I loved the songs in them. Because I kept hearing them on the radio, watching them on Oliyum Oliyum…it’s easy enough to combine them with movie bits from Thirai Malar and, well, make them my own. Some serious subconscious substitution must’ve occured in memoryland. But MP, I did watch in its entirety when I was really young (and my reaction was similar to suchi’s – also I simply couldn’t stand the way Sridevi shrieked “Subburamaneee…” And that last scene with Kamal running from (should we say “into”) pillar to post was way over the top…Again all this was from a viewing so long ago it’s a blur.). I was barely equipped to enjoy let alone try and analyze cinema the way I think I’m (somewhat) able to, now. I suppose it’s safe to conclude that if I watched MP again today, I should have zero problems viewing it through Deepauk and brangan’s shared psychoanalytic lens! 🙂
And raj, your Sometimes, you just try to close your eyes and see if the dream would continue. So, those monkey somersaults are kind of your annoyed-frustrated-efforts-to-relive-the-dream-15-secs-after-being-splashed-with-cold-water reminded me of a similar scene in “Varumaiyin Niram Sivappu” where Kamal has cold water dunked on him right after a dream sequence (unless I’m “just imagining things”). 🙂
madhu: I do admit that I went berserk — got completely lost inside my memory treasure-trove, like a kid in a candy-store — and force-fed everyone random raves that took away from the central (MP-related) point made here. brangan’s posts tend to have that effect on me, so I’d blame him! As for getting my own blog, brilliant as the idea sounds, the thought of having to actually use a thesaurus terrifies me. Words seem to automatically align inside my head only when I’m out here hijacking brangan’s blog. 🙂
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raj
April 9, 2008
sagarika, on that I would concur. Same reason why I dont have a blog 🙂
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raj
April 9, 2008
Infact, i should say I pretend or force interest in movies to have the joy of BR’s writing 🙂
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raj
April 9, 2008
Vijay, Marupadiyum was an acknowledged(Mahesh Bhatt is credited with the story in the titles), well, not sure what is the correct term, remake? or retake?
If remaking movies is an indicator of the ‘poorness’ of a director, then we’d not have much to say about any director, would we?
I am not well versed with World Cinema but I’d imagine the likes of Scorsese would have done remakes, too.
And Mani, famously did remake Nenjathai Killadhe, didnt he?
Marupadiyum has to be looked in the context of Bhatt’s and balu’s personal lives, from where the story material was taken. It is entirely possible that Balu watched Arth, and exclaimedd to himself, that happened to me, thats my life story 🙂
So, while Bhatt might have fictionalised his personal life, balu’s inspiration to make Marupadiyum might well be Arth’s resonance to his personal life
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raj
April 9, 2008
sagarika, even MP has that scene BR alluded to where Kamal is rudely shaken from his dreamy reverie.
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cram
April 9, 2008
Vijay
There are enough and more pretentious Mallu art films that are worse than BM’s stuff. But Adoor’s best don’t figure among them. They are genuine explorations packed with insight. His Kathapurushan was atrocious, I agree.
On Mallu cinema, it’s sad most people associate it with either Shakeela-type faux porn or pretentious arthouse stuff where 15-minute shots of a man smoking a beedi are not uncommon. Some of the most intelligent, engaging and accessible cinema has come out of Kerala. You only have to check out the movies of Padmarajan, KG George and Bharathan to get a glimpse of how varied the fare is.
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Deepauk M
April 9, 2008
The 80’s and 90’s are a virtual treasure trove of absolutely brilliant Malayalam cinema.
1.Bharathan and John Paul’s scripts: Oru Minnaminunginte Nurungu Vettam and Nedumudi-nuff said.
2.Padmarajan: Though slow, Novemberinte Nashtam makes for good viewing in my opinion. Thoovana Thumbikal and Namukku Paarkkaan Munthiri Thoppukal dont need any endorsement. These roles proved to be perfect foils for the other action-comic roles that Lal was doing. Moonam Pakkam was along with the movie in item 1 depicts the inherent loneliness of the waning years really well.
3.MT’s scripts: Amritham Gamya, Sadayam, Adiyozhukkukal the list is endless. It is the only reason I am looking forward to Pazhassi Raja. I hope he hasn’t lost his touch.
4.K.G.George: Yavanika is still a modern classic. After Andha Naal, it is one of my favorites that explores the non-absolute nature of truth, Rashomonesque. I saw it at an age where I did not fully comprehend it and yet the movie stayed with me, probably because of Gopi and Thilakan.
5.Sathyan Anthikkad and Sreenivasan: These movies were brilliant social commentaries / satires, Varavelppu being my absolute favorite.
This is what I could think of, off the top of my head. So pigeon-holing Malayalam movies as “either Shakeela-type faux porn or pretentious arthouse stuff” is like… classifying Bollywood as the sole representation of Indian Cinema :).
Regarding Adoor, I remember Elipathayam as being excruciatingly slow too, but I did watch parts of it when I was much younger and lacked a lot of patience. But I would recommend Nizhalkuthu.
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Vijay
April 10, 2008
cram,I am not branding the entire Mallu arthouse cinema as pretentious. I am aware of the good films that come from there too. But I didnt find Veedu to be as pretentious as some of the other sloooow movies in Mallu that you talk about where they show someone bathing for 15 mins(other than Adoor, who else made movies like that?). Also, I am not a big fan of abstract cinema too. However having seen only few Mallu movies due to the langauge barrier I wont stereotype them in any way. I liked Piravi even though it was slow and I watched it when I was much younger. Sometimes I wish I knew Mallu really well or had learnt it just for watching those films.Relying on captions robs the impact
Raj, Not blaming BM for remaking that one movie alone.
Amongst the 10 good films he did atleast 5 are’nt his as has been listed above. That’s significant. why is it that in every other film he finds a need to get inspired from some one else? Also the resemblance to the original is striking in his films at times. Julie Ganapathy had nothing much different from Misery. Same with Marupadiyum and Arth.
As regards to Mani, Mouna Ragam shared with Nenjathai Kilaadhe only the general plotline. A lot of everything else was different -Karthik’s cameo, absence of any brother-sister angle like in NenjathaiKillaadhe, adjusting to alien surroundings in Delhi, her relationship itself with Mohan’s character and so on.
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cram
April 11, 2008
Hi Vijay
There are dozens of Mallu films that are insufferably pretentious and contrived. You are lucky to have missed them (I wasn’t).
There’s a funny tale about a group of (unfortunate) people who were watching Aravindan’s Kanchana Sita, which is as abstract as can get. It was almost interval time, but not one word of dialogue had been spoken yet. The characters were just busy riding horses. One distraught viewer said: “Neeyavathu ethavathu pesu, kuthiraiye.” (translation mine)
On Mouna Ragam, I completely agree with you. Who among us saw it and said: “Hey, this is nothing but a remake of Nenjathai Killathe?” Very few, I bet.
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anon
April 11, 2008
I remember an Aravindan (or Adoor not sure) film where the hero walks real-time for about 5 minutes to a field…stares into empty space for 5 mins…then brushes his teeth for 5 mins before walking back 5 mins to his home!
Thanks to DD’s sun 1:30 PM movies for these unique experiences. (There was a manipuri movie where one of the character’s name is gumbrrrrrrrr).
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Gokul R
January 6, 2010
Is there a way I can get hold of the Balu mahendra documentary DVD titled “Balu Mahendra – Art & Craft: A Master Class Session” ?
Please reply to gokul.bits@gmail.com
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brangan
July 8, 2017
My, my – this film turned 35 this year.
Thought I’d redirect some eyeballs to this piece 🙂
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Honest Raj (formerly 'V'enkatesh)
July 8, 2017
Perhaps, the first film that made the arty guns of Bollywood to turn and look back at Kamal?
Looking at the comments, it’s amazing that the blog had such a fantastic readership back then.
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brangan
July 9, 2017
Honest Raj (formerly ‘V’enkatesh): Are you saying the readership now is less than fantastic? 🙂
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Honest Raj (formerly 'V'enkatesh)
July 9, 2017
Ah, just realised that I sounded ambiguous – I meant even before a decade. 🙂
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brangan
July 9, 2017
Yeah, the star commenters keep changing.
I was only half-joking when I teased Iswarya about being an alum who has now graduated. Most people come here, stay for a few years, put out some extraordinary comments, and then stop — or become silent readers.
A few still chug on.
I think Rahini, gradwolf, KayKay (though he’s infrequent now), Vijay (again, infrequent now) — these are some of the people who refuse to graduate 😀
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Honest Raj (formerly 'V'enkatesh)
July 9, 2017
And, Santosh Kumar TK is one too? There’s one more vijay – the one with small ‘V’/’GVM’ vijay? 🙂
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brangan
July 9, 2017
Yes, Santosh used to come by. I was referring to the Vijay whose comments brought on a GVM visit 🙂
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Honest Raj (formerly 'V'enkatesh)
July 9, 2017
Vijay or vijay? It’s all confusing:
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sai16vicky
July 9, 2017
Since you got the attention here, have you noticed that some of Balu Mahendra’s movies have a title song? I think this style is almost gone today except when the tile song doubles up as a hero-introduction. (‘Vaanengum’ in Moondram Pirai, ‘Suthandharatha Vaangiputtom’ in Rettai Vaal Kuruvi and ‘Ethana Vagai’ in Sathi Leelavathi.)
On an unrelated note, has anyone watched the movie he made with Pandiarajan and Mounika — ‘En Iniya Pon Nilave’? Any thoughts?
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Voldemort
July 29, 2021
that they’re never at rest inside your head. They infiltrate, then gestate, then mutate – sometimes combining with memories from other movies and morphing into a different genetic creation altogether, and sometimes overlapping with your own wishful thinking to become an amalgamation of the film you saw, the film you thought you saw, and the film you wanted to see
Wow. Brilliant!
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