A BLOODY GOOD SHOW
JULY 27, 2008 – IT WASN’T SUPPOSED TO BE LIKE THIS. The year has already seen the release of Mysskin’s Anjaathey, and going by the laws that govern Tamil cinema – commandments such as the one that says, Thou shalt not cast a heroine unless she knoweth not the language, or the other one that goes, Thou shalt fall on all fours before the hero and sacrifice every other consideration about the film at the altar of his magnificence – there weren’t supposed to be any more nasty surprises in the form of cinema as cinema (and not just cinema as a commodity hawked at the intersection of the A, B and C centres), at least till Bala came out with Naan Kadavul.
Doesn’t M Sasikumar know this? Doesn’t he know he can’t just spring out of nowhere and dazzle us with craft and control and give us one of the best first features ever made, so wonderfully written and so beautifully shot and put together? Doesn’t he know he’s got to make tinny excuses about not having the support system of a multiplex culture or not being able to rope in saleable stars, and therefore end up making a highly compromised work – with item songs like Kathaazha kannaala – that merely exhibited promising slivers of his talent, rather than one that showcased him as a fully-formed visionary who appears to have done for the bloody bylanes of Madurai what Scorsese did for Little Italy in Mean Streets?
I realise I just might have oversold Subramaniyapuram to a degree that the film cannot hope to live up to, but when you’re excited about something and when you rush back for a second viewing immediately after the first (possibly to pinch yourself and check if, indeed, your reaction to the film was proportionate to its merits), you want to shout from the rooftops – especially when the kind of theatres the film is playing in are likely to deter certain classes of the audience. (Couldn’t the city’s multiplexes have knocked off one screening of The Dark Knight, say, or the dreadful Kismat Konnection, and accommodated this local product? Not even in a noon show?)
But go – please go. Go and strap yourself to the time machine that is Subramaniyapuram, which is set in 1980 – amidst single-sheet Bombay Dyeing calendars and plastic wire furniture and posters of Maanthoppu Kiliye and TV sets with sliding-door shutters bursting to life with Koodayile karuvadu. And against this backdrop lies the story of a bell-bottomed gang of five that looks ready to audition for the sequel of Paalaivanacholai, featuring a schoolteacher who wears the kind of fugly rectangle-rim spectacles we saw on Nizhalgal Ravi in Mann Vaasanai, and a heroine named Thulasi (Swathi) whose ears are pierced by gilt-hoop rings and who ceaselessly bats her enormous eyes in a manner that leaves us in little doubt that her favourite heroine is the Sridevi of that era.
My favourite bit of nostalgia would have to be the opening-day celebrations for a Rajinikanth movie. Just about everything in this sequence brings an oh-those-innocent-days smile to your face – the long lines in front of the current booking counter, the shrill ring of the bell to indicate that the show has begun, the row of red buckets filled with sand to put out potential fires, the Softy ice creams melting in their cones during the interval, and even the giant hand-painted cutout at the entrance, with the title of the film spelt out with little metal discs that shiver in the breeze and shimmer in the light.
That the film is Murattukaalai is most appropriate, for its success is one of the major reasons the cult of the super hero has become the albatross around our cinema’s neck. Which actor with a big draw wants to scale himself down to life-size in a Subramaniyapuram any more, when he can cut loose and loom large in a Pazhani or a Vel? Of course, the inclusion of Murattukaalai, here, isn’t to pound out some such overarching sociocultural thesis point – it’s probably just Rajini-related nostalgia, and this nostalgia is most effective. You may never have set foot in Madurai, let alone a boondocks hamlet like Subramaniyapuram, but it’s not difficult to appropriate the film’s nostalgia as your own. It’s like how you don’t have to have stepped into a bullock cart in order to empathise with the yearning for home in the song Sorgame yendraalum, when the fish-out-of-water hero rues, “Kaalai rendu pootti, kattavandi otti, gaanam paada vazhi illaye.”
But chintzy memories of a now-distant past can only take a film so far – and what’s remarkable about Subramaniyapuram is how it refuses, at any point, to sit down in self-congratulation. Its wheels keep spinning at all times, and once the silly grin upon seeing the fuss and the celebration around Murattukaalai wears off, you realise that the purpose of this sequence isn’t just lazy nostalgia. The way the scene builds, Azhagar (Jai) and his gang are loitering at the cinema hall, when Thulasi (his girlfriend; their love is expressed in such chaste terms, they circle each other with such innocent anticipation, it’s almost comical in this age of Thee pidikka, thee pidikka mutham kodu da) walks in with her friends.
Azhagar gets them tickets and later, during intermission, he gets them ice creams, and then, when someone makes a seedy remark about these girls, Azhagar gets into a fight. It’s this stretch of violence – unchoreographed, seemingly; it looks like the actors made it up as they went along – that we were being led towards all this while, this pointer to the simmering bloodlust in Azhagar. Like the earlier instance of a street-fight that erupted out of nowhere, this one too is a detail to be filed away about Azhagar and his cohorts, about how it’s a dangerously thin line these unemployed youths have to cross in order to commit murder.
For that’s the turning point of the film (which now plays like Sathya meets Paruthi Veeran) – when Azhagar and Paraman (Sasikumar, the director) and Kasi (Ganja Karuppu) kill a local politician who’s just set out for his evening walk, in spotless white socks stretched up to the ankles, over spotless white canvas shoes. Sasikumar superbly orchestrates the minutes leading to this murder, showing us how the victim is stalked, how the weapons are bought, and how the stage is set. When the moment arrives, they strike and the politician falls, and to make sure the job is done, one of them cuts the man’s throat before fleeing.
And that’s when you may want to ask how a bunch of lowlives who appeared hooligans but still nice hooligans could bring themselves to the brink of such premeditated savagery. That’s just one of the ellipses Sasikumar leaves you to fill in, and if you think back to the fight that broke out during Murattukaalai, and if you factor in the detail that the victim has brought ruin to Thulasi’s family (along with the consideration that this family has always provided for Azhagar and his friends), you can sense that it mustn’t have taken much for Azhagar and his cronies to cross over from beating people up to near-death to actually killing someone.
And having committed this murder in the name of duty, a second one follows in order to fulfill an obligation, and a third for revenge, along with a fourth and a fifth – and soon, Subramaniyapuram turns into a bloodbath. The film is very violent – but looking back, even before a drop of blood was spilled on screen, the whiff of violence was always in the air. There was the violence of Thulasi’s father slapping her mother when things weren’t going well at work, and there’s the violence of Azhagar picking up a fight with a random passer-by because he is frustrated with his mother’s nagging.
There’s been a lot of noise about how sickening the violence is in this film, but none of it is gratuitous. There’s a context for everything, cause and effect, before and after – and that’s due to the wonderful writing that ensures that the characters aren’t drawn with instantly identifiable (and stupidly overblown) quirks and mannerisms, the typically insulting kind that make you feel that the director has scrawled a colourful character definition on a post-it and slapped it on your forehead. The inhabitants of Subramaniyapuram are sketched out over time, through events and interactions, through incidents like the local festival, which hogs a great deal of screen space, but only because it’s exploited for atmosphere as well as the off-colour humour in the detailing of why the man who did not get the contract for the sound systems was, in fact, better off for it. And later, when Kasi accepts money for a killing, and when Azhagar and Paraman refuse, it doesn’t seem significant at all, but this little bit of information foreshadows a chilling development towards the end.
Subramaniyapuram is a busy film, teeming with the business of life. Sasikumar fills his scenes with a lot of background action, like Thulasi’s uncle walking into the frame while her father is on the phone, for no apparent reason than to say goodbye – but then, that’s life. Things aren’t going to come to a standstill because you’re in the middle of an important conversation, and there’s a lot in Subramaniyapuram that pulls back and takes in the larger picture instead of settling for the easier close-ups, both literally and figuratively.
This is a film that understands that the revelation about a beloved sister’s death need not necessarily be melodramatic in tone, that such a conversation can take place in a matter-of-fact matter, as if narrating details of a business transaction that went bad. This is also a film that doesn’t feel the need to explain everything. When you see a single tear coursing down the face of a dying man, you’re left to do the figuring out. (Is that remorse? Repentance? Relief?) And, most strikingly, this is a film of symmetries. Early on, there’s a very fussy scene with a little too much symmetry. A man brings his foot down on a kick starter (of a bike) and we cut to a woman bringing her hand down on the handle of a hand pump. Then, someone closes a door, and we cut to someone else opening a door. Then, water is poured into a tank, and we cut to water being extracted from a tank.
I rolled my eyes and hoped that this wasn’t going to set the tone for the rest of the film – but, thereafter, the symmetries become a thing of beauty, not cheap visual parallels, but deep emotional ones. The long tracking shot of Kasi that takes us into Subramaniyapuram, into the story that’s about to unfold, is complemented by a second one, at the end, that takes us out of the place, out of the tale. It isn’t just Azhagar who falls at the feet of a woman to save his life; the villain too puts himself in a similar situation to ensure that he doesn’t wind up dead.
There’s so much that’s breathtakingly right about Subramaniyapuram that I don’t feel like dwelling on the wrongs. So, yes, maybe Sasikumar overdoes the cuteness in the love angle, and perhaps his budget didn’t quite get him the kind of cast that could have taken this film to an entirely different level of achievement. There’s a scene where a man is betrayed, set up to be killed, and the look in his eyes as the first knife slices through his body indicates that he’s already dead, that the pain of his innards being ripped through is nothing compared to the pain from the stab in the back from the person he trusted the most – and you can’t help imagining how a Kamal-in-his-prime would have played it.
But there’s very little else that makes you wonder how things could have been. If anything, Subramaniyapuram just leaves you with the shock of recognition that this is what mainstream cinema could be if you don’t go in with the automatic assumption that the audiences are idiots, and if you understand that the only reason they appear to be endorsing films made for idiots is because they don’t have a choice. The success of a class act like Subramaniyapuram – in theatres that are typically looked down upon as those that cater to the “masses,” yet – is happy proof that the idiots aren’t the audiences so much as the filmmakers who’ve made careers out of chronically underestimating them.
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.
Deepauk M
July 26, 2008
Man I’m never going to get to watch this movie the right way here. What really gotme interested in this movie are the “siru ponamani” teakadai scene and Kangal Irandaal. Its a lovely song – has anything composed in Reethi Gowlai not become a monster hit? Kudos James Vasanthan.
The picture you have up is my second favorite sequence in the song. The first is the very end when he falls off the bicycle and acts as if “ippovum thaadiyil mann ottavillai”. A lot portions of the song remind me a lot of “maalai en vethanai” from Sethu, but there is a throwaway shot of a pendant returning to its location, that I remember liking very much. All the cycling through bylanes reminded me of some Bhagyaraj movie with Sudhakar and Radhika.
And with regard to”Thou shalt not cast a heroine unless she knoweth not the language” – Swathy didn’t know a word of tamil before shooting for the movie and nearly declined the offer on those grounds apparently.
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brangan
July 27, 2008
Deepauk M: “has anything composed in Reethi Gowlai not become a monster hit?” Um, Meettadha oru veenai… not such a hit, no? BTW, Kangal Irandaal veers into Ananda Bhairavi in the ludes.
That cycling movie – are you thinking about Bhagyaraj’s cry-athlon named Suvar Illaadha Chttirangal, with Sudhakar and Sumathi? And yeah, that commandment was a generic dig, not with respect to Swathy.
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Ravi K
July 27, 2008
Kangal Irandaal is a beautiful song but it sounds too modern for the 1980s. Since the film is set in 1980, Ilayaraja would have been the perfect choice to compose the songs.
Baradwaj, you mention having seen Anjaathey. Did you post a review? What did you think? I saw it last week and it was definitely something different for Tamil cinema, though ultimately not totally successful and it had some contrivances. I will admit that Kathaazha Kannaala was catchy 🙂
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brangan
July 27, 2008
Ravi K: Yes i did – here. And I like the bar song too. It had some very catchy lyrics, and the choreography was nice too.
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Deepauk M
July 27, 2008
Aaha. Thanks for reminding me of SIL and “Poonthottam”. “Meettatha oru veenai” did have the misfortune of being stuck in a miserable movie. I like a Hariharan solo in the same movie “Vaanathu thaaragaiyo” very much too.
And thanks for pointing out the ludes. That’s the difference between an enthusiast and someone who knows what he is talking about. That flute first flute lude does remind me of “Singara Velavan”/”Paluke Bangara Mayanaa”
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Vijay
July 27, 2008
“The success of a class act like Subramaniyapuram – in theatres that are typically looked down upon as those that cater to the “masses,” yet – is happy proof that the idiots aren’t the audiences so much as the filmmakers who’ve made careers out of chronically underestimating them.”
Kamal might not quite agree with you. 🙂
I think that experimental films work as long as the movie speaks to the audience in a language familiar to them and there is less that is abstract. It is mostly the setting and the characterization that is fresh in such cases. While the concept and the screenplay structure is kept fairly simple. And it is also a bonus if the movie has a rural or a semi-rural milieu as that means more viewership in the B and C centers if the word of mouth is good. Kaadhal,Paruthiveeran and Subramaniyapuram are recent examples. Can include Virumandi as well.
I am still not sure if our audiences are quite ready yet if something along the lines of Hey Ram is attempted. Time will tell I guess. Maybe we are slowly getting there.
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Vijay
July 27, 2008
Also, this is probably the first time after reading your review I somewhat felt like as if you are openly campaigning for the film and are pleading with the reviewer to go watch it(“Go-Please go”). Usually your review is just about how and why the film worked for you, or not. And you stop with that and let the reader make up his own mind on what he wants to do.Is it because you feel the movie isn’t getting the attention it deserves? Even then, this would be a first for you.
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Vijay
July 27, 2008
RaviK, I agree with Kangal Irandaal. It sounds out of sync with the 80s style. But I guess they couldn’t afford to be too realistic with the music too.The most I can say about the song is that it is easy on the ears. If Harris Jayaraj had decided to sit down and compose something in reethiG he would have come up with something like this.But thats about it.
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raj
July 27, 2008
Deepak, Meettadha Oru Veenai springs to mind
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raj
July 27, 2008
oops..MOV has been discussed already.
Ok, so, a lesser candidate but perhaps you didnt know about it – there was this movie called Amirtham MD-ed by , of all people, Bhavadharini(atleast officially). You should checkout mugilinamae from that one. I am sure it wasnt a hit.
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raj
July 27, 2008
BR, if Kamal played this role, the movie wouldnt even make 5 crores. and it is not possible to make a kamal movie with 5 crores. That’s a problem Kamal has to figure a solution to sooner than later. If only he had Saif Ali Khan’s market (which even considering that Saif is not possibly in the top 5 bollywood heroes or even top 5 Khans!) or even relatively-lesser-stardom…
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Anonymous
July 27, 2008
Vijay, there arent enough urban markets. You said rural or semi-rural. To be more specific, it has to be Madurai, Theni or Bodinayakkanur. Such films succeed for all wrong reasons – basically, a decently scripted movie with a song on madurai or a half-decent repreentation of madurai gets people flocking to theatres in madurai.
Even Thevar Magan was a success because people came to see a film worshipping their way of life – and nobody really got the point – that it was mocking or rather being caustic at their way of life.
I say this as a person with exposure to such types.
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raj
July 27, 2008
I thought the singers might have brought down Meettadha oru veenai a notch down.
But then if that atrocious female singer couldnt spoil Thalayai Kuniyum thamaraiye…
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sakthi
July 27, 2008
I completely vouch for what vijay says on experimental movies success. Though I don’t bring virumandi into it, but I feel Devar magan is a perfect example for it 🙂
Kamla used to say like this : Devarmagan is a successful guna and guna is a failured devarmagan.
For a first time I am reading a BR’s article that praises an movie so much.. You might get some comments like if it worked why not this in so and so movies 🙂
Movie was great(espically w.r.t to showing the larger picture, like the counsillor wife’s comments to her husband while he dines and when she speaks in phone after he becomes thalaivar..), but I could not avoid thinking of paruthiveeran in so many places, may be because of the acting of the main characters 🙂
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MrJudge
July 27, 2008
“a local politician who’s just set out for his evening walk”
I think the murder happens during his morning walk not evening. Are you sure about this?
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Gaurav Agrawal
July 27, 2008
Hoping I could get to see subtittled copy of this movie somehow, somewhere.
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brangan
July 27, 2008
Vijay/sakthi: I wrote this as soon as I saw the film, about two/three weeks ago – and at that time, there was nobody in the theatre, and the buzz was non-existent, so I guess all that angst (plus all that excitement) funnelled itself into this piece 🙂 (The last paras, BTW, were added *after* the film was declared a hit, which is why they hang loose, a bit.)
But I also wanted to call attention to it, because this is such a well *directed* movie. In Tamil cinema, we usually have films that are written well, and therefore succeed on the basis of the screenplay (eg. Mozhi, which was written fairly decently, but atrociously directed). And so when something like this came along, especially from a first-time director, it made me want to, as I said in the piece, shout from the rooftops. I guess I took the liberty because this isn’t a “review” review but more of an opinion piece, “between reviews” 🙂
raj: No, no – I meant, the Kamal of his prime… this being set in the 80s and all.
sakthi: “You might get some comments like if it worked why not this in so and so movies” I know – but then I can only present my feelings about a film, and then it’s up to the reader to take it or leave it. Unfortunately, film viewing isn’t a precise science 🙂
MrJudge: Eeps, I could be mistaken.
Gaurav Agrawal: I hope so to — though I’ve given up on Tamil films finding new audiences through the DVD circuit. There’s, first, a three-year wait before the film can be released on DVD, and by then, it’s long gone from memory.
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raj
July 27, 2008
if the kamal in his prime had made this movie, it wouldnt have made *any* waves. Didnt he make Satya already anyway? The point is this movie is making waves *now* because of
a) State of tamil filmdom
b) 80’s nostalgia.
c) well, semi-authentic madurai milieu.
I wonder if it would have garnered any attention if made in the 80’s…
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hrishi
July 27, 2008
rangan: mozhi is actually a total lift from a 1981 amy irving movie called “voices”. so even the saving grace of a strong script is lost since it is plagiarized. it is a shame that the original was never acknowledged.
in the early 90s when CNN/Turner along with star movies was the only source for decent movies, i remember watching this film late night..
http://www.imdb.com/title/tt0080103/
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karthik
July 28, 2008
Anonymous( a name would help), I agree.Thats why it is a safer best for trying something new
hrishi, thats interesting. I thought Mozhi was inspired in part by Children of a Lesser God.
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bart
July 28, 2008
First, a thanks for this piece (though it was in plans before my request).
I felt very good about a whole new fresh team with no big names behind coming into force.. The heroine is no where a Trisha or 9tara, none of the actors possess great histrionics, but everyone is very much effective in the roles they play. I cannot agree with your views on the movie more. The movie actually grew on me more after I left the theatre more than what it did inside.
I somehow got reminded of “Chinna kannan azhaikiraan” with “Kangal irandaal”.
We see one Veyil, Kaadhal, ParuthiVeeran and even Kalloori coming every year. Probably this movie fills that spot this year. But offlate, whenever a director comes up with a movie with characters, story and surroundings close to his brought-up mileu, the movie invariably succeeds (even 7G rainbow colony, pidichirukku etc would fall in this category). Maybe, the sincerity, genuinity and “vision” of the director is more clear and lucid in these cases. But when the same director has to make a movie, alien to his surroundings, that is where his “extra” thinking comes out. Maybe that is when a director gets truly established. Only time will tell on Sasikumar 🙂
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Magesh
July 28, 2008
I saw the interview of the director sasikumar in “Coffee with Anu” program in Vijay TV. He was saying that he had the complete script ready before the shoot started, and it took him 1 yr to do so.
Also he said that he himself was the producer of the film. And the music director was actually his music teacher.
Quite interesting facts
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Dylan
July 28, 2008
“Didnt he make Satya already anyway?”
you mean, the watered-down remake/rip-off of Arjun? how did he “make” it?
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brangan
July 28, 2008
hrishi: Voices, huh? Never heard of it. I too thought (like Karthik) that with the strong-willed “impaired” woman character could have been inspired by Children of a Lesser God (though the movies, otherwise, are quite different).
bart: “The movie actually grew on me more after I left the theatre more than what it did inside.” Absolutely. Afterwards, it all comes together very nicely.
Reg. “But when the same director has to make a movie, alien to his surroundings, that is where his “extra” thinking comes out.” That’s one — plus, the fact that in a first film, the sum total of a filmmaker’s aspirations/ambitions come through, and it’s thereon that the “consistency” aspect becomes a criterion.
Magesh: “He was saying that he had the complete script ready before the shoot started” – I think that’s (thankfully) becoming more common.
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Deepauk M
July 28, 2008
Raj: Mugiliname Keladi got some airtime on some music channels last time I was in town, so I thought the song was a hit. I could be wrong of course.
Bart: “whenever a director comes up with a movie with characters, story and surroundings close to his brought-up mileu, the movie invariably succeeds” – This, I think, is largely because most first time directors are also first-time screenwriters and it is easier to make characters that are not cinematic cliche’s. If stories are born of personal observations of the human condition, from there on connecting with the audience just depends on the quality of expression.
And regarding Kangal Irandal sounding similar to Chinna Kannan azhaikkiraan – I think the notes being sung are very similar. (SGRGMGR)KI versus (SGRGMNNS)CkA . Of course people with more knowledge should confirm if my untrained ears are hearing right.
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Anon.
July 29, 2008
“There’s, first, a three-year wait before the [Tamil] film can be released on DVD” — Are you serious? Maybe this is a recently instituted policy, because I caught Anjaathey on DVD this March (I think a couple days before your “opinion” piece came up here)after picking it up at a desi store in the Bay Area (and it was from an original distributor like Ayngaran or someone, not a pirated version).
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raj
July 29, 2008
i finally heard kangal irandaal and seriously cannot see the charm in that one. Shorn of the reethigowlai hit-surety, it isnt much really.
Vijay’s comments on it sounding like the output of ARR’s ex-assistant is not off the mark really.
Actually, Joshua Sridhar attempted this and also got a similar result in Poonjolai Kiliye from Aran (or) KeerthiChakra
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Prasanna
July 29, 2008
saw ‘subramaniapuram’ after being coaxed by friend. Went very reluctantly.
Thought it would be one more pretentious ‘new wave tamil cinema’, but pleasant surprise – it a nice, neatly-made, honest film.
Saw that u liked it too, in you blog.
Must say that I found a lot of freshness and honesty in the film, and none of the ‘pretentiousness’ and affectations of a mysskin or an ameer.
after the hype that Mysskin and ameer got from the media – this unassuming director should get even more, for he is a much better director and very mature.
simple, honest film.
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Deepauk M
July 30, 2008
Digression::
Speaking of the ex-assistant, I’ve been listening to “En Anbe” from Sathyam over and over again. It reminds me of so many other songs yet I’m hooked to it, especially the “Athaadi Aasai alai paaya, Seththukko meesai Kodai saaya” bit. I just find myself waiting for it to come up so that I can chime in.
::End Digression
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brangan
July 30, 2008
raj: I guess tastes (and opinions) differ but let me tell you why I love this song: it’s the way the MD has structured it, with lo-o-o-ng melody lines that loop and meander through the raga. The breaks are quite invisible. And it helps that the singers can actually pronounce Tamil. I agree that the ludes could have been better, but then I’m enough of an 80s child to fall for an ambience created by a booming synth. I mean, all those pop groups that we’re so ashamed about now, but were addicted to then 🙂
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raj
July 30, 2008
br, i did not ‘not like’ the song exactly. It is pleasing enough. But it didnt sound like 80’s ambience to me. More like, as Vijay said, ARR ex-assistant output types – to be exact, while Vijay might have deduced that from his analysis of the actual orchestration and the tune, I inferred it heuristically(which is the only way I can – not being a music analysis person), because an ARR ex-assistant had done something very similar viz. Joshua Sridhar in Aran.
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Raj Balakrishnan
July 30, 2008
Hi Baradwaj,
Nice review, very well written. I am just curious, why do you say that the direction is atrocious in Mozhi? I thought that it was a decent movie shorn of typical Tamil melodrama, super heroes etc.
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brangan
July 30, 2008
Raj Balakrishnan: Thank you. About “direction,” there’s so much it entails — and while we’re fairly decent with the “verbal language” aspect of filmmaking, the “visual language” aspect is terrible in most cases. The fact that Mozhi is “shorn of super heroes,” as you say, is a writing-level decision. I’m talking about when the screenplay is translated to screen. It’s the whole staging, the whole mise en scene funda (which goes even beyond the staging) — which, to get into, would take a separate essay, but I think you get the picture.
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Qalandar
July 31, 2008
I hadn’t heard of this film, thanks for this review! Will definitely add it to my list of films I need to await the subtitled DVD of…Anjaathey too.
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Rajasundararajan
July 31, 2008
Dear BR,
Your review is so passionate. First time I’m reading yours. I admire your eyes and ears for film language. I too have written a review in Tamil of this film in a little magazine ‘Tamizhini’. Much impressed, like you, I too wrote a long one, but had to cut short it from three pages (A4) to one, to suit the space offered. The symmetry you have observed is fine. Without noticing this symmetry, I myself had compared the ‘kaividal’ and ‘kaattik koduththal’ scenes. Thanks. Hereafter I think I’m going to read you regularly.
-Rajasundararajan
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brangan
July 31, 2008
Qalandar: “Subtitled” DVDs of Tamil films? Such a thing exists? If so, do subtitled DVDs of Mallu films exist too. There’s a whole bunch I need to watch. Thanks.
Rajasundararajan: Thank you so much. Is your review available online? Thanks. And oh yes – “Edited Versions” are the bane of a writer’s life. This one too got chopped quite a bit for print. But thankfully, there’s the Internet 🙂
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Qalandar
July 31, 2008
Baradwaj: absolutely. Subtitled DVDs of Tamil films (mostly recent ones) are released by Ayngharan in the USA and Europe (it is illegal to sell these in India; thus, even though I order them from anytamil.com, based in Chennai, he is able to deliver because I am based outside India, and can’t deliver to Indian addresses). Older ones (e.g. Mouna Raagam, Thalapathi) are released with appallingly bad subtitles by Pyramid (I make do with what I can). Many slip between the cracks (no subtitled version of Thevar Magan is available; among more recent films, none of Puthupettai is available, much to my frustration).
Subtitled Malayalam films are released in the US by Surya, and I have seen several of the Mammoothy, Mohanlal films from the 1980s. It should be easier for you to find these because the old video cassettes that used to be sent to Dubai and the Gulf back in the day all came with (poor) subtitles (that’s how I saw Kireedom, which Lal classic isn’t available on subtitled DVD).
As for the great Adoor Gopalakrishnan, only two of his films are available with subtitles (these can be ordered in India), both released by Western companies: Shadow Kill (Nizhalkuttu) and the much older Rat Trap (Elippathayam).
Email me if you want some practical suggestions on how you might get some Malayalam movies (at least the ones I have).
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raj
July 31, 2008
brangan, i say what, learn malayalam man. you oughta watch those movies in your list. sub titles can do only so much justice.
and it is not tough for a tamil to learn malayalam – ask me, i have done it and have never been within 300 miles radius of kerala ever.
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karthik
August 1, 2008
Rangan….Kuselans coming up. !!!
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brangan
August 1, 2008
Qalandar: Oh, right. Thanks — though it’s something that a company based in Chennai can deliver there but not here 🙂
karthik: And…? 🙂
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Qalandar
August 1, 2008
Yeah it sucks. I found this out when I tried to send a gift of Maddy’s RUN to a friend in India… It’s a shame, because although Moser-Baer is doing great work producing inexpensive DVDs and VCDs (including dozens of Malayalam titles), they aren’t subtitled; I believe Saina has now also started making VCDs of older Malayalam films but I doubt these are subtitled. Thus for people like me the only option is NY-based Surya, which has an arbitrary selection of subtitled DVDs (they also make ones without subs, and for the life of me I can’t figure out what governs the discussion).
Raj: you are of course right that subs cannot do much justice; but since I have to rely on them for films in German, French, etc., I also do so with Tamil, Telugu, Malayalam, else I wouldn’t be able to watch most of what I like at all…
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Leo
August 2, 2008
one of the best article/review on this wonderful movie “Subramaniapuram” that i could find in popular magazines/newspapers..
also your article “being Kamal Haasan” was excellent
please give a list your favourite world cinema classics
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brangan
August 2, 2008
Leo: Thank you. Regarding a list – but where would I begin? 🙂
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Avocado Iyengar
August 2, 2008
Sir,
You have redeemed yourself with this review, especially with your call to City theatres to screen this at least for one show instead of other dreadful movies like Kismat …
To the untrained eye you had hitherto appeared as the typical journalist pseudo. Not any more …
Any genuine movie with native feel and themes is bound to do well and despite this being proved repeatedly, producers and directors insist they know better.
Avocado Iyengar
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brangan
August 2, 2008
Avocado Iyengar: Sir, I’m not sure I’m going to be writing too many more of these pieces, so if it’s okay with you, I’d like to hold on to — what’s that? — my “journalist pseudo” hat for just a wee while longer. Thank you.
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Vijay
August 3, 2008
Baradwaj, I am surprised as well to note the use of “atrocious” as far as Mozhi’s direction is concerned. Did you mean to say mediocre (which would have come across quite differently) or was it really that bad? This was a script-based movie and I didn’t think that there was a lot of scope for the visual staging you talk about.Most of KB’s movies are like that.
If you have a chance, pl elaborate with a scene from the movie where you felt the direction was terrible. If you were talking about the scene where they literally showed a light bulb going off to signal the right person for PrakashRaj, I just thought it fit in with the whole light tone of the movie.
As far as I am concerned, to make Jyothika look less annoying on screen than she normally is, by itself deserves at least a slight pat for the director 🙂
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brangan
August 3, 2008
Vijay: I did write up some notes long ago, when my ed. asked me to write something about Mozhi – but that piece got cancelled, and I never did anything with those notes. Let me see if they’re around, somewhere, and maybe I can finally vent all my angst about that film 🙂
BTW: “As far as I am concerned, to make Jyothika look less annoying on screen than she normally is, by itself deserves at least a slight pat for the director ” – LOL.
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Rajasundararajan
August 4, 2008
Dear BR,
Sorry, my tamil review on ‘Subramaniyapuram’ is not online. ‘Tamizhilni’ is a serious little magazine that has published it. It had published my reviews for ‘dasaavathaaram’, ‘Anjaathee’ ‘Taare zameen par’ too.
You don’t have to learn Malayalam to see Malayalam movies, if you know Tamil. In Chennai, you can get Malayalam, Telugu, Hindi DVDs at ‘Saina Videos’, Saidapettai Road, opp. Vadapalani Murugan Kovil.
– Rajasundararajan
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Ravishankar
August 4, 2008
Great review.Loved the film.It was there with me even after 4/5 hours of watching.Your attention to detail is incredible.
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swati
August 5, 2008
Hi there, this is probably the best possible review I’ve read for my film.Will pass the link around in the unit.Thanks for the nice things said and no I aint sridevi’s fan, especially not from that era 🙂
I am told the reviewer is a task master,makes it even more special that one such review has come from him.
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Chenthil
August 6, 2008
That was a good review BR. Been a long time reader. I dissed you in an open forum for your article on Sujatha, so when I praise your article it has to be in public too.
P.S. Now that my comment is after the heroine’s (?) comment, I dont think it will get noticed :-).
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brangan
August 7, 2008
Ravishankar/ Chenthil/ swati (?): Thank you. Chenthil, someone pointed to me that diss, and that’s fine, because it’s your opinion, but then these pieces are simply mine. I guess that’s the problem with “who’s better than whom” arguments in art — there are no objective evaluation criteria.
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prabhakar
August 9, 2008
As someone who has grown up on those streets, it is very difficult to view this film objectively. It cuts too close to the bone. The air in those streets crackles with violence and a fight is always round the corner. I have seen a coconut vendor hacked to death because he did not return a measly 20 paise. Honour killings and revenge killings are the norm there. In some ways it is a very negative film, with no redeeming human values. The characters are two-dimensional. But I suppose we need to support such films which do not flinch from real life.
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RamaRama
August 23, 2008
Mr.Bharadwaj,
This raises the question of integrity in journalism. I am not talking about your review, which is correct of course and an exception. Why do most journalists continue to be just mouthpieces for PR agencies and agents of big stars. What we are witnessing in Tamil movie industry with the likes of Bala, Ameer, Sasi Kumar, Balaji Sakthivel etc is the birth of a new stream of semi-masala movies that are extremely well executed and most importantly they are made by people with a local flavour. The other key factor is how they use relatively new actors to great effect or someone whom you never realised could be used so well. Samudra Kani had he been an American would most prob. pick up an Oscar of some sort – What an effortless and mind-blowing performance he has given in Subramaniapuram. But the English language press reviews, mostly written by females with Sanskritised names don’t even understand the nuances in this movie.
It’s funny to watch this movie running non-stop at Sathyam cinemas, while another actor’s movie that’s not really doing well is being propped up with huge posters and fake publicity information.
People admire your deft prose, but you could be also be known as the critic with integrity if you write more reviews like this.
Thanks & Best Wishes
RamaRama
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DPac
August 31, 2008
nice to c u on the roof as well rangan saaab
http://passionforcinema.com/reco-of-the-month-subramaniyapuram-2008/
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satheeshleela
October 29, 2008
this film is very nice.all people like the movie.i like and love jai.
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