U-TURN
Priyadarshan makes the most surprising film of his career. More surprisingly, it’s the film of his career.
NOV 30, 2008 – PRIYADARSHAN HAS BEEN WHISPERING, into the ears of whoever cares to listen, that Kanchivaram (A Communist Confession) is his best work ever, and I think I can be forgiven for reacting to this admission with a sackful of scepticism. With his unending assembly line of mind-numbing comedies, many of which barely manage to induce a smile let alone full-throated laughter, the director has squandered away all his credibility, and perhaps the only people who take him seriously anymore are those interested in matters of the box-office. (Of course, you could argue that those are only people who matter, and you’d be right in a sense.) So when he boasts that Kanchivaram – which is among the films competing for the Golden Peacock at the IFFI – is so bloody good, we’re tempted to ask, “Well, compared to what? Mere Baap Pehle Aap?”
But watching this unexpectedly beautiful (and quite moving) drama, you think there’s perhaps a reason Priyadarshan sold his soul and lost his way. This is a film of such accumulated detail in its vignettes that he possibly needed to conserve all his resources to see it through in the form that it deserved, which meant that, short of replicating himself, the only way he could have gotten through those other projects was by humming along on autopilot. Among the many surprises in Kanchivaram is that Priyadarshan could have so easily pumped up the volume and attempted an all-out epic, as he did with the misconceived Kalapani. (The background score, however, does compensate with swells of symphonic music interlaced with snappy phrases from Carnatic ragas.)
Considering that its story is set amidst heavily exploited silk weavers, and considering that its protagonist attempts to unionise his fellow labourers, Kanchivaram could have easily become the rousing, all-male version of Norma Rae, set in the pre-Independence era. But Priyadarshan is after something else, something far more interesting. He sets up the barebones of his story, and then sets us free. Once he sinks his hooks into us with the little plot detail that the impoverished weaver Vengadam (an effectively restrained Prakash Raj) wants to marry off his daughter in a grand style (namely, in a silk sari), the director sits back and lingers on the larger social picture – looking at how sisters sometimes selfishly prey on brothers, or how a detached pendant on a policeman’s cap could cost him his job, or how daughters inherit the duties of caring for fathers after the mother passes on.
It’s fascinating, really, how this most commercial of film directors, here, treats melodrama like minefields to be carefully skirted. When Vengadam, influenced by the rabble-rousing of a communist, prepares a list of demands and hands it over to his employer, and when the latter crumples up the piece of paper and tosses it on Vengadam’s face, you’d expect at least a moment of simmering resentment. Instead, we cut away to a gentle family gathering where Vengadam discusses his daughter’s marriage. In stretches like these, Kanchivaram finds a lovely balance between art cinema and commercial cinema, respectful enough of our emotions by not making blatant attempts at manipulation, yet aware that it isn’t entirely a bad thing when a film affects you emotionally, and that delicacy doesn’t necessarily mean distance.
Kanchivaram begins at the Central Prison, Madras Province, in 1948, when the radio stations are still playing mournful music to soothe a nation yet to recover from Gandhi’s assassination. Priyadarshan subsequently employs a back-and-forth structure that would seem superfluous if it weren’t so seamless, so integrative of past and present that even the detail of Vengadam’s daughter (charmingly played by Shammu) enrolling in a tailoring class, during the flashback, finds a mirror event in the present, in that policemen stopping at a tailor’s shop to sew the offending pendant back into his cap. A death that occurs in the past is similarly complemented by a funeral procession we see almost immediately after, in the present. If this is a familiar trick, it still works well enough to appear fresh again.
The staging is so understated, at times, that I found myself cottoning on to a few scenes a few seconds after they faded from sight. We’re shown Vengadam’s wife, Annam (Shriya Reddy), buttoning up her blouse after a night of lovemaking with her husband – and later, it appears that there could be more to the moment than just sensual afterglow. As she speaks to him about wanting to see the grand silk sari he’s woven for his master’s daughter, you remember the coarse cotton of her blouse. Thiru, with his truly magnificent cinematography, further emphasises this contrast, defining the weavers and their surroundings with such desaturated earth tones that the colours of the silks and the colour of communism (even the sari Vengadam weaves for his daughter is a bright red) burst forth with stunning ripeness.
It’s only in the sections that deal with the influence of communism on this little community of weavers that Kanchivaram turns wobbly. You see the seeds being sown when a weaver is beaten up for delivering only two saris when he apparently took enough yarn for three, and the point is driven home further when the sari that Vengadam weaves is priced at eight hundred rupees, while his wages are a hundredth of that amount. But when Priyadarshan stages a street play, as in Anbe Sivam, where Vengadam imparts his manifesto to the masses, it’s an unsettlingly showy touch in a film where less is oftentimes more. But let’s attribute these rare missteps to a few old habits dying hard. Perhaps Priyadarshan does overreach, at times, in his attempt to grab at the things that possibly drew him to cinema in the first place, but considering his overall achievement, he completely earns our indulgence.
Copyright ©2008 The New Indian Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Shankar
November 29, 2008
Baddy, I understand your skepticism when it comes to Priyan, considering your exposure to all the inane Hindi comedies he has made. But if you had grown up with or watched his mallu movies from the past, you’d have a fair inkling for his capabilities. Even if many of them were comedies, they were still rooted in earthiness and reality. Plus they were really good fun. He did have some talent, but like you say, he has sold his soul to Hindi cinema!! 🙂
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brangan
November 29, 2008
Shankar: Fair enough. I should have stated that I’m not familiar with his work in Malayalam.
But see this film, and then tell me if he’s made anything in Malayalam to rival it. I’d be very surprised if he has.
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Ashwin
November 29, 2008
A nice and straight review of the movie. I read about this movie in a few journals and your review makes it a “must watch” for me!!
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Anu
November 29, 2008
Shankar,
I grew up watching Priyan’s comedies in Malayalam – believe me, if there was one original script in those movies, I will buy a summer hat, and eat it! He filched his scripts from non-descript English, or other foreign language movies, and then depended on the Mohanlal/ Sreenivasan / Mukesh combine to salvage the film. And it helped that character actors like Sukumari, Thilakan and Nedumudi Venu made you sit in suspended disbelief. It says more for the ability of the actors to transcend the stupidity of the script, than it does for Priyan’s ability as a director.
Rangan, I must disagree with your estimation of Kalapani, though. Possibly the only original script that Priyan ever filmed, and with all its flaws, much better than the usual rubbish he turned out in the name of comedies. I have heard good things about Kancheevaram, though, and like you, was absolutely sceptical. How good could a Priyadarshan movie be? Anyway, you say it is good, so I think I will take the risk and watch it – if I can get a decent copy. 🙂
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sakthi
November 30, 2008
******** SPOILERS AHEAD ******** The integration of past and present doesn’t bring any freshness to me it was more like seen many times,espically his wife death followed by funeral procession. Dialogues could have been more lively in some places. Background music keeps on remaininding its an art film.The film could have been stopped at the place where he was caught and his daught in safe hands of his old friend. The last segment of giving poison to his daughter, the follow ups looked more to give an emotional push.But the plot, the way story unfolded, more often it was a cinema than preaching and still touching up lot of things more subtley (daughter inheriting father duty,sister getting his savings etc..). It was a good movie i have seen oflate..
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Gopi
November 30, 2008
S for Sakthi.
S for spoilers?
i agree it’s not a commercial movie. but it’s still a movie. and something that’s worth catching. you should seriously put up a spoiler alert on comments like these.
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brangan
November 30, 2008
gopi / sakthi: I’ve added a spoiler alert in the comment.
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bart
November 30, 2008
I envy you. I’ve heard abt this movie since last 1 year and am waiting to watch it. Will read ur piece in detail after I get a chance 🙂
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S
November 30, 2008
no review for our fav Abhay Deol’s latest?
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Shankar
December 1, 2008
Anu, I do agree with your points. I wasn’t trying to defend Priyan here…just was saying that his movies were fun. I agree he had fabulous actors to pull them off. To me, Priyadarshan is equivalent to K.S.Ravikumar in tamil…I’m sure you understand my gist!! 🙂
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brangan
December 1, 2008
S: I thought I mentioned I didn’t catch it at the festival…
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Qalandar
December 2, 2008
Wow Baradwaj, thanks for the shout — would never have thought Priyan had it in him anymore…
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brangan
December 2, 2008
Qalandar: “would never have thought Priyan had it in him anymore” – I would have have dropped the anymore. There is so much “cinema” here – especially when seen on a big screen. All the bad habits we have — the over-explaining, the pandering have been dropped. He must really have slaved away on this.
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Arun
December 2, 2008
Anu, I loved kalapani but wasnt it apparently filched from Pappilion? havent seen pappilion fully though…
and Rangan,did Kanchivaram get a theatrical release for the public? I heard he intended it to be only festival circuit film…if that is the case what’s your view on that?
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Aroon..
December 3, 2008
Shankar/Anu/Rangan,
I strongly defend Priyan. first of all he is a filmaker and not storyteller. As director he is capable enugh as any best one in India.
Anu -u can buy a summer hat and eat it, See MITHUNAM ( there is more ..but i randomly preferred)
Kaalapani is one of his best works ever.., when Adoor films are slow.. it is best. And when a Priyan film was not commercially success due to details..it is BAD??!!
i dont know whenther it is a real story or fiction..but it was a good film. tell me one thing on it which is not original..
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brangan
December 3, 2008
run: This was a festival screening. No clue about a general release. Sakthi, where did you catch it?
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jina
December 4, 2008
Chitram (1988), Mukunthetta Sumitra Vilikkunnu (1988),and Vellanakalude Naadu (1988) are some of the Priyan masterpieces in Malayalam cinemas golden period..
And he was one of the important contributors to that period!!
For us who had grown up seeing those movies, the Priyan plagiarism in Hindi was a cruel betrayal..
And I hope he regains his skill and earthiness back in kanchivaram
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Nikhil Narayanan
December 4, 2008
Jina has said what I had to.
There is more to Priyan than the Hindi slap sticks he dishes out.
-Nikhil
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raj
December 5, 2008
Nikhil, amen to that. I would have taken Priyan’s case except that I remember only the movies not the names. So yeah, people should not be judged by what they do when they go to bollywood – surely its bollywood’s fault, the way it is structured to fault, if someone who has done stellar work in other language comes and screws up in Hindi?
That is even true of Rituparno Ghosh and the Assamse guy whose name I forget. But neither of them screwed up in Hindi the way Priyan did, though. They screwed up in different ways though Ghosh has always had a mixed bag in either language. Even Balu Mahendra for that matter who managed to reduce the exquisite Kokila into a rather ordinary Aur Ek Prem Kahani – but then when you substitute Kamalhassan with Ramesh Arvind, you start with a handicap.
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Liju
January 23, 2009
I’m not sure if this is the right time to post a comment on an article that’s aging pretty fast. I haven’t caught a glimpse of this film even though it’s high on my list of films to be seen. I’m more than glad to know that Priyadarsan has delivered. I’ve seen plenty of forums where there is a lot of Priyan bashing that takes place, and it only worries me to see self proclaimed film enthusiasts having no respect for Priyan. Everyone here talks about remakes, plaigiarism etc etc, but Priyan is an artist with an eye for details of the minutest order. He’s adapted scripts cooked in an overdose of the malayalee millieu into all time Hindi blockbusters!!! Who does this with repeated success??? His comedies/satires in Malayalam are folklores of the future. I’ve been exposed to a great deal of cinema from all over the world, but never have i had an urge to watch a film over and over again except for some of Priyan’s ageless celluloid classics. Chitram, Thalavattam, Vandanam and the list goes on. I’m not a fan of Priyan’s Hindi innings but I am witness to watching a housefull of common people rolling in laughter to most of his remakes. That’s bullseye, Bang ON.
I make a humble request to everyone set out for Priyan bashing, PLEASE watch some of Priyan’s malayalam films.
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Rajesh
March 9, 2009
Like many said here, if all your Hindi movie lovers had seen some of Priyan’s early Malayalam movies, you woudn’t be commenting like this. There are many in fact, which have been mentioned by others. But the one I would say is a classic is MITHUNAM. Watch this and even some other comic movies of his.
Well, watching his Hindi movies, I always pity this director. Why should he stoop so low. I am eagerly waiting to watch Kanchivaram.
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brangan
March 13, 2009
The film is being released today (at least in Chennai). So thought I’d bring the review over. (I reviewed it from the IFFI last year.)
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DesktopFixture
March 14, 2009
Well, even a lot of his Hindi movies have had elements that had a refreshing quality about them which was different from done-to-death, typical Hindi film theatricals.
I guess such directors, including Ram Gopal Varma, have the potential to continue to do an A R Rahman for movies. But their potential hasn’t unfortunately been concentrated enough for some years now.
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Selvam
March 17, 2009
Why did he choose to do Kanchivaram in Tamil, why not in Malayalam?
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Leo
March 19, 2009
I saw this movie yesterday in woodlands(thanx to your review). The movie was good, but i felt the dialogues and the location(village) was not authentic, overall it was a good attempt. There were lot of scenes where Priyadarshan’s experience could be seen.
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madhu
July 12, 2009
I think the only original story he had in malayalam was Mithunam. That is by, I think, Srinivasan. As a craftsman he is exceptional. Unlike other remakers, he takes only the thread,rest all are his ideas.I like allmost all of his movies.
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Aravindan
July 20, 2009
Kanchivaram premiere – Star Vijay, July 30 – 7.00 PM.
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Vijay
July 30, 2009
I just watched it. Should have seen it atleast on DVD. The TV version with annoying commercials every 5 mins didnt help. But a fine effort overall. Prakashraj can now go back and do the “chellam” routine in another 10 films. He probably wont get a role like this anytime soon.Which is a shame.
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vamsi
June 4, 2010
priyadarshan you deserve a oscar for this……a person like me who used to think that Indian movies can never improve and always be the same running around tress …..u proved me wrong……i see movies of all languages english,french,mexican…etc just to experience deepth in the movie….but u proved me wrong this is the best movie till now…..i migth have seen 1000s of movies…but this movie i will cherish throughout my lifetime…..u are the best….in our country this type of movies should come into picture….hats off and keeping doing this wonderfull job i will always admire u for this.
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thedailytamasha
June 27, 2010
**************SPOLER ALERT*******************
Rangan,
I watched the film today, on a big screen, at a film society screening in Mumbai. Couldn’t help finding a strange correlation between Vengadam and Priyadarshan himself. Hasn’t Priyan been doing the same thing: stealing a single thread of silk each time he makes a bad but commercially viable ‘Bollywood comedy’, only to save enough for the day he made this masterpiece!
And I was as surprised as you (and I am sure many other discerning film observers) that such an overcast, finely balanced, detailed piece is coming from the man whose Hindi films have become a template for filmmaking-as-a-soap-factory.
I don’t think I have seen an Indian period film with as much character, ever. Jackfruit juice acts as an adhesive, two almost-naked kids are ALWAYS around in villages, old lady cleaning the farm after seeds have been sown….so much local wisdom packed in with a story so thick!
And did you notice how the motif of him carrying his ladies, twice his wife and twice his daughter, has been used at two extreme ends of Vengadam’s emotions. And how the only two people who see Vengadam’s secret work die in his arms, soon after. Cinema of exceptional quality!
P.S. – I know this is a very old thread but hope more and more people keep discovering this Priyan masterpiece in the years to come, and keep writing here.
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Joseph
April 3, 2013
Most people don’t know how good Priyadarshan is. He is easily one of the best directors. Its his craving for fame and money that makes him do mindless comedies and commerical films. Original work in malayalam (yes, NOT remakes or Hollywood-inspired) serious films such as Aryan, Abhimanyu, Advaitham, Kalapani or meaningful, earthy and natural comedies such as Kilukkam, Thenmavin Kombathu, Chitram, Vellanankalude Naadu, Midhunam & Megham are a testimony to his towering talent. I keep stressing, these are all original work and both critically and commercially successful. It is no surprise to me that Priyadarshan can make Kanchivaram.
I disagree with your point on Kalapani being ‘misconceived’, the movie was made on a budget of just 3.5 crores and it is a wonder. I would imagine it would take atleast 25 crores to make it today and even thats considered under-budgeted for a period film in the Hindi film industry. Yes it has its flaws but it can stand among any Hollywood period classic in its own.
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Ousep
January 3, 2021
Kalapani as ‘misconceived’?! You are out of your mind!
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