Picture courtesy: songstamilmp3.com
MASS ATTACKS!
It isn’t just the smaller Tamil films that are pushing the envelope – the big-hero movies are thinking out of the box too, even if the results aren’t exactly pretty.
FEB 28, 2010 – IN THE MIDST OF LARGER-THAN-LIFE HEROES who make the same movie over and over, under the supposition that this is exactly the sort of unpretentious entertainer their loyal audience demands after a day of spine-splintering toil, Sharath Kumar is a curious exception. In films like Pachaikili Muthucharam and the recent Jaggubhai, you can sense his biceps bulging from the strain of snapping the action-hero straitjacket. In the latter, adapted from the French-Japanese Wasabi, he plays a cop in an existential funk. The love of his life walked out on him a couple of decades ago, and he’s yet to move on – and then he discovers a daughter he never knew he had. Had the director KS Ravikumar done nothing more than follow the original scene for scene, and merely appended song sequences and comedy routines, we would have had a gripping thriller with stunt sequences to satisfy the casual viewer as well as world-weary drama to whet the appetite of the audience hungry for more.
Unfortunately, the film is so indifferently slapped together – as if this much craft were enough for the B- and C-centre sap who queues up for these movies – that the result is risible. Would you believe Goundamani as both the lead guitarist of a rock band as well as a senior police officer in Australia? (It’s Vijayakumar, however, who facilitates the standout comic moment, as he screams, “Life is short. No need to make it sweet. At least try to reduce the heat.”) And can you imagine a movie in the current day resorting to a dramatic moment where a newly wedded wife renounces her husband by yanking off the thaali? (And here we thought these sentiments had been banished to the television mega-serial!) Plus, there is the expected chest-thumping – white men routinely insult Indians who put their oppressors in place, foreign culture is routinely denigrated as wanton (and wanting when compared to the glories of our way of life). The novelty in the plot notwithstanding, everything in Jaggubhai is been-there-done-that. Even the pick of the soundtrack is a desperate whitewash of a golden oldie – a remix of Anbulla maan vizhiye.
Saran’s Aasal, again, is built on a refreshingly offbeat plot for a mass-hero entertainer – part Vengeance Valley (the glancingly noirish Burt Lancaster Western about a rancher taking in an orphan) and part King Lear (with sons instead of daughters, with only one loyal amongst the three). The problem, though, is that noir, by nature, is human-sized, centered around the foibles of the desperate and the damned, while masala, by nature, is mythic, with little room for shades of grey – the conflation of the two isn’t very pretty. The noirish circumstance of the hero committing fratricide is sensational news in a mainstream-movie context, but it’s disturbing in a masala environment, where we’re more used to the hero setting the errant sibling on the right path (as in Padikkadhavan or Dharmadurai). What saves the film somewhat is the silkiness of its style, which makes the goings-on watchable if nothing more – or to borrow a cue from Ajith’s perennial prop, it’s close, but no cigar.
Vijay’s Vettaikaaran, meanwhile, doesn’t even pretend to push the envelope – no jabs at noir, no glances at exotic foreign-language thrillers, just old-fashioned good in combat with old-fashioned evil (to the accompaniment of whoosh effects on the soundtrack that make you imagine you’re trapped in a tornado). The hero-as-vigilante is an eternal staple of the masala movie, and here, the title literally worships the protagonist as a hunter of societal scum. The happenings are so hoary, so reminiscent of the eighties, it comes as no surprise that the song that plays in the background as the hero reflects on his love for the heroine is Ilayaraja’s ravishing Kaadhalin deepam ondru (as opposed to something contemporaneous like Kangal irandaal). And of course, the hero’s immaculate heart harks back even earlier – you can sense the spirit of an all-time mass-hero in the declaration that the true government servant isn’t the fattened clerk with a rubber stamp but the emaciated drain-cleaner in his loin cloth.
And yet, there’s a modicum of fun to be had. At first, it appeared that Vettaikaaran was better than expected simply because the recent bar for Vijay starrers has been set so low, by the abysmal likes of Kuruvi and Azhagiya Thamizh Magan. But it’s a little more than that, due to a robust David to cheer for and a refreshingly life-sized Goliath to hiss at. Let’s not get into whether this is good cinema (if we begin evaluating the worth of masala movies against the gold-standard wit and elegance of Aboorva Sagotharargal, we might never watch one again in our lives) – reasonable entertainment, at times, is enough. Besides, even amidst the old-fashioned occurrences, there’s a freshly minted sense of chivalry in the scene where a husband calmly accepts his wife back after she’s been forced into sexual submission by the villain. This isn’t a major event – it plays practically off-screen – but it’s heartening that the issue of chastity/karpu is never brought up. It appears that Vettaikaaran, without labouring to push the envelope, does manage, in its own small way, to nudge the masala movie into the modern day.
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Padawan
February 27, 2010
Will wait for VTV BR to read what you have to say. But for now, I just have to write this.
vijay – I can’t help but think that Gautam took a dig at himself of English Speaking Tamil Movies only and only because of you. Thanks man! Had one big laugh aloud moment for that scene.
PS: If you have not seen VTV, do see it before next week’s column and we shall discuss more about it there.
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sn
February 27, 2010
Actually I am more interested in what this guy Vijay(who hates Gautham, Bala, Selva, Kubrick, Harris and God knows who else) has to say abt VTV. Dude, If u r anywhere around, pls respond..
I personally felt VTV is the most matured effort by GVM till now..
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Mambazha Manidhan
February 27, 2010
There are times in the movie theater when the movie ceases to work for me.Even after giving it time to redeem itself, it squanders potential opportunities and continues to suck. These are the times when I switch off and from then on continue to watch the movie only on a superficial level. Unless some thing occurs onscreen that jolts me out of my boredom,I continue to exist in the “I don’t care” mode.
I can recall this happening in the recent past in case of movies like :
Nanayam, where I switched off quite early.
Rann, as soon as Bacchan’s climaz monologue began. etc..
So the question is , do you ever switch off during a movie ? Since you have sat thru movies like Vettaikaran ,Jaggubhai ,Chance Pe Dance,Kismat Konnection and given that you respond to movies emotionally , how long before you give up on a movie?
If you haven’t, has your motivation been any other than the fact that you have got to review the film for a weekend deadline?
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Arun
February 28, 2010
more than this enjoyable post.., what attracted the readers attention was the Katrina Kaif banners of “GET SIZZLING HOT BEAUTIES HOME DELIVERED – BIG FLIX” .. and oh yeah “14 days FREE TRIAL”
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brangan
February 28, 2010
sn: Why pick on poor Vijay? 🙂 Or anyone else for that matter. A lot of filmmakers don’t work for a lot of people, and , besides, what a boring world it would be if everyone agreed on everything. The vagaries of personal taste (mine included) are what makes these discussions fun!
Mambazha Manidhan: Oh, a lot of times. Switching off is inevitable when you see as many films as I do. The trickier question is “how long before you give up on a movie?” I had all but given up on Aayirathil Oruvan after about 1:15 hours, but my interest began to perk up before the interval block and then the second half totally took the film to another plane. (And so, when I saw the film again with that in mind, even some parts of the first half worked better.)
It was the same with VTV. Slightly generic first half with very intriguing characters being established, but not exploited to full potential. But the second half was quite astounding, and when I see the film again, I’m sure there’ll be parts of the first half that I’ll see in a new light.
So when the “rhythms” of a film are new (as in the above films), it can take you quite a while to settle in and “get” what is being attempted. And so you can “give up” and decide “oh, I’ll just watch this with my brain shut off” and still find yourself being sucked back into the film at a later point. There aren’t any rules, as such, with film-viewing. But then I love films — good, bad, ugly. So maybe you should ask your question to someone who only occasionally ventures out to see films.
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sn
February 28, 2010
Oh no.. I’m not picking on Vijay and I do acknowledge the **vagaries of personal taste**.. I myself am not a fan of Harris in that list..
But I am honestly interested in his opinion abt this movie.. A lot of ppl who are not a fan of Gautham’s movies liked this one.. Sometimes when you like a movie so much, you want everyone to like it.. thats the reason.
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Vishnu
March 1, 2010
On a completely unrelated note, have you listened to the songs of ‘Mundhinam Partheney’ ? The rhythms were good and easy on the ears and I’m quite impressed with Thaman’s effort..
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scipio
March 1, 2010
The best part of the post is the comparison to Aboorva Sagotharargal which incidentally I was watching yesterday. Yes, that too is a masala movie but its got class. The screenplay is taut and brilliant. Where are those days when masala movies were not about screaming villains and zooming Tata Sumos.
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Udhav
March 1, 2010
//////////At first, it appeared that Vettaikaaran was better than expected simply because the recent bar for Vijay starrers has been set so low, by the abysmal likes of Kuruvi and Azhagiya Thamizh Magan. But it’s a little more than that, due to a robust David to cheer for and a refreshingly life-sized Goliath to hiss at. Let’s not get into whether this is good cinema (if we begin evaluating the worth of masala movies against the gold-standard wit and elegance of Aboorva Sagotharargal, we might never watch one again in our lives) – reasonable entertainment, at times, is enough./////////////////
BR, Frankly I never expected such a “defense” from you. I wonder why such a comparison is done in the first place. What is point in comparing a redundant film with something that is even more horrible? Just to make the former look decent? Kuruvi and ATM does not qualify as standards to be compared at all.
I presume that you would any day write a better film than Aalwar…So what?
Does that make you a “decent writer”?
In my honest opinion, the standards that exist today when reviews are written need to be given a serious thought. I find too many reviews where films like “Vettai Karan and Aasal” are polished as mass entertainers with generic words like “Second half lacks pace” ( I seriously doubt what the reader thinks of a screenplay? :D) and heroine looks cute etc. Villu and Kuruvi too were painted in the same vein. They didn’t do the same business like a Ghilli or Billa. In fact, Villu flopped.
I can think of very few films that did well in spite of the film being a “Mass” film. Ayan, Billa, Pokkiri, Ghilli had likeable and watchable things. All “Mass” films need to be compared to films like these (If at all a critic wants to compare) and not films like Kuruvi and ATM.
Another problem I have with most of the critics is the compartmentalization of their brain. The trends in reviews are way too predictable.
A movie like Shivaji (with very few positives) is hailed as a “perfect mass entertainer” with main emphasis on Rajini’s impressive screen presence. While films like Katradhu thamizh, Naan Kadavul or Ayirathil Oruvan is picked up for their negatives than their positives. Internal logic or lack of it is picked up, extrapolated and the film is projected as a stupid one. The general cliched response form the critic is “I expect different things from different film makers”.
When it is a rajini or a Vijay film, the expectations are so low and even if it reasonably satisfying (The expectation) the verdict given is positive. While for a Selva or a Bala film the expectations are over the top (I am fine with it) that no flaw is spared. Why does it happen?
Why is it considered okay for Rajini or Vijay or Ajith to have very few positives while a Mani Ratnam or a bala film is picked up only for its flaws? I honestly feel critics should stop giving verdicts; reviews should stick to describing the film in a lucid way. Leave the verdict to the people.
Shabba….mudinjadhu…next meet panren 😀
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Udhav
March 1, 2010
Baradwaj
I have been a big fan of yours, So, no Hard feelings. I really love the fact that you don’t RIP a film, you are the only guy who reviews a film.
Keep writing. 🙂
Vaazhga Valarga.
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Jaiganesh
March 1, 2010
I saw vettaikkaaran with a very open mind (not skull mind you) and I liked the packaging and the formula. It is like taking the Ghilli formula (Hero meeting the villain(s) in an unexpected screenplay moment) and the PErarasu formula Hero almost singlehandedly eliminating the villain’s power in a 15 minute sequence and a ridiculous climax (which is a must in both formulas) with a lot of scenes to put the camera, lights and sound entirely trained on the hero and enhancing the length of hero’s shadows to ridiculously long levels. In between all this there are elements like the ones you have highlighted where the directors’ individuality creeping through the concrete like tightness of the formulas.
Vijay the actor surely brings in a lot of believable and accessible charm that appeals to a lot of people across social and intellectual standing. Ajith has to break the goggles and shred the tuxedos for his real self to exude into the formulas he is constructing.
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Udhav
March 1, 2010
//////I presume that you would any day write a better film than Aalwar…So what?
Does that make you a “decent writer”? /////
Just wanted to clarify.
I just meant that someone who can write better content than Aalwar does not necessary qualify as a decent writer.
I am no way referring to your talent.
Cheers.
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Padawan
March 2, 2010
Udhav: “Why is it considered okay for Rajini or Vijay or Ajith to have very few positives while a Mani Ratnam or a bala film is picked up only for its flaws? ” is like asking why do you expect a Glenn Scotch to be perfectly smooth and why complain even if it only slightly does not match your expectations and why is it that you accept a Shandy (should it not be banned in the first place?)
And frankly speaking, I was half-expecting VK to be compared to Villu and was relieved that it was not done (because in the cine-industry you mostly judge by what the actor’s last release was).
At least, he chose Kuruvi (again, you go in with the expectation of a complete entertainer from Dharani) and ATM which, in my opinion, atleast had an okayish story for most of its part (never mind the climax, as there is no way that you are going to expect one Vijay to kill the other one – because a Vijay can never die, second another Vijay can never be shown as a killer unless ofcourse he is cleansing the society).
As BR notes here, if we were to compare (if at all compare?) each movie with the likes of Ayan (which was good), then we may never watch another masala movie.
“I really love the fact that you don’t RIP a film, you are the only guy who reviews a film.” – you should definitely read BR’s review of Train. To borrow from the tagline – “Some reviews should never be missed”
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Udhav
March 2, 2010
//////As BR notes here, if we were to compare (if at all compare?) each movie with the likes of Ayan (which was good), then we may never watch another masala movie. ////
But I honestly think that is the way to go. One should not compare a bad film with a horrible film, and call the bad film decent.
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Udhav
March 2, 2010
///then we may never watch another masala movie.////
I don’t get this. Do we have an obligation to watch and like a mass film?
Since, Mass movies work around tight formula, I do expect them to be better than the last mass movie I enjoyed.
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Udhav
March 2, 2010
Padawan
Train?
Will search
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brangan
March 2, 2010
Udhav: Actually, Padawan has covered a lot of what I want to say. The point isn’t to compare VK with a Bala film — but rather to see how it does what it sets out to do. Is it a decent masala film? Yes. That’s all.
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vijay
March 3, 2010
sn and Padawan, just read your comments. Haven’t seen VTV yet, not sure when I’ll see it. If I get to watch it soon though, I’ll post my views here. But looks like my Gautam Menon fandom has really made an impression around here 🙂
sn, it is not like as if I absolutely hate those directors you have mentioned in that list. I even like some selected works of them(Pudhupettai, kaakka kaakka). It is just that I wont celebrate them as much as their fans do. Exception is of course Harris Jayaraj. He doesn’t deserve to be lumped along with those other artists you have mentioned in that list. If you have heard Minnale and Majnu, you have heard it all 🙂
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vijay
March 3, 2010
BR, are the movie choices for Between Reviews columns your own? If so, I’ll have to applaud for the risk taken here 🙂
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vijay
March 3, 2010
BR, I dont think me or Udhav intend for you to compare VK with Naan Kadavul or Unnaipol Oruvan. Certainly we aren’t that idealistic(or delusional) 🙂 But I think masala movies have their own standards. You have mentioned Abborva sagodharargal. From the last decade, Mudhalvan, Dhool, Ayan and a couple of others made their mark.There were either some fresh ideas tucked away or maybe the villain was memorable, or the package as a whole never quite felt boring. But with Ajith/Vijay, their films constantly scrape the bottom of the barrel. Maybe you benefited a bit from setting the bar a little lower this time. I saw the Vettaikaaran promos, and when Vijay delivers his fiery punchlines to the villian, I saw a half-smile on his face and a twinkle of the eye. It felt like as if he was about to laugh at himself.
Talking of well-made masala movies, have you seen Apocalypto and V for Vendetta?
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brangan
March 3, 2010
vijay: The idea was, as I look at only the so-called “class” films, to look at what’s happening in the kinds of films we don’t usually venture out to see.
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