Picture courtesy: rediff.com
LOVE, FACTUALLY
Gautham Vasudev Menon’s very real, very true-to-life, very messy romance is yet another effort, this year, that pushes the envelope far beyond the realms of “safe” commercial cinema.
MAR 7, 2010 – WHAT A YEAR THIS IS TURNING OUT to be for Tamil cinema! Forget good films or perfect films or successful films or films that will be claimed as classics by aliens roaming the planet after humankind has become extinct – I’m simply referring to the unfettered ambition that has been leaping off our screens ever since the new decade dawned. Recent releases like Goa and Thamizh Padam and Porkalam have, in their own distinct ways, helped demolish the long-nurtured myth that the Tamil audience is toweringly traditional – with hair well-oiled and plaited and beribboned and festooned with fragrant garlands of jasmine – and that spoofs and same-sex couples are never going to be tolerated. Industry wisdom was that you could veer into the offbeat, but only if the milieu was rural – and so for a while, the only truly interesting stories revolved around sickle-wielding small-town heroes. But even if it’s too soon to single out a viable movement of any serious value, it appears, now, that edgy urban narratives aren‘t without their assortment of admirers.
The real signs of hope, however, are that even the major movies – the ones from big-gun directors and funded with multiples of crores – are rebelling against the must-have model, which posits that you must have comedy tracks and you must have item songs and you must have scenes of melodramatic sentiment that will appease the unsophisticated viewer. Selvaraghavan’s Aayirathil Oruvan and Gautham Vasudev Menon’s Vinnai Thaandi Varuvaaya are essentially 16-odd reels of a raised middle finger directed at those who swear by safety, and the (relative) success of these films might make the commercial waters a little safer for future directors, who can now dream of plunging into the untried and untested without fearing the fast-approaching fins of box-office sharks. It is the tendency of filmmakers, after establishing themselves, to keep churning out formulaic movies that will perpetuate their commercial credibility – but both Selvaraghavan and Menon have opted to leap off craggy cliffs without chutes, making the films they want to make as opposed to the films that they think we want to watch. That’s a real reason for exhilaration.
My experience with Vinnai Thaandi Varuvaaya (VTV) was similar to my experience of Aayirathil Oruvan – around interval point, I wasn’t quite sure what I was watching. I knew it was something drastically different and I knew that I should withhold judgment until the end, but I couldn’t help picking away at the scabrous annoyances. I was a mess of mind-games. The conceptualisation of Jessie, for example, is simply fantastic, but should the character have been played by someone with more presence (someone like Samantha, say, who, in her handful of scenes, shows more heft than Trisha who’s there from start to stop)? Or is the wishy-washiness of Trisha as an actress the perfect fit for the wishy-washiness of Jessie, and would a better actress have overthought her portrayal and not just lived it out? Karthik (nicely played by Silambarasan), is a fascinating character too, but did we really need the actor expressing his infatuation (with Jessie) every couple of seconds in such overtly gestural fashion, like a mime trying to convince us he’s in love? And did this love have to be – early Mani Ratnam-style – yet another instance of infatuation at first sight (rather, at first long-distance sideward glance)?
It’s wonderful that the young hero’s sidekick-equivalent isn’t a backpack-slinging college kid but a man of a certain age and with a certain amount of life experience (Ganesh is perfect in this low-key role), but considering that he fills in as confidante plus father-figure plus professional guide and guardian angel, shouldn’t he have played a bigger part in the proceedings? Couldn’t the unsympathetic father and the unnecessary mother have been axed in favour of more scenes with this unusual masculine presence in Karthik’s life? And couldn’t the mandatory heroics of one man boxing his way out of an opposition of many have been avoided as well? And couldn’t the songs (from one of AR Rahman’s stronger soundtracks in Tamil) have been shot and staged better, eschewing mere one-two-three-four choreography with backup dancers for a sense of the mood of the moment, a feat achieved only during the unfurling of Mannippaaya? Why does this director, who has the enviable track record of hit soundtrack after hit soundtrack, shortchange his music so? Even if the intent during these numbers was to mirror the larger-than-life filmmaking mind of the protagonist, are pretty panoramic pictures the only way out?
But as with Aayirathil Oruvan, all this hand-wringing evaporated into the ether by the time the film ended, and even some of the early choices, in retrospect, came to make sense. The frills of the first half – the extraneous characters, the perky song breaks, the attempts to embrace a larger sense of the community around Karthik and Jessie, even the faint feints at melodrama – fall away, and we get to see something very rare in Tamil cinema: the treatment of love as the most complicated of emotions, which reduces its two participants to behaviours beyond the realm of reason or logic. It’s not that we haven’t seen melancholy-tinged love stories earlier, but in melodramas like Idhayam, there was a solid crux, a tangible obstacle (like the hero’s extreme diffidence) to be overcome. But VTV deals with the sort of hurdle that’s there and yet not there. Menon succeeds brilliantly in putting across a most maddening woman in Jessie, who wants to be with Karthik and yet doesn’t want him enough to risk shaking up the foundations of her life. The hero is essentially a withered-up autumn leaf blown this way and that in the gale force of her indecision.
The problem isn’t particularly that she’s older than Karthik, or that she’s Christian to his Hindu, or that her stentorian father will not approve of this match, or that, as a card-carrying citizen of Venus, she herself is unsure, at some levels, about this mad Martian who woos her incessantly – Jessie’s mind is like an exam sheet with these multiple-choice options, and her problem is all of the above. On a logical level, her decisions – depicted, in a masterstroke, in sms-es that flash by almost as instantly as her quicksilver mood changes – make no sense, because we’re used to seeing films where if the hero likes the heroine and if this like is reciprocated, all they have to do is surmount external hurdles like parental opposition. But what does a man do if the obstacle is internal, inchoate, indistinct? Menon does something extraordinarily brave in playing out the iterative indecisions of his heroine’s mind, which loop unto themselves infinitely, the frustrating way real life often is when not chopped up into easily digestible narrative chapters in an easily absorbable big-screen story.
Messy Jessie is clearly the standout character in VTV – the latest in a long line of fascinating females (Jyotika in Vettaiyaadu Vilaiyaadu and Kaakha Kaakha, Divya Spandana in Vaaranam Aayiram) from this director – but Karthik (who, mercifully, isn’t the high-minded romantic sop we’re usually saddled with, but a raging creature of the loins too) isn’t without his intriguing quirks. In a beautifully observed scene where they settle down to watch a movie, she turns to talk to him about their situation and sees his eyes transfixed on the screen. She’s seen a bare handful of movies in her entire life, while to him, movies are his life – and she actually asks if he’d rather have this conversation after the movie. His profession is such an integral aspect of his person, it’s inevitable that the film ends with a film-within-a-film, his own. As the love story deepens – or more precisely, as it stays resolutely on the surface in ever-widening ripples, thanks to Jessie’s inability to dive into commitment – Silambarasan’s performance begins to take hold almost without your noticing it, and by the time he breaks down while seated on a park bench, your eyes are awash in unshed tears that recall any number of times you’ve been in love, out of love, in between love. Losing a woman, sometimes, is the first step towards becoming a man – VTV understands this, how a personal setback can make one a better professional.
Young-male romantic angst, especially of underachieving and over-besotted engineers, is something Menon understands very well – Suriya’s breakdown scene in the telephone booth in Vaaranam Aayiram took a similar sledgehammer swing to the heart. (And speaking of the latter, where its star turned stalker and went all the way to America in search of love, Menon gamely makes fun of this aspect, as also his tendency to write English lines for his characters.) Then again, the romantic track in Vettaiyaadu Vilaiyaadu wasn’t about young love at all, detailing as it did a weather-beaten exchange of hearts between exhausted souls. Menon started with a romantic story, Minnale, which didn’t work for me at all – perhaps because it was a first feature, he courted cliché with a vengeance, and there was nothing in it but the music. But in the films since, he’s evolved into one of our finest chroniclers of love. The question, though, is why VTV is being perceived as a feel-good romance. It’s something far braver, far tougher – it’s a romance that plays out not with teddy bears and valentines but on shards of broken glass. It’s feel-good only in the sense that it makes you feel good about the future of Tamil cinema.
Copyright ©2010 The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Alpesh
March 6, 2010
Great article BR.
I love the line “The hero is essentially a withered-up autumn leaf blown this way and that in the gale force of her indecision.”
I’m just so annoyed that I can’t watch this film, because the UK distribution has been poor.
I guess I have to now wait another X number of months for the DVD.
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Amit Goyal
March 6, 2010
Oh Mr Rangan, Nobody and I mean absolutely nobody at least in India writes about movie like you. Let me tell you I doesn’t understand a single word of Tamil , this was my first tamil movie I saw on big screen (Thanks God for subtitles) and yet I found the whole movie experience so satisfying. It was so refreshing to see a hero who is heroic yet not in hindi film’s typical dudish style ( ie a hero like ranbir in ajab prem… he is jobless fellow yet all through the movie he wears designer clothes only). And about Jessie you nailed it when you said “Jessie’s mind is like an exam sheet with these multiple-choice options, and her problem is all of the above.”
I love the sms scene because I myself have seen girl like Jesse in my life and have gone through the same feelings Karthik had. This movie reminded me of 500 days of summer and no its not a copy or inspired by as some people have been saying. (BTW I’d like to know your view about 500 days of summer, why have u almost stopped reviewing Hollywood movies. I mean for paper I can understand but its your damn blog you can write whatever u want.) The climax really elevated the movie to another level, sad it was changed in telgu version( talk about public tastes). Overall a brilliant portrayal of a relationship between 2 people.
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Bala
March 6, 2010
If there is one constant in my life, it’s that Saturday evenings seem to pass by in a flurry of f5s 😀 I am mystified too by the overall positive response to a movie which isn’t really a feel good romance with a “and they sang songs happily ever after” types ending.And though , for various reasons, I thought Vaaranam Aayiram a superior product, the movies success makes me happy,for hopefully it points to more movies set in a recognizably urban milieu.For while I can appreciate movies like Paruthiveeran or even a Naan Kadavul on an artistic level, it is a pain waiting for Mani to make his next tamil movie 😀
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Harish S Ram
March 6, 2010
Its strange we havent gotten bored of Maya, Aradhana, Megna, Priya when all were portraying the same girl in different forms. is it because Gautham shows them deftly through the eyes of Anbuselvan, Raghavan, Suriya? i wish he could make a movie from a girl’s view side. as much as i loved VTV i was longing to see things through her side more than the “just for sake” mind mumbling things – well expect for the terrific sms scene
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SR
March 6, 2010
The first time I watched this movie, especially through the first half, I was all like “Gautham Menon, you really need to move on.” To an extent, i found the mechanical-engineer-meets-Mallu-girl story a little trite. But the way the story plays out revealed a lot of sincerity – the whole film-within-a-film plot reinforced the fact that this movie (and perhaps shades of Minnale and KK and VA) were all heavily inspired from the same source. That sincerity is not something you often ind in Tamil cinema – the guts to b flagrantly personal. Sure, you have a Bhagyaraj or a Cheran making a personal movie, but I think GM tells this story with his heart on his sleeve, and is brutally honest about it.
Another thing I liked about the movie was what you mentioned – the tumultuousness that mirrors real life rather than attempt to box things up. That was something I thought made things confusing at first go, but it was the one thing from the movie that stayed.
I agree that the songs were kind of jarring in the context of the movie, except maybe mannipaya and Aaromale. Aaromale was kind of well placed, I thought.
The genre of the Tamil romance is extremely hormonal, if you know what I mean. Mostly testosterone, in the form of whistle calls behind girls and bashing other guys up. It’s not that this movie does not have all of that, but VTV goes beyond that to showcase capriciousness and vulnerability. I can think of very, very few movies that managed it!
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Mickie
March 6, 2010
Thank you for such a brilliant review.. What did you think of Samantha’s character in the film? Would you say it was necessary?
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vidyut
March 6, 2010
“Menon succeeds brilliantly in putting across a most maddening woman in Jessie, who wants to be with Karthik and yet doesn’t want him enough to risk shaking up the foundations of her life. The hero is essentially a withered-up autumn leaf blown this way and that in the gale force of her indecision”.
I have not seen the movie yet, but isn’t the women-are-fickle line an age-old stereotype? So, why is Menon being venerated for peddling this stereotype of women? With all the gaga-ing about Gautam’s greatness as a path-breaking filmmaker, one would be lead to believe that he has broken some brand
new ground here and it is Simbu who is torn asunder on matters of the heart.
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Praveen
March 6, 2010
Thanks for the great BR BR. Did you get a chance to read the letter KB sent to Gautam?
Very good movie from a good director.
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Ranjani
March 6, 2010
wonderful article…and the reason you’ve given are why almost all critics have loved the film! But editing and some oft repeated question (like Why did I fall in love with you Jessie) kind of put one off! Real life and not contrived…is where Menon really scored!
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Sharanya
March 6, 2010
“And couldn’t the songs (from one of AR Rahman’s stronger soundtracks in Tamil) have been shot and staged better…”
Exactly! Especially the picturization of Omana Penne didn’t do any justice to Kalyani Menon’s voice! That’s so beautifully composed and even more beautifully sung (though electronically altered and all that), I was mighty disappointed when I saw it on screen.
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Zero
March 7, 2010
An enjoyable piece, Baradwaj. I really like this film. And as someone who didn’t properly like any of Gautham’s earlier films, I thought it was an impressive leap for Gautham. I did have some reservations like the often expository dialogue, song sequences that are too generic for a film that attempts to use songs to move forward its narrative, rather off-key background score at various points etc., but these are minor complaints compared to the film’s successes with respect to its treatment of the central love story.
By the way, “messy” is *exactly* the word I had in mind too about the love story that the film shows. It’s messy unlike any Tamil film love story, in a way only true stories are.
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Zero
March 7, 2010
By the way, to respond to Vidyut’s point about the age-old stereotype that “women are fickle,” I didn’t really think the film peddles a stereotype of that sort. I didn’t find Jessie extremely fickle or capricious (i.e. to the extent of looking like a stereotype) at all, and actually identified a lot more with her than Karthik, the unwavering hero. But I do think a lot of reviews are oversimplifying this by invoking clichés like “a girl’s AzhamAna manasu, fickle mind,” etc.
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Kavitha
March 7, 2010
About the picturisation of songs: 5 boys in the background is almost as much of Gautam’s signature, as his English dialogues are. The latter, we can live with (afterall, we indulged Balachander’s characters repeating their dialogues in English, just for effect) but those boys, he needs to drop. I cringe everytime I watch a fabulous song being murdered on screen thanks to Gautam’s vision (or lack thereof). Yes, Mannippaya was a relief, although I was confused by its placement in the movie, esp. with its lyrics… she hadn’t done anything quite that cruel yet, no? Or was it a hint?
“And did this love have to be – early Mani Ratnam-style – yet another instance of infatuation at first sight?”
early Maniratnam? Wasn’t it as recently as Alaipayuthey? 🙂
But the point you make is so true. Would’ve been great had it been more substantial. Shame, there have been very few instances of such portrayals. Perhaps it’s easier to show someone falling in love, than establishing why. Hmm.
Strangely, none of this seemed to matter even a bit by the end. It seems to me now that I loved every frame, shortcomings and all 🙂
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Just Another Film Buff
March 7, 2010
Phew. Marvelous writing. I feel good about our film reviewing culture now.
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Gattu
March 7, 2010
Guruji, I was expecting this from you. A clear cut dissection of VTV. I was finding it difficult to explain to people my real feelings about this film. Now, I’ve to just forward this article to them.
I feared that Menon had lost it when he placed the heart-wrenching Aromale as we were reaching the climax where Babu Anthony would do an Amrish Puri (Jaa Simran Jile apni zindagi). It took me a while to realise that it was just a creative compromise on the part of Kartik to make his film work commercially while Menon himself was brave enough to keep it real.
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ramesh
March 7, 2010
dude, I know that the review came from your emotional gut after you saw the film…and that people know what I think of this film, but I think youre manufacturing a “revolutionary” new film out of the same old same old.
Not that Industry critics in Hollywood wouldn’t have done the same thing out of…say…a disney picture about a girl finding out she’s a princess (“anne Hathaway brings a freshenss to the role like we’ve never seen before!!” (my comment: never seen with Audrey hepburn, Jane stanwyck, Liz taylor, Lindsay lohan or cher?! really?) , but I hope you were aware that this was one of the consequences of writing this review, as a film reviewer from Chennai writing about a 15 crore film.
Having said this the enthusiastic writing was a fun read.
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Elizabeth
March 7, 2010
“Or is the wishy-washiness of Trisha as an actress the perfect fit for the wishy-washiness of Jessie, and would a better actress have overthought her portrayal and not just lived it out?”
I’m still in two minds about that aspect. On the one hand, I couldn’t help wishing for a different actress, but then at times I felt that a “stronger” actress would perhaps have resulted in the character coming across quite differently. So…..I dunno.
Agree about the picturisation of the songs, but I really liked what was done with Kannukkul Kannai. It’s a song that I didn’t particularly like listening to when the soundtrack was released, but I loved watching it.
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ramesh
March 7, 2010
btw, I thought porkalam was a dubangur film. (eccentric but zany) like a telegu cinema naxalite satire.
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JJones
March 7, 2010
If you really sit down & think long n hard about it, VTV is not too dissimilar to (and I daresay, clearly inspired from) 500 Days of Summer… When a movie is not plot-driven but character-driven, its very important to either like, relate to or atleast feel for the central characters…and thats where good writing skills come into play. While Neustadter and Weber succeeded, GVM miserably failed me.. 25 mts of Karthik and Jessie and I couldn’t care what happened to them… what a waste of time the rest of the 2 hrs and 10 mts was…
* minor spoiler alert*
Its easier to get the positive things about this movie out of the way as they were really few…Oh yeah, it was so refreshing not to see the typical friends of our Tamizh hero..it was interesting (for a while atleast) to see a terribly confused lead character… also, twas quite gutsy to end the Tamil version the way it did…hmmm…Samantha’s character and that one scene in the park in NY (despite knowing exactly how the dialogue will end)…hmmm…I guess thats it..
* end of spoiler alert*
The movie failed on many fronts but here are a few things that REALLY irked me…
Song picturisation
– You’re being very generous when you prefer to give the benefit of doubt to GVM for his usage of those comical back-up dancers in so many songs… Fact is this madness started with Minnale (Aghagiya Theeye), continued in Patchaikili, Vettaiyaadu and has resurfaced again in this movie…If I were ARR, I’d refuse to compose ever again for GVM…Kadavale !!
Dialogues
– Some people (those around GVM) might call them realistic and true-to-life but I’m yet to meet anyone in real life who spouts trash like this..if Sameera Reddy in VA had me in splits, a lot of Simbu’s dialogues here were downright embarassing….I thought Vaaranam Aayiram was rock-bottom but (not so) surprisingly GVM has managed to outdo even his previous effort…as for the silly usage of profanity, movies like VTV show how good Vishal Bhardwaj really is…Also, what is it about most of GVMs heros wanting to ‘make love’ to their lady loves and making it a virtue to say it aloud…men on a mission??
Honesty of purpose
– Casting Simbu was a huge gamble but what surprised me was that GVM wasnt able to achieve what even Hari did in Kovil – get a Simbu who was completely committed to the script without ‘any compromises’ – read: konashtai – considering GVM was indeed the co-producer, there can be no forgiving the boxing scene….
Randomly random
Did anyone else think Simbu seemed to be constantly fighting a battle with himself during his dubbing to resist from punch dialoguish delivery and stick to character…There were so many of us in the cinema who were howling in laughter !!
If the movie ‘Jessie’ was anything like VTV, did anyone else feel like wringing Karthik’s (and therefore GVM’s) neck when he calls it a light, romantic, feel-good movie…How about that proclamation about Jessie is a hit based on a few positive comments by a couple of idiots in the hall (and a few others at Sangam)…Do positive reviews from a couple of critics make a hit these days? Jeez, talk of ego !!
At best, GVM is an above average director but most times, he is a hopeless wannabe, one who has actually created and started believing his own hype of making engaging, realistic films..
If I were Blogeshwari, all I’d say is
– Of all the films I could have seen (Hurt Locker, A Prophet, Alice in 3D IMAX), why did I choose to see this epic disaster?
Btw, some of the comments made by ppl in my show were more entertaining than the movie..
‘Even the most pointless journeys tend to have some point but this one has proved this theory wrong’
‘Documentary padathukku kooda ARR music poduvara?’
‘Ayyo, Asal’ukku approm thalai’kku oru hit venumpa…next film is with GVM…innoru documentary pakka mudiyadhu da saami’
‘Isn’t Jessie a little like that Saif character in Love Aaj Kal’
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Adithya
March 7, 2010
Beautifully written BR. As beautiful as the movie turned out to be.
But with AO and then this one, and am sure you remember Vaaranam Aayiram, why are these particular Tamil film directors evoking extreme reactions? Either people love these movies or extremely hate it. So far I’ve been in the same page as you but maybe I’ll know when our opinions differ. Haven’t seen Porkalam though. If you remember from my previous comment on AO piece, it’s a laborious task to actually explain to people why I love these movies.
PS
I really tried but can’t help it. Did raj change his name to ramesh or ramesh is the new raj?
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brangan
March 7, 2010
Bala: Reg. “it is a pain waiting for Mani to make his next tamil movie” – pain no more. apparently a young-love story with Simbu is on the cards 🙂
SR: Yeah, the first is really very generic, but even that scene when Karthik stops the bike (after they watch a movie) and demands, “Nee enna pannare Jessie?” was a pointer to the darker tones of the second half. Even amidst the bad songs picturisations and other random stuff, these were the scenes that kept me going. Then, of course, the second half happened, and the film went to a different place altogether.
BTW, Bhagyaraj made a personal movie. Which one?
Mickie: Well, Samantha was needed, wasn’t she? She was his (a) heroine and (b) hope forward (even if we don’t see it).
vidyut: The fickleness may be a stereotype, but the way it’s been presented certainly isn’t.
Kavitha: Reg. “I cringe everytime I watch a fabulous song being murdered on screen thanks to Gautam’s vision (or lack thereof).” Ditto! When Anbil avan began and those exercisers at Central Park began their contortions, I was like, Oh noooo! 🙂
I think Mannippaaya at that place makes perfect sense. At that point, she’s finally accepted Karthik. She finally understood she really loves him. She finally found the guts to break off the marriage. She finally found the young-girl rebel in her to break the promise she’s made her father two minutes earlier. She finally confesses to Karthik that she’s liked him all along. Hence, “oru naal sirithen, oru naal veruthen”… will you forgive me for all the crap I put you through this far! That’s the movie so far, right there. BTW, I love the savagery in the phrase “kondru pudhaithen.”
JJones: Did you go to the film with Pete Crenshaw and Bob Andrews? 🙂
Adithya: The bigger the director (or music director, for that matter), I guess the more extreme the reactions. There are people who feel he’s the best. There are people who feel differently and think he’s not all that he’s cracked up to be. There are those who feel this is a dangerous trend for Tamil cinema. So on and so forth. Like someone mentioned above, there was a lot of Love Aaj Kal feel to this — i.e. what could have been a very simply love story is taken and treated very differently. Who knew this would work here? 🙂
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Mithun
March 7, 2010
BR, Nice writeup…I fully share your confusion over whether Trisha was the right choice for the role of Jessie. I am wondering, do you find any similarity between Trisha’s character and Rani Mukherjee’s character in KANK and the way they were portrayed by the actresses? What about Simbu’s character and Cheran’s in Pokkisham? It seemed to me that Cheran’s character was completely destroyed at the end of the movie whereas Kartik was kind of resolved to his fate and took it in stride.
One thing that irritated me in the movie was the two of them often underplaying their characters almost to the point of being dead (like the scene in the train when they first touch lips).
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Bala
March 7, 2010
Now, that I didn’t expect ! So , after Arvind Samy,Madhavan and Abhishek Bachchan ,Simbu is Mani’s new muse ?How the mighty have fallen :P( if he just wanted a popular face, Surya shoulda been a better choice )
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ramesh
March 7, 2010
simbu and mani will work perfectly! specially with simbu’s recent fascination with trisha and all.They should work as a pair.
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Paadhi
March 7, 2010
“Minnale- there was nothing in it but the music” plus viveks comedy, no?
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brangan
March 7, 2010
Mithun: Rani did have a clearer character graph in KANK, I thought. Though you’re absolutely right. I never thought of KANK while watching VTV, but there’s another film about the vagaries of love — with people who fall out of love for no reason (i.e. despite loving spouses) and fall into love with mopey whiners you’d think they’d avoid with a barge pole.
And, in the spirit of the Oscars tomorrow, the award for best feedback goes to… 😀
Hi Baradwaj,
I enjoyed the first half but the second half was too draggy and repetitive. It was evident by the glow from hundreds of cell phones with people checking their SMSes (This would be a nice metric to watch).
About 10 minutes before the actual climax, a third of the people stood up and headed to the doors. Then they stayed on near the doors, all confused.
I’d say VTV had more climaxes than even swamy Nityananda in a day. LOL.
Sashi Chimala
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Priti
March 7, 2010
my favourite part of the film was the breakup scene. after that, even though i loved the idea of what followed, i think GVM just became indulgent. anbil avan was unnecessary, and he couldve cut some of the lines, and made it all crisper. i think THAT might have elevated the film to another level.
the character of jessie deserved a superior, at least, more expressive actress. trisha was completely uninspiring. choice of female lead was SO frsutrating! she left me completely cold. it was simbu who tided me over all the romance portions and moved me enough to make up for all that trisha lacked. and it certainly helped that the entire thing was from his POV.
after doing this, if he goes back to his veral vidhai, punch dialogues, monkey mannerisms and pelvic thrusts, i swear nan tension aiduven. (and no. mani ratnam camp insider dismissed film with simbu as rumour. how the heart breaks at the prospect of kettavan, nallavan and whatever else to deal with.)
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vijay
March 7, 2010
Have’nt seen this film yet but I already keep hearing this line from the film “She’s my one-way ticket to Heartbreak City” that has perked up my interest 🙂
BR, I am responding here to your comment in the other piece about we cannot compare Gautam’s movie to something like Aval appadithaan’s characterization because the latter is art-house while GVM is a mainstream director. Point taken but then, GVM regards himself as some sort of a torchbearer(along with selvaraghavan) for next level Tamil cinema. He doesnt consider himself as just another successful commercial director like KS Ravikumar. And he makes films self-admittedly for a niche audience as well, doesnt care about the so-called B and C centers. I dont see this comparison as being all that unfair. If Avalappadithaan would have been remade or rereleased today it would be a multiplex film too.
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vivek
March 7, 2010
Apart from what was quite clearly a rushed up BGM job, the thing I found most scary was the “mustafa mustafa” bit when they become friends.While it was a corny reference, I couldn’t also help but think if rahman had started taking his role in the movie a little too seriously? AFAIK this is the first self referential bit I have heard from him.
Hope he hasn’t started taking himself too seriously and we end up with rahman self references like the ones with our Indian film superstars.
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brangan
March 7, 2010
vijay: Oh, there are at least five other lines that are guaranteed to get your BP up, including one about wanting to “make love” 🙂 But I guess I’m saying that, given the number of things that work in the film, these annoyances aren’t deal-breakers for me, while you’re saying that they are. Fair enough. Different strokes and all that.
But I still don’t see the AA comparison. Your point about Trisha’s character having been reflected already in Sripriya isn’t something that convinces me. They are very different women.
But if you’re just talking about the overall arc of a woman who can’t commit to a caring man — i.e. in a generic sense, without getting into the specifics of characterisation — then, I guess, yes, that is there in AA. And in that sense, there are no new movies, only rehashes of older ones.
For instance, the Maro Charitra plot point of parents telling Kamal and Saritha to stay apart for one year in order to prove their love — that was also in Pachai Vilakku, where Ranga Rao orders AVM Rajan and Pushpalata to prove their love by staying apart for one year.
The Agni Natchatiram situation of an Angry Young Man incensed that his father has taken on a mistress — that was the exact turn of events that happened with Sivaji Ganesan in Manohara.
The point — according to me — isn’t the “newness” or the never-before-ness of things, so much as how that thing as been used and developed in a film. And even if I come around to your POV and see Trisha as but a descendant of Sripriya, the detailing (which is night and day) is what’s important to me.
Also, I’m confused — have Gautham or Selva explicitly stated anywhere that they regard themselves as torch-bearers or whatever? They are frank in interviews, yes, but I don’t see any such claim. Perhaps you’re reacting to the claims of their fans, who hold them as torch-bearers?
I looked back at my interview, and I saw these lines: “Why can’t he do a film with Selvaraghavan or with me, on our terms? We’ve proved ourselves, you know? Why can’t he work with a good team? It’s only for the benefit of good cinema – and the producers and the distributors are going to end up happy. We need these big stars.”
There’s nothing especially vainglorious about this, is there?
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Mambazha Manidhan
March 7, 2010
@Jjones : “If I were ARR, I’d refuse to compose ever again for GVM…Kadavale !!”
Dude, it can get only worse than this for ARR. All songs getting picturised on screen (even though some are mediocre) and making sense. And songs like Mannipaya have got a new lease life and are now reaching out to the audience than ever before.
Apparently, ARR was miffed that his songs have been wasted in movies like Delhi 6 by being played as source music or in the background .So, if I was ARR , I would love to work with GM again cos he shoots every bit of my music with passion and respect.In fact, I would sign up for another movie with him and that’s precisely what I have done.
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Anand
March 7, 2010
BR: I couldn’t help imagining Shahana Goswami as Jesse. Trisha has that dreamy look which does not work for me (in such layered roles).
I also did not like Manoj’s work. The film is dark but cinematography is too mainstream-bollywoodish. A big relief is the toned down editing style of Anthony. I also wish he was more objective while editing.
I liked two scenes in particular – one when Trisha sees Simbu in Kerala(where he tries to apologise) and invites him home for lunch. Second when she comes to know that Simbu is in police station, she musters up enough courage to negotiate his release. This made me see what Karthik had seen in Jesse!
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raj
March 7, 2010
Baradwaj, Re: your fourthwall breaking BGM comment, my problem is not that. The problem is the interpretation of the scene there(like the MD thought they have become frenz so mustafa) – and notwithstanding even that, that sort of piece meal approach to each individual scene. Again, part of his orthogonal BGM concept. Hey, tradition is not that bad – sometimes it is the only way to go. Breaking rules is overrated!
(Overrated – so dont come back that I am implying that breaking rules is bad!)
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Vivek
March 7, 2010
Why does this website always have that brilliant Big flix ad which says “Get hot sizzling beauties delivered to your doorstep” with a barely dressed and nicely cuddled up pair. Make it a bit of an adventure opening your site in the office
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Ranjani
March 7, 2010
But Anbil Avan was needed right – if not where was the twist? It made us believe that She still waited for him….I liked the song more after watching the movie.
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Ravi
March 7, 2010
Hey BR,
Samantha played the lead role in Telugu and came up with a stellar performance. All my roomies are in love with her now 🙂
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vijay
March 7, 2010
“But I guess I’m saying that, given the number of things that work in the film, these annoyances aren’t deal-breakers for me, while you’re saying that they are. Fair enough. Different strokes and all that.”
where did I say all that? 🙂 I havent even seen this film yet. I might like it, just like how I liked Kaakka Kaakka for the most part. But in the previous 2 films, yes, this was one of the sore points for me, besides others. These things stand out when the rest of the film doesnt work strongly enough. For instance, the whole serial killer backstory and their portrayal post-interval for VV was ridiculous I thought. But Gautam did seem to have a certain flair for romantic tracks even in those films. So who knows I might end up liking VV despite the Hollywood lines.
Dont think that I dismiss his films just because of a few lines. They are minor irritants. Also, I dont care much for Hollywood wannabe vibes given out by a film. I guess I’ll hate a lot of Bollywood mainstream stuff like Blue.Good that I dont watch a lot of it.
“But if you’re just talking about the overall arc of a woman who can’t commit to a caring man — i.e. in a generic sense, without getting into the specifics of characterisation — then, I guess, yes, that is there in AA.”
I was talking only in a generic sense about the capriciousness. Not the details of the characterization. Of course the 2 films are a lot different. Also, for its times, AA’s characterization was much further ahead and bolder than Gautam’s effort for 2010. These days mainstream films have started exploring a lot of different themes/narrative styles (you yourself have mentioned Goa, Porkalam, 1000il Oruvan) that I dont consider Trisha’s characterization as THAT envelope-pushing. Even Karan Johar has grown up.
If Menon had done this in 2000, maybe.
“There’s nothing especially vainglorious about this, is there?”
Not that particular interview alone, but the overall vibes I get from having read a few interviews of his from different sources and watched him on TV. Maybe, you know better here having seen him in person
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vijay
March 7, 2010
I hear that he has written a script called “thuppariyum anand” about a detective in 1920s Madras and has given it to Aamir/Kamal.That sounds a little interesting.
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Vijay
March 7, 2010
BR, have you seen “Up in the air”? If so, what did you think of it?
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Vijay
March 7, 2010
Raj, I dont think having Mustafa Mustafa’s tune in that scene would have been part of his “orthogonal” approach. That maybe sheer callousness 🙂 That orthogonal or tangential approach he talked about was in reference to RDB’s BGM(credit partly to Rakesh Mehra). I tried and found this link:
http://www.bollywhat-forum.com/index.php?topic=118.235;wap2
Q Talking of RDB, how would you approach a project like that?
AR: It was a totally different effort. The script was four years old, in the meanwhile four films on Bhagat Singh had already been made, in one of which I had given the music. I just didn’t want to do the same kind of thing again so when we started brain-storming it was decided that we should go against (emphasising) the film. Where there is sadness there should be happy songs, where there is aggression there should be dance.
Q Whose idea was it to do that?
AR: Partly mine (laughs, slightly embarrassed). I didn’t want to get the people (the audience) in a low mood.
Q So Ru-ba-ru…
AR: Yeah, absolutely. The whole thing is about redemption…It’s like singing in paradise. Even the look of it—he’s dead but he’s in paradise so it’s the other extreme way of looking at life…Also, we decided that every single song in the album had to be a hit.
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ramesh
March 7, 2010
“Also, I’m confused — have Gautham or Selva explicitly stated anywhere that they regard themselves as torch-bearers or whatever? They are frank in interviews, yes, but I don’t see any such claim.”
I only see a claim from Gautam menon..er..gautam vasudev menon that the critics loved his movie BEFORE critics came out with (lukewarm except for rangudu) reviews.
Rangan , THEY don’t claim this . WE(the industry critcs do. But perhaps the “next LEVEL-kku kondu poittan gautam menon” is really a way of telling producers that they should pay gautam menon hollywood as opposed to nashty indian kodambakkam dok salaries…
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krishnan
March 7, 2010
In VTV, the scene where Jessie tells Karthik that she was going to tell about their relationship to her parents but couldn’t do so because of the fight their families had had. Do you think Jessie lied to Karthik taking advantage of the situation?
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SR
March 7, 2010
@Vivek,
After the ‘pa sa ni sa’ bit hummed by Simbhu’s character in the church, I am more tempted to think GM made ARR play the Mustafa bit.
@BR
Yeah, that was one scene which sort of set the ball of caprice rolling. The sms-es were a highlight of the second half – I liked the way we were made to feel the frustration of her caprice.
The Bhagyaraj-personal movie, I was thinking of Dhavani-kanavugal. Though not personal in the sense of a love story, the scenes where he drops a coin on the floor when a steamy scene comes on the screen to distract his sisters, or the scene where the director slaps him (if I remember correctly)..they seemed inspired from real life to me.
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vidyut
March 7, 2010
Trisha is no Sripriya, Gautam is no Rudriah and VTV sounds nothing like AA. Please stop the calumny and leave that classic alone 🙂
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NullPointer
March 8, 2010
Like Vivek mentioned above, I got some ads served for “Hot Tamil Actress” :):) and some other interesting pics on your site. Is there anyway you get to setup filters for the Google ads served on your site?
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Ramesh
March 8, 2010
is anyone else watching the oscar? I keep looking for Ravichandran, nowhere to be seen!
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m-lost
March 8, 2010
Will you review Road, Movie. Waiting for your take. I liked it quiet a bit.
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A
March 8, 2010
With all the dicussion about AA, Baradwaj, don’t you think it would be appropriate if you were to write a review of AA now? I mean, you would have seen it a zillion times now so, you pretty much know what to write. Don’t you?
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Padawan
March 8, 2010
vijay: Thuppariyum Anand, from what the media says, is for Ajith. His 50th film, to be produced by Dayanidhi Alagiri.
Also heard that there is not going to be any heroine….while that would make a lot of us here feel bad as GVM is not going to come up with another fantastic heroine, we do feel happy for you that there will not a line about “making love” 🙂
baradwaj: I know it has been ages, but I was watching Mozhi the other day and wondered if you finally got around to writing about with some notes you had taken earlier on…or is it just too late now?
What happened – where is the review of Teen Patti?
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arijit
March 8, 2010
rangan,
i don’t understand a single word of tamil but such is the magic of rehman that i have already listened to the album multiple times…i think it’s one of his most varied works of late…
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Adithya
March 8, 2010
@m-lost:
Didn’t release in Chennai. Worstu!
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Abbuth Redghut
March 8, 2010
I would be happy if we support each other, by visiting also the site:
http://bollywood.arifira.com/
thank you so much for your understanding and support. All the best.
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SheWhoMustNotBeNamed
March 8, 2010
Interesting movie. Simbu, for me, is like Idli. Am never really looking forward to his movies, but when I do catch one of them, I like his acting and his dance. But I do wish he wouldn’t spout dialogues through clenched teeth. Or, maybe that IS the way the poor chap speaks and he really can’t help it. Trisha’s wishy-washiness really irritated me, but it was different from the usual stereotype run-of-the-mill heroine, and so it worked. I did draw parallels to KANK. The ‘twist’ worked for me too. Thought it was the best way to end it. Really wished Hosanna was picturized better. Even Jodi No 1 did such a cute choreography for that song. Check it out here – http://www.youtube.com/watch?v=_6A5Aufv3nY. Though, I guess, with them not being a couple at that point (if they ever really were at any point the film), am not sure how else GVM would’ve shown it unless it was a dream sequence.
Did you check out his initials on the ship in one of the songs? I forget which one….
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SheWhoMustNotBeNamed
March 8, 2010
And, correct me if I am wrong, but didn’t his sis mention that Jessie had married and moved to UK? How did she land up in the US? Was that a slip up?
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ramesh
March 9, 2010
abbuth, invalid link.
she,
This is going to sound dramatic and revolutionary.
I don’t think trisha was being wishy washy.
!!
!!!!!
she wouldnt go and commit either way. commitment phobia is something I guess only postmodern singles should have and not at all conservative girls from mallu christian families who have the misfortune of having the young superstar fall in love with them..
but from my one viewing, I saw that 1. much of karthik’s fantasies were superimposed on the real live actual jesse…who did feel the effect of this, and enjoyed it (and hence “wishy washy” ) but never really saw a way to satisfy both dad and woo-er.
Now I think it is a mark of how much in the male/patriarchal rut the audience(specially the “shes” in the audience ) is stuck in that they buy the premise that “jesse belongs either to the father or to the man she’s attracted to, who’se wooing her” but is it just possible that she felt completely harrassed by both (and all the other men around her) that she felt that making a choice in the fait accomplii that was her marriage, to be with a stranger who was decent enough , but unconnected with all this sickness, was actually redemptive, and an escape for her?
As BR seems to have “pheelings” on the issue, I’ll not bring up “I want to have sex with you” Jesse’s physical feelings here 😉
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Arvind
March 9, 2010
Another rocking review from you Thalaiva 🙂
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brangan
March 9, 2010
Anand: Yeah, I really liked some of the edit rhythms — like how, at the beginning, Simbu’s introduction to Ganesh was intercut with his talk to his father about wanting to make movies, and also how the light jump cuts (as in, mild displacements of spatial position) added to the “disorientation” feeling in the romance. Of course, Anthony being Anthony, he has to leave his ramp-up time-lapse signature somewhere, like in the first Kerala stretch 🙂
About the cinematography, a lot of the key dramatic moments did take place in the dark — Karthik’s outburst before Kannukkul kannai, the great scene in front of Jessie’s house after he returns from Goa, the pre-Mannippaya stretch (right from the police station), the two terrace moments. And even if you take the indoor moments, the Nandini Karthik scene is darkly lit, as also the movie-theatre moments (both of them). Adhukku mela darkness-na I guess it would have turned audiences off.
Vijay: Have rambled about UITA in the next post.
krishnan: I don’t think she lied. During the stretch between her breaking off the marriage and his trip to Goa, she was indeed all for him (even if little old doubts kept resurfacing, like how she says she’s not happy about lying so much at home). But it’s when he goes away to Goa and is unreachable when she’s in a crisis about that other suitor — and in addition, he refuses to consider her elopement plan — that she reverts to her old doubts about this match. I don’t think she was consciously “lying” at any point.
SR: Oh, that! I thought you were referring to Darling(x3), and that it was his real love story with Poornima or something 🙂
Padawan: Now I hear the Ajith film is getting delayed and his next one too is with Simbu. And lol about vijay and “there will not a line about making love” — I think GVM himself may be acknowledging vijay (thanks to their old argument on these pages) when he uses that line henceforth 🙂
About Mozhi, I’ll probably just type out the points someday. And I didn’t review Teen Patti, couldn’t catch both films that day.
SheWhoMustNotBeNamed: Yeah, I too got that US-UK slip-up. Unless I missed something…
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Paadhi
March 9, 2010
US-UK- It was 2 years since the wedding. People change jobs, migrate.
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Hari Prasad
March 9, 2010
Totally unrelated to the post. Was reading about ‘Hey Ram’ and came across this comment (second one), just thought I will share it with you.
http://is.gd/a0RP4
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Hari Prasad
March 9, 2010
And as for VTV, well, I have already seen it twice and might go for a third time. I loved it so much. It was a pleasant movie experience. From the various comments from friends, I have come to a conclusion. The movie (mostly) works only with people who could relate to the characters. And here I find, it is the boys who could relate with Karthick, who like it the most. I am yet to hear a positive opinion from a girl. All I hear from them is that ‘Trisha is not all that beautiful’. Sigh.
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ramesh
March 9, 2010
Hari prasad,
I am not related to simbu. I dont think Im related to trisha either, and Im most certainly not related to gautam menon..er..gautam vasudev menon…as to raima sen, I cannot rule out a future relationship.
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SheWhoMustNotBeNamed
March 9, 2010
Ramesh, yes, it was an escape. Escape from her own feelings. Escape from having to face the consequences. I would call it ‘playing it safe’.
Conservative family or not, irrespective of the gender one belongs to, one has to know one’s mind. If one doesn’t, IMO, they would be considered wishy-washy. I don’t feel she should belong to father or woo-er, but I do feel that:
1. if you’re the vacillating type, then by all means, don’t bat your eyelids and enjoy someone’s attentions, especially if it means, you aren’t going to wholeheartedly accept them.Because if you show even the slightest encouragement, that will be unfair to the woo-er who thinks he stands a chance.
2. and I defly don’t buy this background bit. Any person that is in this situation knows from the start what his or her family is capable of. Whether or not, they will accept a love situation. How far they can be pushed, etc. And one does know what one is capable of too, at least on a subconscious level. So, there are two choices.
If you fall in love, accept the woo-er and go against the family; fight all odds.
Or, just marry the person your family thinks an appropriate match (which is what Jessie ultimately did)
What is the point of still having feelings for Karthik while being married to poor Abraham? I mean, the guy doesn’t even have a clue what his wife thinks and feels. And Karthik’s still holding a torch for Jessie and is probably going to keep making movies based on her
(adhutha padathla sollaren!), until he falls in love with Nandini or someone else.
Instead of complicating matters and confusing three lives, isn’t it better to go with one’s heart? At least, I think so. And am sure many won’t agree! But one is entitled to one’s own opinion. 🙂
Having ranted this much though, I will say that this is only a movie and while Trisha’s behavior irritated me on a personal level, I did like the fact that the heroine was shown in such a refreshingly different vacillating manner. And I loved the movie. Especially the ending. It would have made no sense to have Karthik and Jessie married…all happily ever after…’cos that would have been a complete contradiction of the person she was shown to be.
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brangan
March 9, 2010
OMFG!
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SheWhoMustNotBeNamed
March 10, 2010
:))))))))))) Defly. a must watch!!!
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SheWhoMustNotBeNamed
March 10, 2010
Don’t u feel Ramarajan resembles Govinda, at least in that pic? 🙂
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ramesh
March 10, 2010
She,
“I would call it ‘playing it safe’”
If she CHOSE to pursue a guy, youre right. I dont see any reason why , if some guy pursued her “one has to know one’s mind. If one doesn’t, IMO, they would be considered wishy-washy.”
I think this is the commonly held view because “love”(whatever that means) is a huge risk for someone like jesse.
If she shows interest, not only her father(and his conservative corps) but also her suiter (and his “pro love corps” now call her names. (wishy washy is just a polite sample. girls have been called much worse for it.
“you aren’t going to wholeheartedly accept them.Because if you show even the slightest encouragement, that will be unfair to the woo-er who thinks he stands a chance.”
He did stand a chance. more than one. he just muffed it. why should jesse feel any further obligation to him?
”
Whether or not, they will accept a love situation.”
but HE (kartik) had a love situation. SHE was merely amused/ aroused. Don’t tell me a woman should/does marry every guy or even the first guy who interests/arouses her.
“What is the point of still having feelings for Karthik while being married to poor Abraham? ”
the point is that girls(even fetish worthy jesse type babes ) are humans too. its OK to have feelings for a guy other than your husband …its even OK to act on them…if you have a real view of what your marriage is, you’ll neither go too far, nor cheat the man youre married to, which , I think was the point in this stupid film. I found jesse ‘s motivations very human and realistic.
“isn’t it better to go with one’s heart?”
and have dhadikkula munji conduct a honor killing and a ritual castration of the guy? the way it played out, the family is out of the picture, the husband probably thinks jesse cannot go anywhere now that he’s given her a kid, and jesse can go back to what felt pleasent with her…being friends with karthik who was hopelessly in love with her(who’ll continue to shower her with attention even if he marries someone else). jesse’s problems solved.
didnt like the film very much but jesse’s motivations made perfect sense to me.
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SheWhoMustNotBeNamed
March 10, 2010
http://www.chennaionline.com/film/photofeature/feb09/Medhai-slide.aspx?mid=5
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Kumar
March 10, 2010
LOL! You spoke about hope for Tamil cinema too soon! Welcome back Paattukaran/Maatukaaran/Karagatakkaran…
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Ranjani
March 10, 2010
About Jessie’s dad saying UK – he oould have said a lie on purpose cos he probably feels Karthik would go chasing them? Or like you said a slip-up! Also in the end the credits for DOP in Karthik’s film says Manoj – rather than Ganesh…. all Assistants asleep I guess!
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Padawan
March 10, 2010
What do you mean OMFG? That is the greatest thing to have happened since sliced bread just for the sight of (G)Ramarajan in Bermudas (yes, it is a city based movie, so, it will no longer be that famed blue undraayar).
I am watching FDFS when it releases! And will talk to your ed to ensure that you write a review of it, follow it up with an interview, do a Part of Picture and a Between Reviews as well!
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SheWhoMustNotBeNamed
March 10, 2010
Ramesh: I did get the feeling that she felt more for him that simply being amused/aroused. Didn’t she explicitly tell him that she loved him?
And, IMO, you don’t have to pursue to encourage. Even if you don’t obviously deflate someone, and smirk/bat eyelid/sit on bike/konjax even midly…ellame encouragement daan. Am only calling her wishy-washy because she seemed to love him, but wasn’t prepared to go against all odds. If she was just out to have a good time and enjoy someone’s advances, without any serious intention, then that would be a completely diff. story.
And what chance did Karthik miss out on? Did he even get a single one? She said yes…then no…then yes…then no…then I’ll come to Goa…then don’t ever see me again! Am I missing something here?
Am not going to get into whether it’s right or wrong for a person to behave a certain way after marriage…to each one his/her own. I just felt bad for karthik who has to deal with his own demons and hers as well. This constant tugging at his heartstrings would ensure that he would never recover and would always hold a torch for her. That would work for her…really well…she has a family and a former woo-er to make her feel good, but what about him? Is it fair?
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hrishi
March 10, 2010
great review baradwaj. you have a way to connect emotionally with the film and characters that is very refreshing and so unlike a professional critic. i think this is your biggest strength, more than the professorial use of the English language,
i think most people bashing up the heroine simply miss an elegant, sensitive point. the whole scene in the church is the most stunningly impressive thing a young woman in her position/background could have done. this alone would have made a feel good ending realistic.
it is also equally bold/understandable to end the story the way he did, because she broke every one of her promises after that, to her parents not to meet him, the sms craziness etc.
very very realistic and understandable end. i think the twist with the song, etc. was also a very clever device. i cant remember when i’ve seen it before.
beats 500 day of summer on that count.
i’m also liking the songs much more since i saw the film i think
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ramesh
March 10, 2010
“Didn’t she explicitly tell him that she loved him?”
yes, but what does it mean to someone in her position? that she’s willing to start a riot for him? I think she loved him in her limited way.
“ellame encouragement daan.”
maybe, but avanukku buddhi enga pocchu? oh riht1 he gets a pass because its “love”.
“And what chance did Karthik miss out on?”
He was SOooo in love with jesse that he couldn’t see her problems..or her limitts. Often “nee manasu veccha this love will happen” works only as well as “nee un dhavania pattha veccha naan kulir kanjuppen” Some girls are just not so crazy in love that they’ll tear off their dhavanis and light it on fire so that the guy may feel warm.
I think, in pursuit of our “love”, we tend to buy the theory that “ithu either yessu or no. and a girl has to stick to one. even girls who are not “fast” good time girls are allowed to window shop…
“he would never recover and would always hold a torch for her”
not that this is a bad thing. an unrequited love was what made simbu’s father what he is (a terrible but extremely successful filmmaker…maybe that applies to vasudev menon too..haha)
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Raj Balakrishnan
March 11, 2010
Love and romance are so overrated! Guys get married, you will realise the truth.
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munimma
March 12, 2010
Loved your write-up much more than the movie actually. Are you a closet poet or what? Autumn leaf, raging creature of the loins, and all. If not poetry, may be you should try dittys at least.
I too loved Jessie, but think that someone else might have done a better job of it. Definitely. Don’t know why people have a problem understanding her character, a mixed up complex woman, battling pragmatism and romance within her. Oru Viral Chimp was borderline tolerable. So I am biased, bite me! And that Mani nexus better stay a rumor. As it is, we get to watch Mani’s work once in 2-3 years.
The best thing about watching the movie was following up on all the comments here. Loved that wisecrack from Sashi 🙂
Definitely OMFG! he has a deer caught in the headlights look there. Suggest a name change to Mokkai!
And I think you should do a regular on old movies. Would be fun to diss and discuss.
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Hermoine Granger
March 13, 2010
Hi BR,
Long time reader here…Thought after all that discussion on VTV, that you will enjoy this. Please check this url before posting. Keep up the good work ! You make my weekends.
http://www.facebook.com/video/video.php?v=104959046194311&ref=nf
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Vivek
March 13, 2010
BR,
I am following your blog for very long time but never commented. This for me is the most unbiased and realistic take on VTV.
“Losing a woman, sometimes, is the first step towards becoming a man – VTV understands this…” – simply love this line 🙂
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A.Shankar Raman
March 14, 2010
BR.I felt the story moved more due to character than plot and the psychological dilly dallying was emphathetic.Empathy,since the dilly dallying did not seem like the quirk or idiosyncracy of a certain individual but rather representative of a larger mass.Thereby it became a ‘type’ to me.And the hero.Though I have viewed most of see-and-fall- in- love- in- a -jiffy indian romances as a genre rather than a reading of a certain reality vtv’s hero did project a small angst and him not moving on was touching.Liked the narration also.Like a french film.Doing away with the setting of the story with a few well aimed voiceovers and like Mani’s Geethanjali the ‘Parts’lingering before contributing to the whole.Regarding Minnale-it worked for me.Mainly due to the character played by Abbas who was the better man.I loved the upgradation of the ‘obstacle’when the norm was to paint the ‘obstacle’as lawfully or morally wrong.
Great review BR.
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Jairam
March 17, 2010
To me VTV seemed more like an intensely personal subject to Gautam, just like Vaaranam Aayiram was. While the earlier movie dealt with his relationship with his father, my feeling is that somewhere VTV mirrors his experiences with ‘first love’.
My thoughts on the movie are put up at http://bit.ly/dak3Hy Please read, comment and let me know your thoughts about it.
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vijay
March 21, 2010
Got around to watching it only now. Overall I thought it was an unique effort and I’ll give GVM credit for that. But there were still certain things that didn’t quite hit the mark for me and they could have had a hand in diluting the overall impact:
1. The fact, as you have mentioned, about Simbu falling in love with just a Mani rathnam style sideward glance ( so much for “factual” love). I held out hope for at least Trisha’s character but even she admits in the end that she fell for him the same way. Our directors aren’t interested in the “falling in love” part but rather the aftermath of it.
I would like to see a well-written script unfold on screen where the lead characters just begin to fall in love when the credits roll.
2. I would have liked it more, if the dilemma in Trisha’s mind came about from her own ambivalent feelings for Simbu- friendship or infatuation vs love(?) -rather than from an external cliched factor like religion incompatibility/practicality.But that would be a different film altogether I guess.So its not a criticism per se.
3. Song picturizations were repetitive and badly placed in some cases. Exception was Mannipaaya. If GVM doesnt want to invest much thought in songs he surely needn’t demand half a dozen of them from Rahman
4. The anbil avan song felt like a cheap trick(or a badly placed one) that only served to confuse for a moment when the scene cuts to them in the theater after the characters morph to those of that in the film made by Karthik. Could have been handled better. Maybe the movie could have ended with the Park convo about what actually happened with Jessie agreeing to see the preview (in US) maybe that same day, and then followed by the last 2 scenes in the movie.
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vijay
March 21, 2010
BR, also
“and by the time he breaks down while seated on a park bench, your eyes are awash in unshed tears that recall any number of times you’ve been in love, out of love, in between love. Losing a woman, sometimes, is the first step towards becoming a man – VTV understands this, how a personal setback can make one a better professional.”
These lines and the tone suggest that you almost had a Karthik-like experience yourself 🙂 Wouldn’t be surprising to me though considering the kind of connect you have made with this film
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Arthi
March 21, 2010
Fantastic read!
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neon
March 24, 2010
The problem with Vaaranam Aayiram for me was that the really good scenes were surrounded by lengthy, unnecessary and at times extremely stupid scenes (like the multiple entry visa scene). With VTV, I was never bored. At the end of the movie I could feel the pain experienced by Karthik and that’s where I think the film’s success lies.
On a side note, my sis asked me the other day to review VTV since I was completely taken by it. My response was ‘Why would I review a movie already reviewed by Baradwaj Rangan?’ And I’m sure I’m not the only one who feels that way 🙂
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Hari
April 5, 2010
Rangan,
Are you going to write about Angadi theru movie? Can not wait to hear your take on this wonderful Movie.
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dinesh
April 16, 2010
someone said VINNAITHANDI VARUVAYA is similar
to 500 days of summer.I STRONGLY BELEIVE IT IS A REMAKE OF Woody AllenS”Annie Hall ”
a 1977 American romantic comedy film
how many of u agree with me?
pls let me know after seeing or readinf the plot of the film “Annie Hall”
even the climax looks similar
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Prasanna Sundaram
May 4, 2010
Hey BR,
Would you like to publish/Share your reviews on PFC – http://www.passionforcinema.com ? there are quite a lot of film discussing folks over there and your name comes up quite often… also there is no 100% reviewer/critic of south indian cinema, and it would be amazing to have you there and see the response you generate… if you do join the group of elite writers over there.. (and if you didnt know of this already) … then do let them know (editors…) who asked you to join em 😉
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omfgitsrohit
May 21, 2011
The best review I’ve read in a long time.
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brangan
November 25, 2019
About Karthik and Jessie, 10 years later:
https://www.filmcompanion.in/after-the-credits-roll-jessie-and-karthik-a-decade-after-vinnaithandi-varuvaaya-gautham-menon-trisha-rahman-vtv/
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