THE DEPARTED
Writing an obituary is not the easiest of things, even if the people who left us left behind a large body of work.
SEP 19, 2010 – THE PASSING OF A PERSONALITY with a body of work in his wake would appear to automatically merit an obituary – but it isn’t always that simple. On the one hand, yes, you can begin at the beginning, with the date and place of birth, proceed to a few lines about growing-up influences, zero in on the first big break, analyse the consequent career trajectory from limelight to twilight, include a few facts about family, and close with the circumstances of death, perhaps with a coda about the personality’s standing in the cinematic community. But these are mere bullet points on a bio-data, a tombstone epitaph on the printed page (or in the electronic ether). Such an obituary would take no more than five minutes on Google – but it doesn’t help mourn the person. It doesn’t give a sense of what the person meant to the writer, cannot account for the ineffable sadness of the passing, and it certainly cannot locate the origins of an emotion that takes you by surprise.
I was saddened, momentarily, by the news of Murali’s death, and I was surprised by the fervour of my sadness. After all, I was neither ardent follower nor adoring fan of the actor, though I’ve watched a number of his films in Tamil. (He was a competent performer, no more, no less.) Was it because he was just 46 years when he died, which is not all that far away from where I stand today? Was it because he was a minor star in the eighties, and watching his films, his songs, transport me to the decade that shaped me the most, the decade I have the most nostalgia for? Or was it because he seemed to be such a nice chap, someone you warmed up to immediately whenever he appeared on screen and, by sympathetic extrapolation, someone who should have been nice in real life and deserved to see a great many more years? Whatever it was, it wasn’t clear enough to distill into an obituary.
It’s a little easier to talk about Swarnalatha, the songstress who, sadly, was younger than Murali when she died, a mere 37. To know why she’s an important – although all-too-brief – chapter in the history of playback singing, we have to consider Lata Mangeshkar in the north and P Sushila down south, the two singers who, through their staggering skills and their astounding success from the fifties onwards, decreed that the heroine’s voice would be that of a coloratura soprano, sweet and silvery as a sylvan stream. Swarnalatha was one of the rare singers – and offhand, the only other I can think of is Asha Bhonsle – whose timbre in the lower registers carried the warmth of whiskey. To listen to her pickup of udhattukkum udhattukkum dhooram in AR Rahman’s Lucky lucky, from Ratchagan, is to revel in a sensuality that was often denied the heroine because of the serene purity of the voices that usually playbacked for her. Here is a voice that will be sorely missed.
Amongst death’s harvest from show business this month, it’s easiest to discuss the passing of Claude Chabrol, who went at a reasonably ripe 80. Not only has he left behind a ridiculously prolific body of work, he was also one of the founding fathers of the New Wave. It could be argued that amongst his contemporaries and co-founders of the Nouvelle Vague – filmmakers like Jean-Luc Godard, Jacques Rivette and François Truffaut – Chabrol’s films were the most easy to experience because they were the most linear, the most story-driven, and, to a large extent, the most suspenseful. (The breathless “what next” isn’t exactly the overriding emotion in the cinema of his compatriots.) This is not to say that Chabrol wasn’t experimental, but he wasn’t willfully so, and if this stripped his work of the livewire excitement that characterised Godard’s cinema, this is also the reason his most well-known films are more accessible to the average eye more attuned to Hollywood cinema, especially that of Alfred Hitchcock.
Like Hitchcock, Chabrol’s chief currency was the clammy hand of suspense tightening around ordinary folk, and his Grace Kelly and Ingrid Bergman were Stéphane Audran and Isabelle Huppert – the former his one-time wife, the latter his latter-day muse. With Huppert, he created Story of Women (Une Affaire de Femmes, 1988), the ambitious Madame Bovary (1991), the extremely well-received thriller La Cérémonie (1995), adapted from Ruth Rendell, and Comedy of Power (L’ivresse du Pouvoir , 2006). But it’s with Audran that Chabrol had his greatest hours – La Femme Infidèle (The Unfaithful Wife, 1969), Les Biches (Bad Girls, 1968), Le Boucher (The Butcher, 1970) and Violette Nozière (1978), which featured both Audran and Huppert and signalled the transition of allegiance. The best of these, and my recommendation to those looking for an entry point to explore Chabrol, is Le Boucher, at once an opposite-side-of-the-tracks love story and a thriller about a butcher’s penchant to ply his trade on unsuspecting young women. Its grave elegance is chilling.
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rameshram
September 18, 2010
Also a Shout out to Shonali bose (socal based delhi filmmaker (of such films as Amu) Who lost a son after a somewhat extended hospitalization from third degree burns a couple of days ago. I am in no position to tell her “nayakar Bhai! mera beta..”etc but here’s thinking about the family.
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Mambazha Manidhan
September 18, 2010
Ditto on the sensuality in the voice of Swarnalatha in the lower registers especially Kuliruthu Kuliruthu from Taj Mahal. And even in Kummi Adi from Sillinu oru Kadhal, she does a rustic alaap in the second interlude, momentarily screws up ,chuckles and continues. Rahman’s decision to keep the laugh in the final version lends the song an unusual charm.
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vijay
September 20, 2010
Swarnalatha..sigh. Maalayil yaaro had that deadly combo of IR, Swarnalatha and Bhanupriya. BR, not sure if you have heard “Maargazhi maasam romba” by Swarnalatha/Mano from Vietnam Colony by IR. A soundtrack that had also the debut of Bombay Jayashree for IR. Swarnalatha puts Mano to shame with her teasing voice and singing. For a brief while in the early 90s, I thought she was the best voice in TFM in a long time. I couldn’t say that even about some of the other singers around who were veterans and maybe arguably better singers than her.Hers was an unique voice. I liken her singing/career/life to that of Geeta Dutt’s somewhat. You don’t want history to repeat in this sort of way.
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bran1gan
September 20, 2010
vijay: yes, i’ve ehard the song. but my favourite from that album is Kaiveenai… Geeta Dutt is a good comparison, both in terms of life and voice. BTW, putting Mano to shame is no big deal IMO. To think that Raja persisted with him for so long… Aaargh!
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Ananda
September 20, 2010
Bhanumathi of the old era had a non-soprano voice too. I especially cannot get enough of her voice in Manasuna Mallela song from Malleeswari. http://www.chimatamusic.com/telugu/singersnew.php?st=P%20Bhanumati
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somebody
September 20, 2010
please, please fix your site so we can just browse the reviews if we want to!
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raj
September 20, 2010
Swarnalatha – the song that defines here is possibly “ennai thottu aLLi koNda”. The song is possible only in her voice – especially the initial humming. Even SPB is only a supporting act in this song – and you all know how difficult that is.
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munimma
September 20, 2010
Yep, she did have that intoxicating voice, reminscent of Asha B. A sad story! BTW, watched Anu’s special on Murali, and was impressed by his simplicity and straight-forwardness.
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bran1gan
September 21, 2010
Ananda: If you’re just considering non-soprano voices, there have been others too, other than Bhanumathi — like P Leela and Jikki. I was specifically talking about sensuality in the lower registers, which Bhanumathi certainly didn’t have. Listen to “poovagi kaayagi kanindha maram ondru,” for instance, and you’ll see what I mean
munimaa: You mean Koffee with Anu? I saw bits of a music show on Vijay TV, where Swarnalatha sang “Hai raama yeh kya hua,” and some Bengali number. It was very eerie watching it, knowing that she was in her last days while recording the show.
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munimma
September 21, 2010
Bhanumathi and sensuality? 🙂 can’t imagine them together in the same sentence even.
Yep Koffee.
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kamil
September 22, 2010
Rangan Any thoughts on the abomination that is Boss Engira Bhsakaran?
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bran1gan
September 22, 2010
kamil: I’m glad I didn’t have to review this film because it put me in a genuine conundrum. On the one hand, on the surface, I had fun, I laughed a lot thanks to Santhanam. It felt good to watch a film in a theatre after a long time, because the audience energy and enthusiasm was contagious.
But on the other hand, this is such a regression in terms of filmmaking — the screenplay, the shot-taking, the consistency in the character detailing (at one point, Nayantara seems to be the kind of girl who’ll tell Arya ‘let’s run away and get married;” but later, she wants Arya to rescue her from an arranged marriage; she conveniently becomes a damsel in distress).
I wouldn’t go so far as to call it an “abomination,” but yeah, I exited with very mixed feelings.
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bran1gan
September 22, 2010
In continuation with the above is the dilemma about how to “review” a second-rung Tamil film — say, Vamsam, which, again, I’m glad I didn’t have to review. Do you compare it to the average Tamil film, and say it’s better than average and so it’s worth a watch, or do you compare it to an ideal yardstick and say it fails on so many levels?
I mean, I did enjoy the romance portions a lot and there were a lot of nice dialogues and characterisations, but the whole film left me with a been-there-done-that feeling, and though I certainly didn’t regret watching it, I doubt I’ll be tempted to visit it again.
That’s why, in my reviews, I never get into the business of evaluating films. All I say is “I listed some of the things I liked. I listed some of the things I didn’t like. Now YOU make up your mind whether I liked the film as a whole or not, because I myself am still making up my mind.” 🙂
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vijay
September 22, 2010
“In continuation with the above is the dilemma about how to “review” a second-rung Tamil film — say, Vamsam, which, again, I’m glad I didn’t have to review. Do you compare it to the average Tamil film, and say it’s better than average and so it’s worth a watch, or do you compare it to an ideal yardstick and say it fails on so many levels?
”
Just do what you do for Gautam Menon films 🙂
Seriously, with Vamsam, from your between reviews piece, I thought it was clearly a positive impression? You had even contrasted it with Naan mahaan alla and said how this was much better as a sophomore effort.
And although you might say you dont “evaluate ” films a lot of your reviews(and sometimes even the title captions) do give away your overall impression anyways. Its just that you stop short of saying “dont watch this film”, or “dont miss this”, like those rediff reviews do.
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vijay
September 22, 2010
Talking of Gautam Menon, BR have you heard about his “Nadunisi naaigaL”? Yedho Reservoir Dogs maari cool’a title vekkanumennu, literal Thamizhla translate panna maari irukku 🙂 But I am looking forward to it. Seems to be an experimental thriller with no songs and very little BGM. Mysskin’s next with Cheran also falls in the same category. Even if either of these films, made for a niche audience supposedly and meant for a limited release,succeed, it could do wonders to our screwed up economics of moviemaking.And can open up things for indie filmmakers on a tight budget with such ideas.
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bran1gan
September 22, 2010
vijay: Oh, those captions and intros and star ratings are my equivalent of item numbers. I hate them, but I need them to keep my job and reach some kind of “mass” audience 🙂
Ideally, I’d just say “Review: Dabangg” and start the review, but even at the paper, after a while, they wanted some kind of “opinion” from me about the film, and so I kind of say what I felt while walking out of the theatre.
In general, though, if the film is really good or really bad, it’s easy to have an opinion. It’s these in-between things that cause a major problem from a reviewing point of view.
It’s like a trip. Maybe you had a crappy ride but along the way you saw a glorious sunset, and after a while you encountered a horrific accident. These two events stay with you, and when you recount your experience of the trip, you might just say “oh I saw a glorious sunrise” or “oh, we saw a horrific accident.” But your choosing to highlight these two events doesn’t give the full picture of your trip.
I am happy describing the glorious sunrises and the horrific accidents, the things that stayed with me. The overall-ness of the trip isn’t at all of importance to me. Semma metaphor, ille? (even if I say so myself) 😉
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Aravindan
September 22, 2010
Vijay – Not defending Goutham here. Nadunisi Naaigal is a popular title of a collection of poems by writer Sundara Ramasami.
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apala
September 23, 2010
“Maybe you had a crappy ride but along the way you saw a glorious sunset, and after a while you encountered a horrific accident” —
BR-Na, romba deep-a pOiteengaNNaa!!!!!! (BTW, by saying “encountered” you meant witnessed, right?!! Otherwise, I would not even be there to remember the trip!!!!!!!)
Like Vijay, I am also confused because in your BR, you sounded like you enjoyed and liked Vamsam (and compared it to NMA for better sophomre effort) and here you are saying you had mixed feelings…….
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bran1gan
September 23, 2010
apala thambi: No, no, it’s not that I didn’t enjoy Vamsam to an extent. I was talking about the overall-ness of the film that I’d have had to deal with if I were another kind of reviewer. The way I write these things, I can just concentrate on what really moved me or annoyed me during the film.
Take this particular Between Reviews for instance. The progression of the article is like this:
1. The perils of helming a star vehicle.
2. The refreshing, minor-key aspects about NMA, which almost lead you to believe this is not going to be a “heroic” film.
3. But how that hope is belied due to X, Y, Z reasons.
4. And how the love angle is abandoned to make way for hero-space…
5. … as opposed to Vamsam, where the heroine is as major a presence, and the love angle is handled very sweetly.
6. How this is another retread of “Cinemadurai” — alleviated by the director’s “lazily meandering rhythms”
7. How this isn’t as good as Pasanga, but at least it showcases the director instead of the star, thanks to its wonderful sense of humour.
What I was telling Vijay is that I like to concentrate on these specific areas that interest me enough to write about. Of course I preferred Vamsam to NMA, but I had I been an “overall” kind of reviewer, I’d have expanded more on the tedium of the Cinemadurai aspect and so forth.
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apala
September 23, 2010
BR-Na,
Thanks for the detailed clarification………..Yep, got you now! intha makku thambi-ya mannichchidungaNNa!
BTW, here is the latest trailer for HP – DH – Part 1!!! Looks really exciting….
http://www.traileraddict.com/trailer/harry-potter-and-deathly-hallows-part-i/theatrical-trailers
I have to try out sites like these to escape the onslaught of Sun Pictures and their Robot :-)!
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