- The more movies we see about the blight brought by big cities upon the small-town soul, the more ahead-of-its-time Mahanadhi looks. The films that have followed carry not a fraction of either the narrative finesse or the emotional resonance.
- Is there anything as frustrating as watching city youths portrayed like the Other, like exotically plumed creatures from an alien zoo? None of the guys and girls I know are like this. Some of us drink and smoke and actually behave ourselves. Promise.
- Is it time we call for a moratorium on the depiction of the degeneracy of city kids through discos and rave parties?
- And then comes the Shankar influence, with a small guy from a small town suffering a loss and turning vigilante. Even the happy-family song is but a replay of Pachai kiligal from Indiyan.
- We can make our peace with the rudimentary staging, the awkward acting, the weird tonal shifts, the complete absence of a sense of rhythm – but we cannot live, anymore, with dialogues such as this one uttered by the father of a rape victim: “Vaazha elai maadhiri paathukitten… Pillaya ippidi echa elai aakitangale!”
- Yes, we get it, red wine looks like blood, and as a result, consumption of red wine leads to bloodshed. We don’t need a titles-sequence special-effects visual (badly done, at that) to underline this fact.
- It’s nice in theory to alternate the early scenes between a bunch of boys and a corrupt minister on the prowl, and later sideline both these tracks in favour of a police procedural with an upright cop, hitherto in the sidelines, brought abruptly to centrestage. But why doesn’t this play out as interestingly as it sounds?
- A glacially paced three-hour film is not always a bad thing. For one, it allows for such piercing detail as in the scene where the victim’s father is asked a question and he’s lost in despair and so he has to be asked again. Beautiful.
- But when this pace is not supplemented by a narrative that warrants this pace, we begin to fidget – especially when predictability creeps in.
- When you introduce characters, shouldn’t you follow them through to a conclusion? Why not use the girl’s father as a suspect, as a lead, as anything? And the girl herself – why drop her like that? So much for the looming nexus of business and politics.
- Let’s count the Subramaniyapuram influences: (1) The long tracking shot that opens the film. (2) The gory interval point and the gory climax (with lots of blood and very little red wine). (3) The anthropological attention to time and place, which lends the feeling of aimlessness, that nothing is happening when, in fact, the director is following the classic rules of construction: from the outside to the inside, from the general to the particular. Lay out the dots first before beginning to connect them.
- And sometimes, these connections can result in enjoyable discursions – like the way the upright cop is revealed as a non-ritualistic person, or how the minister’s name of Deivanayagam is used to reveal the sycophancy of his henchman. (Not only does the latter’s car carry a sticker “Deivame,” his ring tone is the TMS song of the same name.)
- Speaking of ring tones, the mandatory Ilayaraja homage comes via Ilamayenum poongatru.
- Very funny line by a cop: “Viralai vidu, vaandhi varum.” Another very funny line by a cop: “Adichaa dhaan ungalukkellaam Thamizhae varudhu.”
- I’d like someone to explain to me the recurrent motif of fish in glass tanks. Thanks.
Copyright ©2010 Baradwaj Rangan, The New Sunday Express. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Posted in: Bullet-point Report, Cinema: Tamil
Gradwolf
December 18, 2010
You self indulgent you 😛 Another BR for a column name eh 😛
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Gradwolf
December 18, 2010
But this reads like you went in with a lot of expectations(maybe rightly so after S’puram) and came out a very angry man!
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bran1gan
December 18, 2010
Gradwolf: Oh, kandupidichitteengala! 🙂
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kumaran
December 18, 2010
Ranga – Are you drunk dude? Youre on a posting binge tonight what happened?
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NullPointer
December 19, 2010
Very upsetting to see red wine portrayed this way. Somebody ought to speak to Sasikumar and his ilk about red wine and the resveratrol connection.
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iba
December 19, 2010
seems my prediction was spot on; s’puram, a flash after all…
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Anand
December 19, 2010
BR: I look at it this way – compare this film with the (so called) superstar films this year in Tamil – Endhiran, Asal, Sura, Singam & Ratha Charithram, Theeradha Vilayattu pillai, Vallakottai, Virudhagiri, Boss (E) Bhaskaran & Chikku Bukku and this does compare favourably! Raavanan and VTV could be the only exceptions !(MA next week will sure be a disaster!)
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Anand
December 19, 2010
BR: Do you think the movie would have been better if it had started with Vaibhav’s murder and played out as an police investigation?
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Senthil
December 19, 2010
Idhu Nalla Irukkey ! Bullet point report. Very concise, easy to jot down and easier to read. Love this! It’s better than the Bitty Ruminations.
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bran1gan
December 19, 2010
NullPointer: Maybe Cabernet Sauvignon is the new VAT 69, the embodiment of all things evil 🙂
iba: Oh, don’t be like that. Have hope. Or as someone yelled from the back during my screening, “Thamizh Cinema Vaazhga!” (though he said it out of utter frustration) 🙂
Anand: Films work on the standards they aim for and set for themselves. Appidi paatha, all films that attempt at least something above the norm are automatically good films. Of course we should make note of the fact that the director has tried these different things. (And if this had been a review, I’d have dwelt on them.) But finally, the film has to work, and not just because it’s better than Virudhunagar. BTW, please do not say bad things about Singam 🙂
About the film playing better had it been a straightforward police investigation, I don’t think so. Then it would have become even more of a Shankar padam — begin with mysterious deaths and reveal a wronged vigilante. I can see what Sasikumar is trying to do and I like his anthropological approach in theory — give us a wealth of detail about who these people are and where they come from, and the pull the rug from under us by bringing in a protagonist only in the second half. That this didn’t work is a matter of execution; as conception, it’s a damn good (and damn ambitious) idea.
Senthil: This came about because I want to write about new films (that I don’t cover in reviews or columns). And I didn’t want to spend much time on it.
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mohan
December 19, 2010
As a layman who watched the film and thoroughly enjoyed it, I really do feel you are nitpicking here. It was a cogent narrative, even if lacking a bit of pace in the second half. The only blot on the canvas was the incredibly amateurish love-track between Sezhiyan and his girlfriend.
And, for god’s sakes, this film was ANYTHING but the preachy moral commentary you make it sound like. There were no sermons on “degeneracy” like in nadodigal, and no high-falutin statements on friendship or modern-day love. Rather, Sasikumar has(mostly) just depicted things as they are in real life. Why does this irk you?
If anything, I am becoming increasingly convinced that you are bent on blowing out of proportions trivial(and sometimes non-existent) issues in good films like Naan Mahaan Alla and Easan while simultaneously magnifying insignificant silver linings in trash like Singam. I do hope you realize that while the praise or damnation of critics such as yourself means little to big-budget “commercial” films with established stars, it affects much more the films of enormously talented filmmakers like Sasikumar who have to reach into their own pockets to finance their films.
By your unwarranted acidic rant, you are only lessening the chances of seeing such different attempts in the future.
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Maithreyi
December 19, 2010
“Vaazha elai maadhiri paathukitten… Pillaya ippidi echa elai aakitangale!”
You’re right. Just reading it made my jaw drop. It’s an unforgivable bit of dialogue.
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anon
December 19, 2010
brangan…stop. its already rained enough in chennai this year…
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MumbaiRamki
December 19, 2010
Brangan sir ,
My bullets . Saw it in shanthi theater on friday …same blood !
1) I think sasi was brilliant in being honest about potrayal about certain section of youth, in certain economic class ( not limited to ) . Esp the scene , where romance comes between vaibhav and Reshma – its so stupid, but thats how it can happen in certain section. If you want to see them , come to my office in Pycrofts road, i will show the rich fucker who wanted to go to bar in wallace road and entered the one way road and blocked the ambulance from other side and didn’t care a about it! (or) come to ECR and i shall show them .But i don’t think sasi had his focus to show the proportion of richness and immorality. It was just plain bad acting and finding the relevance in this screenplay thats a problem.
2) “But why doesn’t this play out as interestingly as it sounds?” : I think its only because of very bad acting and background score ( subtle), coupled with the fact this just acts as a trick to create a sense of environment and throw ray of suspicion on characters (for the murder), but fails.
3) Not only ring tones, how about the rama rajan song in a bar !!
4) The flashback was tooooo long and by that time it finishes, i was prepared to change the channel 🙂
5) I don’t know if you liked Kill Bill . I thought it was a mighty stupid film , with no story and yet 2 hours went by – reverse is this , with some kind of characterization, intelligent intent – but it was boring in parts 🙂
6) Despite the bad acting , i quite liked the ‘ I will rub your ass and you mine’ sequences between the deiva nayagam and the business tycoon ( SRK ???) . Had it been enacted by seasoned actors in a film on power politics , it would have been brilliant ( When the vijay mallya resembling business tycoon scores his point , it is shown at the backdrop of cricket field – after all it is a GAME )
7) I quite liked the adolescent , esp when he says ” அங்க தான் இருக்கும். போயி பொறுகிட்டு போ’- but why need a flashback scene to establish his love for his sister and bang on three malnourished guys .
8) I always felt that mistakes in direction could be covered by background score and raaja does that very well , subtly introducing emotions when visuals fail to and affect ur emotional offset – James vasandhan ? Just a song composer .
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MumbaiRamki
December 19, 2010
“Vaazha elai maadhiri paathukitten… Pillaya ippidi echa elai aakitangale!”
Just wondering – what would a father say really in that situation ?
Probably , just showing a vaazai elai and the father crushing it saying ‘இப்படி கசக்கிடாங்களே’ ..
I thought its a nice metaphor , although very dated in terms of technique –
PS : i quite liked the ‘ pachai kili’ kind song in this movie .
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Kiruba
December 20, 2010
This must be the most pretentious film I’ve seen in recent times.
Every moment of it was spent squirming, sighing and cursing.
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Udhav
December 20, 2010
Should this be on Expresso? 😛
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bran1gan
December 21, 2010
MumbaiRamki: “Just wondering – what would a father say really in that situation ?” It’s the kind of movie that justifies this kind of line. In a bhimsingh film, we wouldn’t bat an eyelid, because the melodrama of the lyric-writing is matched by the melodrama of the performances which is matched by the melodrama of the dialogues and so on. There’s a a consistency, once you put on your “bhimsingh hat” you adjust into this world. But here, the world that Sasikumar tries to depict doesn’t warrant this line.
And you’re right. Excepting Samudrakani and the boy, the acting was terrible. That spoiled any intent the director may have had. BTW, they play “Nethu oruthara oruthar paathom” in nightclubs? I’m very impressed 🙂
Udhav: Malini Mannath will have my head, no? 🙂
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kumaran
December 21, 2010
Absolutely loathed this movie. Epic disappointment coming from Sasikumar after SPuram. Have many many grouses with this film but the biggest has got to be the moral absolutes and the perpetuation of these black/white, rural/urban and good/bad dichotomies the narrative entrenches. Geez – they drive you crazy!! I also had serious problems with the father’s choice following the daughter’s plight and the way it was depicted as the optimal remedy following the event. Sasikumar regressed big time with this movie, BIG TIME! And what’s with these dufuses directing each other and starring in each other’s films – rather annoying as well too. Both movies are mind-numbingly sententious, as if they are filming on issues where the public have wronged or public attitudes have receded and its their duty to educate the masses on such issues through idiotic preachy sermons such as this. Seriously, really pissed after the film.
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MumbaiRamki
December 21, 2010
There is another scene i liked – The transition of ABhinaya from a village girl , opening up to demands of Fashion profession – ‘you can’t sell Thayir sadam in KFC’ .
WHat impressed me was that the director ( here atleast) avoided the cliche of the village girl , esp muted , getting cornered totally. I was expecting some thing like that , thankfully nothing happened.
PS : Is ‘ muted’ right word ? of lack of respect ?
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Venkatesh
December 21, 2010
Guys , Gents, Folks :
Oru sinna vendagol – : Please put “SPOILERS” in big letters when discussing plot points in the film for unfortunates like me who do not get to see the film till it comes out as DVD .
Mikka Nandri.
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bran1gan
December 21, 2010
MumbaiRamki: Did you mean “mute”? I think the politically correct term these days is “speech impaired”.
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kumaran
December 21, 2010
Rangan – Do you endorse my diatribe?? IS it valid
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bran1gan
December 21, 2010
kumaran: There’s nothing to endorse. You had a very valid reaction to something you saw, and you put that down. IMO, “validity” has nothing to do with it, because it makes it sound like the film is an absolute that can be described in “valid/invalid” terms. The honesty of YOUR reaction with respect to YOUR viewing experience is all that matters — that’s the only thing that’s valid.
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Kiruba
December 21, 2010
BR: You liked Samudrakani’s acting? I thouht he remained mostly wooden. Or maybe, I was too pissed off to notice any of the redeeming features in this film.
BTW, what is the boy’s name, anyone knows?
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iba
December 21, 2010
I hope these “cine madurai” guys confine settings to their respective geographies where they can find all their solace, comfort and happiness churning out whatever they fancy;
There is a silver lining in this though – subramaniapuram, the cult hit that it was, lent itself to studiously cheap imitations redefining the term mediocrity which till then was epitomized by our beloved and relatively harmless vijay; now, one can imagine what all would have had to be endured and how many BRs would have had to be devoted (to lamentations and grief) had easan been half as successful… 🙂
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Harish S Ram
December 21, 2010
with replies like the one you gave to Mr.Kumaran, am getting to understand more about individuality than movies 🙂
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bran1gan
December 22, 2010
Kiruba: I liked his presence. This was not an overly showy-acting kind of role, and I thought he was cast well. Sometimes finding the right man for the right job is all that’s needed — you don’t need an especially great “actor.”
iba: Subramaniyapuram wasn’t a “cult” hit. It was a huge success, and it’s not hard to see why — it was a standard-issue revenge melodrama (like Paruthi Veeran) that was made extremely well. It was good *mainstream* cinema, not some avant garde “cult” effort. Also, the 80s setting lent a heavy air of nostalgia to those who remembered those days.
Looking back at my article about the film, I can see a lot of similarities in the whole “teeming with the business of life” type of filmmaking. Except that the director knows one milieu, and with regard to the milieu of Easan, he either doesn’t know it or has resorted to convenient cliches to make his points. Plus the whole Shankar-film hangover was a big turn-off.
I’m reading this piece again and smiling at: “So, yes, maybe Sasikumar overdoes the cuteness in the love angle, and perhaps his budget didn’t quite get him the kind of cast that could have taken this film to an entirely different level of achievement.” Looking at Easan, he still can’t do love angles well, and he still has problems with his actors 🙂 (And the latter is more unforgivable here because he had a budget and a reputation and he could have gotten a rock-solid cast this time around).
Harish S Ram: But movie-watching *is* about individuality, no? Play the same 24 frames-per-second to 24 people and you’re likely to get 24 reactions. How can anyone else presume to understand how YOU processed a film in your head? I think we have very different views about movie-watching 🙂
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vijay
December 22, 2010
“Speaking of ring tones, the mandatory Ilayaraja homage comes via Ilamayenum poongatru.”
I am not sure which is more mandatory. The presence of IR’s music in these kind of films or your mandatory mentioning of it in your columns 🙂 Like the eighth time or so I am reading about this here.
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bran1gan
December 22, 2010
vijay: It’s because it’s mandatory there that it’s become mandatory here. I am but a humble chronicler of pop culture 🙂
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bran1gan
December 22, 2010
Re-reading my comment to iba above, I wonder if any Tamil film in the last decade or so (or even before) can be truly defined as “cult.” Hmmm…
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Pulikesi
December 22, 2010
Hello *PithaMagan* 🙂
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sachita
December 22, 2010
duh.. oram po!
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apala
December 22, 2010
Dear BR,
saw the film……….I hate this “city is evil” and “all rich are evil too” (typical Rajini-film) sentiments for so long……….I really could not take this movie at all. Just could not stop hating it……….
WHAT, THIS IS DIRECTED BY SASIKUMAR?!?! THE GUY WHO DID THAT BRILLIANT SUBRAMANIAPURAM?!?! STOP KIDDING ME………
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kumaran
December 22, 2010
Sethu! Cult rite ranga?
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kamil
December 22, 2010
Rangan – Are you sanguine about Manmadan Ambu? I’ve got a queasy feeling KSR’s going to be wreak visual havoc on Kamal’s writing/story!
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Just Another Film Buff
December 22, 2010
You serious? Yaarukku Yaro, Narasimma, Panchatantiram, Nayagan… Tamil Cinema has been more cult than ever last decade IMO
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vivek
December 22, 2010
the instance i read it, i had the same question……….tamil cult film….please some one help with example….else how will i confront someone who says “no cult films in Tamil”……what should be there in it……pop culture…..cultural references??…..grrr im breaking my head trying to think of it……..Oram Po?….Chennai 28??……or may be Sigappu rojakkal?….hopefully “Aaranya Kaandam” going by the trailer……..At least relieved that someone agrees S’puram is NOT cult
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KP
December 22, 2010
Chennai 28 was cult for me
-KP
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vivek
December 22, 2010
Yarukku yaro…narasimha…..ROFL
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iba
December 22, 2010
The intended thrust in my rant above was not on the “s’puram, the cult film” part, but now that Rangan Saar has spun it into a thread, my take…
If there is somethig called a non-cult cult film in tamil, this might be the one. Besides, I believe (slightly re-arranging BR’s words)
s’puram is an – avant garde revenge drama – wrt tamil movies. Going under its nostalgic cloak and scratching its gory and bloodied surface (standard mainstream aspects of this genre), there is a remarkable layer of – restraint – built into it in the form of certain charcters, characterization, plot etc. It is also avant garde for tamil cinema in the sense that it heralded the arrival of critical regionalism (if I may borrow from architecture), cheerfully taken forward in later movies (kalavani, pasanga, vamsam and many more that i haven’t seen), although there might be many in this forum who might argue that the honour belongs to one mr kamal, the virumaandi 🙂 And finally, isn’t – cult – not so much in the “effort”, as much as it is in the way the effort is selectively interpreted? Can anyone – intend – to make a cult movie?
Apart from the numerous works of our usual suspects (kamal, mani, kb), I would like to include moondram pirai, pathinaaru vayathinilae, indru poi naalai vaa, muthal mariyathai, chennai 600028, kudaikkul mazhai, thulluvatho ilamai, kakka kakka… And tamil cinema has its share of – it’s so bad, it’s good – stuff that might also fall under this category – ramarajan, tr etc. and the list becomes quiet long then 🙂
PS: Hey Ram is the pinnacle for me!
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sanjay
December 22, 2010
talking about city is evil versus village guys as angels, there was one film called “Jayam Kondan” which was an anti-thesis to this “filmi adage”. Remember at the end, where every tamil film will have a mandatory message/monologues directed at villains and JK too had a fair share of stereotyping the village aruval wielding ruffians.Looking at your posts above BR i could not help recalling this movie which is at other end of Eesan’s narrative…
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bran1gan
December 23, 2010
vivek: “Cult” is a curious thing. In most cases, the film is an underperformer that goes on, later, to accumulate a fervent following who can quote lines and so on and help it trickle into popular consciousness — eg. The Rocky Horror Picture Show, or The Big Lebowski. The point is that there’s a “cult” around the film, a band of worshipping devotees who, unmindful of public and popular opinion, are unapologetically vocal about their love. Two recent films that I thought *could* have developed a “cult” around them are Jhoom Barabar Jhoom and Mumbai Xpress — both qualify because they are both bombs that found very small but very fervent bands of enthusiasts. And both are eccentric/mad enough to qualify for insider-joke quotes and so forth. But somehow the cult never happened. Maybe we are just a country that doesn’t do “cult” 🙂
sachita: You see many people around still quoting from Oram Po (not just lines but “quoting” from the picture in their discussions and so on)? I don’t. It came. It was liked. It went. It’s not still a part of pop culture consciousness, and so it’s not “cult.”
iba: I wouldn’t go so far as to call Subramaniyapuram an avant garde film. But I agree that a lot of what was done there is very surprising in a mainstream format. For instance, the lazy dangling of various threads that — very, very slowly — begin to cohere into a narrative. In Easan too, I loved — SPOILERS AHEAD — tha fact that the early goings on are not tied to the plot but to the characters. That’s astonishing from the POV of writing for Tamil cinema, because here almost everything in our cinema is to do with underlining plot and narrative.
In a typical film, for instance, the girl on the scooter who died at the beginning would be “tied to the story” — she’d be Easan’s sister or something. The woman who is killed over the property dispute would be “tied to the story” — she’d be Easan’s mother or something. But Sasikumar uses these random incidents — as he did in his earlier film — to establish the character of these city boys and the politicians, the two main players in the story. This establishment of character at first seems unrelated, but it adds — in theory — to our perception of them as the actual story kicks in around interval point. It’s a different discussion, though, about why this didn’t work in practice this time around the way it worked in the earlier film.
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vijay
December 23, 2010
Cant think of anything after MMKR for cult.
If cult can be expanded to include movies that bombed but gained appreciation over the years based on TV re-runs and has its own set of admirers then maybe Anbe Sivam is halfway there.
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vivek
December 23, 2010
some clarity on that….thanks…..now when i read back my questions it seems to be stupid 🙂
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Gradwolf
December 23, 2010
I don’t think we created any cult after MMKR! (created as in cult, not film)
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VJ
December 23, 2010
” Puskpak is a cult film in the truest sense.” says JAiarjun in this old blog post , http://jaiarjun.blogspot.com/2007/02/pushpak-then-and-now.html and I cant agree more .
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vignesh
April 27, 2011
acc to me kaadhal desam was a cult!!
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Rohit Ramachandran
May 21, 2011
You do realize that the film is an allusion to DMK, right? I think you ought to give the film another chance. You praised Aadukalam so much, a straightforward film with a low degree of parallelism but Easan had unique story-telling, developed its characters and never took sides with any of them. Aadukalam also had a stupid, unrealistic ending. I don’t think anyone would do something that impulsive and Oh, Dhanush’s act of altruism. Easan, does have its flaws but Sasikumar managed to cover so much in three hours. The story has been done before but not this way. I’ve not seen a film where the plot is revealed bit by bit by adding new characters.
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Adarsh
July 3, 2012
God, if only The Hindu was as open to publishing such strong sarcasm…
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