- Note to self before walking in: “Yes, yes, we all know you want Kamal Hassan to direct more and write more (even if he doesn’t necessarily act more) — and not necessarily the kind of films he makes with KS Ravi Kumar. But can you just shut up and shove aside those petulant resentments and watch this film for what it is? Please? Thank you very much.”
- After all these years, why does it still bring a smile to the lips when the theatre erupts in whistles and claps and screams upon the first sighting of our foremost actor? I think it’s part of our DNA – regardless of the quality of the final product, we are programmed to respond affectionately to Kamal and Rajini. After they are swallowed up by the black hole of time, there won’t be any more eye-blinding superstars – only momentary meteors, over and done with in the blink of an eye.
- Oh, but did he have to make his entry with a one-against-many fight? But the sequence does have a worthwhile payoff, proof – if it were at all needed – that Kamal worships the ground beneath Peter Sellers’s feet: The throwaway sight gag at the end where he, with exquisite ease, sets upright a fallen dustbin. Part slapstick, part ballet, all Kamal.
- Looking at Suriya here, I’m trying to remember if there has been another film where a guest star, a huge hero in his own right, has been allowed to walk away with whistles before the actual hero makes his appearance.
- At some point, I feared this was going to be another holy-fool outing for Kamal, after Mumbai XPress, Virumandi and the destiny-driven Anbe Sivam. Very happy, very relieved to be proved wrong on this count, even there are reminders of all those earlier films, especially the latter.
- A teensy-weensy pat on the back for Milind and me for a line of conflict in K2K that unfolds here as well, in practically the same form. What greater compliment can we give ourselves than the fact that Kamal himself has thought along those lines? Okay, okay, shameless plug, I know, but this is my blog and if you don’t like it, go read someone else’s bullet-point review (though, hopefully, that’s not called Bullet-point Review, or I’ll sue – or not).
- The best shot of this film has to be that of Kamal experiencing an unknown emotion while looking up at birds in the sky, flying over his car, soaring above his earthbound existence in the most carefree fashion. We don’t yet know his backstory, and this moment remains a private moment. Beautiful – just beautiful.
- But just what is this genre that, Mumbai XPress onwards, Kamal has bred in that locked-up laboratory inside his head? Farce and slapstick and verbal gymnastics camouflaging a conscience-in-crisis drama – maybe we need to invent a name for it, something like “existential comedy.”
- I love this idea in theory – and to be honest, I’d rather watch a so-called failure of Kamal’s while he’s still attempting to perfect this genre-hybrid than many of the so-called successful Tamil films around and about – but this refusal to tilt fully towards either comedy or drama does leave these films with a lot of unevenly paced dull spots.
- As a corollary, should they stop marketing these movies as “comedies?” It took me a while to readjust to this film’s rhythms, and the shuffling around me indicated that there were others not as patient.
- But, yes, there are a lot of laughs, especially towards the end.
- And tears – though I’m never convinced when a character on screen becomes watery-eyed while recounting a long-ago tragedy. Even if he does offer the reason that “Sogam mattum paambu maadhiri vayathukkulleye irukku.” Time heals wounds, and the grief inside isn’t always expressed by tears outside.
- Imagine, just imagine, how much better these films would be with actors around who could actually do comedy, who could actually deliver lines in a funny fashion without winking at us that they’re delivering these lines in a funny fashion.
- Let’s enumerate the Kamalisms:
— TamBrahm characters speaking a far more tolerable version of Brahm-Tamil than you get to see typically in Tamil cinema.
— Borderline-provocative dialogues like the one that says pant zippers and blouse buttons are for expediency and not exhibition. (And no, I haven’t forgotten the reference to “mating rituals.”)
— Borderline-existential dialogues like “Nadutheru-la ukkaandhirukken” – two words summoning up (and summing up) a universe of desperation.
— Borderline-philosophical dialogues like “Indha ulagathula nermayaa irukkaravangalukkellaam thimiru dhaan veli.” This is how you casually work in heavy thoughts into a light-mainstream format. Karu. Pazhaniappan, I hope you’re taking notes.
— The brilliant stretch of Madhavan’s casual cruelty while seated in his golf cart, lording it over Kamal on the phone, tells more about the callousness of big-city, big-money individuals than the entire duration of Easan does. M Sasikumar, I hope you’re taking notes.
— Technology – web-conferencing, tablets, walkie-talkies, smart-phones – being a fully functioning part of the picture.
— Those names, those look-at-me names – Madanagopal, Ambujakshi, Rajamannar, Bhagirati (nicknamed Bags)!
— Lashkar-e-Taiba as a matchmaker between man and woman.
— Characters from across the country and, newly, from across the world. (The glut of languages includes Telugu, Malayalam, Sinhalese-Tamil and French.)
— The layers – a real-life actress playing an actress on screen and encountering several “actors,” or one set of characters (on a cruise ship) being on thanni and another character constantly imbibing thanni. (Even the flushing system of a urinal plays its watery part.)
— The Gandhi-isms: Satyamev Jayate and Ahimsa the Pakistani brothers who once were from this same land of ours. - Now, let’s enumerate the Crazy-isms (even though he’s not credited):
— Deepa versus deep-aa.
— Onnum theriyaadha paiyan versus Onnukku pora paiyan.
— “Telungu… Adhula code language verayaa?” - It’s an interesting touch that a grown-up (in every sense of the word) Madhavan is shown as mama’s little boy, but his mama does nothing for the film and neither does the insta-fix replacement-fiancée, dolled up in western clothes and yet the epitome of eastern servility.
- The song-in-reverse seemed, at first, a terrible idea, a gimmicky and show-offy conceit best left to the likes of Shankar. But by the end – and to my surprise, and despite my irritation with the execution – it did take on shades of genuine emotion. A life in rewind.
- And as the song began, there was a power cut. Imagine! In this day and age! At Escape!
- Too many threads are brought together too conveniently by the end. The dramatic overtones crumble into a Crazy Mohan-style comedy of confusion. While some of this is no doubt enjoyable, what about the investment we’ve made in the emotional lives of these characters? Are we just supposed to laugh it all away?
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
Bala
December 23, 2010
Taking the easy way outa ? 😀 Indha BP report is raising my BP 😛 Idhukku oru full review ezhudhirukkalame 😀
LikeLike
Anand
December 23, 2010
The power of your pen! Rushing to MA!
LikeLike
maruramu
December 23, 2010
Like a proverbial “lull before the storm,” huh… as far as the articles go….hmmmm….and have you ever posted this early reg. any new releases?
Anyway, this BR totally went over my head and can’t infer anything from this whether to watch this or not and that too in Telugu (lost in translation?)
LikeLike
Bala
December 23, 2010
…
But just what is this genre that, Mumbai XPress onwards, Kamal has bred in that locked-up laboratory inside his head? Farce and slapstick and verbal gymnastics camouflaging a conscience-in-crisis drama – maybe we need to invent a name for it, something like “existential comedy.”
…
You nailed it. A terrible idea, it appears, attempting to genre’alize KH’s recent output.
Kamal-KSR :- There was a certain polish (that Dasa sorely lacked) – case of KSR Singeethem’ed perhaps? 🙂
LikeLike
sri
December 23, 2010
Well did you like the film or not ? Along with this new bullet point format why dont you add a star rating or a score on a scale of 10 or something like that so that it is easy for guys like me
btw ‘mama’s boy ‘is being coneveniently used these days by women to get control over theie husbands.Those who over do it are themselves ‘mama’s girl’.Be careful guys.Better be ‘ mama’s buy ‘ than ‘mama in law’s boy
LikeLike
Udhav
December 23, 2010
Just in time. Night show poittu varen. Kamal padam poruthavaraikum Baddy review konjam thookala dhaan irrukum. Just kidding.
Off topic – Sorry about yesterday. Couldn’t recognise you. For a moment I thought I was talking to Sasikumar 😛 😀
LikeLike
Udhav
December 23, 2010
BR,
Mysskin has already done this “reverse” bit in Chitiram Pesudhadi. But that remained, at least to me, a gimmick. Perhaps, Kamal took the idea and dressed it up?
LikeLike
Tirukumar
December 23, 2010
Hi BR, have always enjoyed your reviews and writings! Enjoyed this one too! Any chance there may be a Nandalala review – I found the interview with Myshkin, it would be great to read your thoughts on the film.
LikeLike
Pavitra
December 23, 2010
wo caaad! so did you like the film or not? 🙂
LikeLike
Ini
December 23, 2010
You are too partial, for one movie you point out the mistakes, for the other you point out the good ones – your reviews may mislead (Ya, we understand, you don’t lead us with your opinions; but at least for an avid follower of your reviews, we expect some consistency). By the way, do you think the drama part has been played out well? The emotional equations are in air unsatisfied and there is not one poignant moment in the movie (lets say except maddy-thrisha scene in the hummer) that assured us of the emotions behind the characters. Don’t we expect a near-perfect effort from the master (considering his experience – leave behind the genius brains)?
LikeLike
Anand
December 23, 2010
Vaazhaipazhathula maathirai!! Enaku maathirai romba pudichudhu..even better than than vaazhaipazham!
LikeLike
bran1gan
December 23, 2010
Bala: Adhu enna “full” review – “quarter” review? Neengalum thanni mood-la irukkeengala? 🙂
maruramu: You should watch it of you want to and not watch it if you don’t want to.
Udhav: For a second, from your reaction, I thought I’d hailed the wrong guy. And the music was so loud, I didn’t know if I’d made myself heard. BTW, Sasikumar – LOL!
Tirukumar: Not doing anything on Nandalala – made some assorted comments on it. Generally liked the film.
Ini: What I say in the last point is what you say, no?
Anand: Vaazhapazhathula oosi kelvi pattirukken. Adhu enna maathirai? 🙂
BTW, whoever said this was “inspired” from Romance on the High Seas seems to be right. Of course, tweaks and all have happened (this seems more serious), but the basic plot line seems more or less the same.
LikeLike
Bala
December 23, 2010
Neengaluma ? So , unga response to this movie is to get sozzled eh ? Urgh, there goes my ticket ke paise 😀
LikeLike
anon
December 24, 2010
Brangan – I’ll take credit for digging up the inspiration. I felt that Kamal compromised heavily on his original vision. It was almost as if they sat down and said – ok – unga demographic segment panna, 5% thali sentiment, 10% terminal illness, 10% widower, 20% crazy mohan dialogues, 5% oru fight intro, 10% kerala market, etc, etc,
LikeLike
Praveen
December 24, 2010
Mr.Rangan, also a wee bit of Kannada from Ramesh Arvind and Urvashi 🙂
Aside, remember how Kamal (through Trisha’s dialogues) takes a dig at Tamil cinema’s “creative people”??
LikeLike
Gradwolf
December 24, 2010
Paravailla! You are a true fan. Kamal padam mattum correct ah first day/weekend paathureenga!
LikeLike
vijay
December 24, 2010
Looks like another so-so Hollywood ripoff from Kamal-KSR with a few high moments here and there.
That’s about what I expected watching the terrible promos for this film. I think Kamal has gone beyond the point where he should be applauded for flawed efforts, considering the novelty or ambitiousness or whatever. For a guy who conducts screenplay workshops(and who also routinely gets “inspired”), the expectations are higher.
LikeLike
Kumar
December 24, 2010
I don’t think there was enough motivation for Trisha or Kamal to fall in love with each other. And I don’t think there was anything that could have prompted Madhavan and Sangeetha to fall in love with each other. The kids and the mallu couple were a constant irritation. The first half was sooo slow and tedious to watch. I do understand that Kamal has tried to incorporate intelligent humor, but they are so spread out, that the interim portions are such a strain. And when you are trying to market this a rip-roaring comedy in the panchathanthiram mould, you feel cheated.
LikeLike
KPV Balaji
December 24, 2010
I dont think the movie was marketed as a comedy at all. Kamal clearly stated that it is nothing panchatantiram or tenali. it is more like a feel good entertainer !!
@BR : Spot on review. Loved it. ARent you trying for any interview this time :)..Btw any clue how they worked out the lip synch for Neela vaanam ??? Did Kamal actuallly lip synch the words in the reverse order…
LikeLike
vikram
December 24, 2010
Well…what can I say..not one teensy word out of you on ‘robot’, and here we have bullet points on the Kamal film…
LikeLike
rameshram
December 24, 2010
At the interval of this film. It’s a Effin boring film man! You gotta be kamalahasan’s kid or.something to enjoy.it.
Unsighkable
LikeLike
Suresh
December 24, 2010
“… hopefully, that’s not called Bullet-point Review, or I’ll sue – or not).”
Rediff seems to have cottoned on 🙂 (to your format, that is)
http://www.rediff.com/movies/report/review-tees-maar-khan-is-a-letdown/20101224.htm
LikeLike
Venkatesh
December 24, 2010
Kumar: “And when you are trying to market this a rip-roaring comedy in the panchathanthiram mould”
I felt that was one of his weakest efforts really , the so-called intelligent wordplay did nothing for me.
LikeLike
theusualblogger
December 24, 2010
BR sir:
*Spoilers*
Isn’t it funny that Madhavan ends up from one mother to another at the end. I thought it tied up his whole character arc perfectly including the throwaway Deewar line. Maybe what he needed wasn’t a wife but rather another mother.
LikeLike
Abhishek
December 24, 2010
Even Tees Maar Khan is supposed to be inspired by After the fox.
LikeLike
Praveen
December 24, 2010
Did you know Kadhal Sadugudu was shot in reverse?
From: Mani Ratnam on rediff.com
In Alai Paayuthe, we had a song shot entirely in reverse. The whole song takes place inside a flat, and as it was shot in reverse, actors had to sing the entire song backwards. They had to learn and sing it correctly.
Why did you think of shooting in reverse? Just for fun?
These are two young people inside a house. They had wanted to get married, and just tied the knot. It’s the first phase of their life and it was magical, with a floating quality. When it’s in high speed and reverse, it has this surreal quality to it. If you see the song again, you will know.
Those are the kind of things that you try. You have seen two people in love hundreds of times; unless you give a new angle to it, it’s not going to excite.
The cinematographer is one person I pull into when I think of new ideas.
LikeLike
w
December 24, 2010
Loved the film. Someone asked ‘Is KSR Singeetham-ed?’. No, KSR will remain KSR. It’s quite assuredly Kamal who ‘author’s this film.
LikeLike
bran1gan
December 24, 2010
anon: I felt he compromised heavily only in the last half-hour, where the characters fell from an “existential comedy” into a Crazy Mohan comedy of confusion. For such a heavy movie that’s so intricately plotted and developed (like Kumar says above), Madhavan getting together with Sangeetha (what an annoyingly overdone performance!) or Kamal/Trisha — none of this made any sense. The rest I didn’t mind. Fight intro, for instance, is explained away by his being from the army and following Trisha. It’s not like some random eruption of heroics.
KPV Balaji: No clue about the lip sync. Actually this is the first time I’m hearing the song. Uh — and this is not a “review.”
vikram: Don’t bring about conspiracy theories now. I was on a break then 🙂
theusualblogger: Yes, even if “Mere paas maa hai” was a bit of a stretch in a Tamil film context 🙂
Praveen: Is there a link? Thanks.
LikeLike
Praveen
December 24, 2010
Sure Mr.Rangan, here it is
LikeLike
Bala
December 24, 2010
Wonder if the Kamal-Trisha tie-up appeared to be abrupt due to the missing Kamal Kavidhai (I saw the movie in HYD and the poem was AWOL) …. Still doesn’t explain Madhavan-Sangeetha ….
LikeLike
rameshram
December 24, 2010
weren’t the scenes between trisha and her friend sizzling?! I was almost expecting them to start doing foot on foot rubs and sensitive nape kisses on the cruise ship.
damn there’s not enough girl on girl action in tamil films.
LikeLike
avanthika
December 25, 2010
If you meet Kamal, can you ask him – why is he fixated on his 1st wife/girl friend dying in his movies?
LikeLike
apala
December 25, 2010
BR,
Loved the film………..screenplay was just brilliant and every character had enough dimensions to get attached to……….Well, the last 40 minutes is a compromise (though not entirely convincing but still on acceptable level) to sell tickets (general public), I guess!
Neela vAnam became even more appealing to me after viewing the film………TOO BAD that you are hearing it for the first time!!! (I tried to “make” you listen by asking about your opinion on the songs but did not succeed!!!!) (For Dhagidu Dhaththam my son stops even his crying and dances for it…..So happy to find another fan in the family for thalaivar!!!)
Anyway, looks like thalaivar got another hit to his credit…….what ya say?!
LikeLike
anon
December 25, 2010
they are showing some promo on Kalignar TV now. DSP, Kamal and Kushboo discussed the making of Neela vanam. Kamal’s actually sung the song in reverse!!
LikeLike
Praveen
December 25, 2010
1) Mahanadhi
2) Hey Ram
3) Vetri Vizha
4) Vikram
5) Vettaiyaadu Vilaiyaadu
6) Virumandi too? (He doesnt get a second one for a change)
7) Manmatha Ambu
Anymore?
LikeLike
Udhav
December 25, 2010
Should we even take Maddy saying “I love you” to Sangeetha seriously? Come on, they are both are drunk!
LikeLike
bran1gan
December 25, 2010
Udhav: Well, the film does position them as a couple at the end, no? Plus there’s that whole from-one-mother-to-another aspect…
LikeLike
rameshram
December 25, 2010
I was reminded of vijay’s greatest hits with trisha when I saw this film…
I wonder why…
LikeLike
Raj Balakrishnan
December 25, 2010
Hi,
This should be the least hyped Kamal film. Was not even aware till day before yesterday. And, your blog has been blocked by my office system admin. Was able to access till about two weeks ago, now get the message ‘access denied’. Only porn gets blocked, so you are in good company!
LikeLike
avanthika
December 25, 2010
Praveen,
Wife/first love dies:
1) Ullasa paravaigal
2) Ilama oonjaladugiradhu
3) Sattam en kaiyil
4) Sigappu Rojakkal
5) Japanil Kalyanaraman
6) Oru kadhiyin diary
7) Vikram
8) Punnagai Mannan
9) Nayakan
10) Vetri Vizha
11) Mahanadhi
12) Paasa valai (Subha sankalpam)
13) Hey Ram
14) Virumandi
15) Vettaiyadu Vilayadu
Lover dies:
1) Ninaithaley inikkum
2) Chanakyan (Malayalam)
3) Guna
4) Maro charitra/Ek duje keliye
LikeLike
Harish S Ram
December 26, 2010
this could be the source for neela vaanam
Coldplay – The Scientist http://www.youtube.com/watch?v=6znx7qYmcfI
LikeLike
Udhav
December 26, 2010
BR,
Don’t read Malini Mannath’s review. 😡
LikeLike
bran1gan
December 26, 2010
avanthika: Good list. I’m guessing you’re a fan 🙂
Udhav: Has it come out already? Didn’t see it in the paper.
LikeLike
Praveen
December 26, 2010
🙂 am sure there will be more in times to come.
LikeLike
Udhav
December 26, 2010
Tomorrow!
LikeLike
Praveen
December 26, 2010
This blog post on Manmatha Ambu should interest you 🙂
LikeLike
karthik
December 26, 2010
I dont know why only the last 30 mins are being talked about as not fitting in the moovie…Throughout, the movie switched back and forth from part-intellectual part-existential stretches and brainless “comedy”– one minute Oorvasi is literally pleading with us to cry for her, the next minute we witness a smirking Kamal doing his Hadhala Kadhala esque devil horned conman job to Madhavan and breaking into a song no less..One minute we are told to sympathize a vomiting Ramesh Aravind being consoled by a child only to listen to Kamal and Madhavan’s silly exchanges about spaghetti and pizza…This constant attempt to be intelligent and silly at the same time, coupled with an irritating Madhavan (movies like Nala Dhamayanthi and Man Madan Ambu glaringly expose his limitations as an actor) prevented me from appreciating the real good bits in the movie that BR mentioned here…..Rather than a new genre that Kamal is trying to perfect, this feels more like a failed attempt to make an intelligent movie because Kamal tried to pander to a broader audience.
LikeLike
Anand
December 26, 2010
BR: Watched it a second time today. There is a flock in the sky at the time of the accident and the private moment that you have mentioned happens when both Kamal and Trisha watch a flock at the same time(It also happens to be a hill…just like Kodaikkanal). I enjoyed the conceit.
And the comedy works much better the second time around!!But I am amazed at reviews which say that this is either a rank bad film or at best an okey-dokey film!
LikeLike
bran1gan
December 27, 2010
Udhav: please post the link. Thanks.
karthik: Those are isolated incidents — humour, yes, but couched within a very serious story of a very desperate man. There are two threads here — the “serious” thread with Kamal and the “light” thread with Madhavan (actually a serious thread as well, but played as light comedy with a lush at the centre). The twining of the two was perfect in the first half, but as the film going going and as Kamal’s story was revealed, I felt it tipped over into too much comedy.
There are so many “casual-heavy” moments here that you usually don’t find in his light comedies (or any light comedy, for that matter) — like the bit of sociological observation in the scene where Kamal and Madhavan and talking over the phone and both are on the move. Except that Kamal is moving horizontally (on the ground), while Madhavan gets into a lift, and then climbs a swirling staircase (all the while talking to each other). There’s a perfect visual encapsulation (Kamal progressing along X-axis, Madhavan along Y-axis) of the strata they occupy with respect to each other — this isn’t the stuff of mere “comedy.”
Also, in mere “comedy,” propulsive plot comes first. (You need a clothesline to hang the gags on.) Here, look at the way the gentle unveiling of Kamal’s tragedy is done — first, the kid sees Kamal’s leg and we learn of an accident (though we dismiss it then and don’t yet make the connection); then he speaks French to the girl with towels, and then the story is revealed. This is the stuff of gentle drama, not frantic comedy.
Anand: Actually the flock of birds first makes its appearance whene Kamal proposes to Juliet. He holds up the ring and you see, against the sky, those birds. And then, when the accident happens, both Kamal and Trisha see a flock of birds — it’s a bit of poetic imagery. He looks up at the sky wailing (with his dead wife in his arms) and sees the birds. At her end, she looks up hearing the firecrackers and sees the birds. So this visual of birds connects both of them at that awful time and place — and that’s why when this visual is repeated in Paris (or wherever in France) as they are in the car, it makes it so poignant (though only when we think back about it, because at this point we don’t yet know about the accident or the proposal and their connection to the birds). Again hardly “comedy.” Kamal’s really thought the shit out of this one. Like it or not, no one can accuse him of lazy writing 🙂
LikeLiked by 1 person
Gradwolf
December 27, 2010
@Udhav: What did she write?
LikeLike
Jupe
December 27, 2010
KJ/NA did it with KAL HO NA HO where Preity jogs from Queens and covers Central Park, Manhattan etc and now Kamal/KSR have done it with MA…The scene where Trisha first wants to talk in private to Kamal starts at the Colloseum and Trisha indicates that she would like some place private and lo, next frame they are at the Trevi fountain…Only that the two places are a good 1.5 kms apart and should take 20 mts by walk on a normal day…If I’m not mistaken, Kamal/GVM did something equally horrendous with VV also…If Kamal wants to take so much pain to get Neelavanam right, surely a fraction of that effort could be put into getting the geographic context accurate…Ufff….
LikeLike
Anand
December 27, 2010
BR: No one can accuse you of lazy viewing!! Delight to read your columns and comments 🙂
LikeLike
bran1gan
December 27, 2010
Jupe: Oh come on! No one cares about geographical accuracy here. It’s so not a deal-breaker in this film (or in KHNH for that matter).
Karthik: Forgot to add this. The second half opens with Kamal explaining to the kids about the Colosseum, about the haves making sport of the have-nots. This may tie in with that whole Kamal walking/Madhavan-climbing scene — though I’ll probably have to see the film again to see if this theory makes sense. Lots to savour here 🙂
LikeLike
vijay
December 27, 2010
“This blog post on Manmatha Ambu should interest you”
That’s why I sometimes read blog reviews more than the indiaglitz/sify/rediff/Hindu crap. No sugarcoating. No mandatory mentioning of Kamal’s all-around skills in all reviews. Just ripping the movie a new one.
Apart from the main plot, that song picturization in reverse is also a lifted idea. I think the Kamal-worshipping guild of film reviewers give him a free pass a lot of the time.
From that blog review Praveen posted a funny comment:
“Kamal is one of those idiots who believes expertise in one field automatically means expertise in other fields. I am surprised he hasn’t said anything about why the GSLV rocket exploded. May be because scientists spent time in Tirupati praying for its success instead of acting rationally and tightening that bolt.
”
🙂
LikeLike
KPV Balaji
December 27, 2010
@BR : such a delight to read your comments [:)]
LikeLike
w
December 27, 2010
BR,
I concur with KPV. Your critical examination without trying to google search for any plot and youtube search for reverse music videos is much appreciated.
Vijay,
I don’t know why you always pass below the belt comments on select few people. Apart from Gautham Menon, you take potshots at Kamal. By posting a sify/rediff level comments from a second-rate blog, a poorly written review that refuses to engage with the film.
LikeLike
Anand
December 27, 2010
BR: My take on the Colosseum scene: What is the mistake of the Have nots? As per Mannar, they are wrong people at the wrong place at the wrong time. Isn’t there a connection between this and the accident itself? And when Mannar accepts Ambu’s apology saying, it was just an accident, your heart goes out to him!
BTW, the kavidhai added so much of meaning and depth to the sequence.(I watched it in Mumbai first day evening and it was intact). Pity it got cut out!
LikeLike
kannan
December 27, 2010
Rangan – Did kamal miss the illogicality whilst writing the 3yr gap between the accident and the Euro cruise? And would someone like Madhavan’s character wait around for three years twiddling to get a firm commitment from Trisha without driving her insane? Thought the gap was like 6 months/1 yr or something. Why did they make it three and also think that was plausible interlude??
LikeLike
Srinivas
December 27, 2010
Like you Rangan, I too feel that (unlike a Shankar film) Neela Vaanam was elevated into something else. The car portions alone is from Coldplay song. But what follows next is the song. The acting and lip-syncing will give a complex to any actor while the interactions with Juliet poses a danger to us newly wed husbands.
LikeLike
Praveen
December 27, 2010
LikeLike
D
December 27, 2010
Personally I loved the film.
Nice to see kids behave naturally. As with the age, they naturally try to act a bit grownup,but it wasn’t stilted or annoying like a Mani Ratnam film.
LikeLike
karthik
December 27, 2010
BR, I admire your ability to identify these theories amidst all the chaos. While there were quite a few things to appreciate, my problem with the movie was that I was never really allowed to connect with the characters of Kamal or Madhavan; Kamal because of the self contradicting portrayal– a deep intellectual bearing the weight of a tragedy repeatedly stooping down to downright silly exchanges..it was not one or two isolated incidents, apart from the golf-cart conversation I cant recollect one intelligent exchange between Kamal and Madhavan. This was partly because of Madhavan’s mostly over the top portrayal of the paranoid suspicious lover, but partly it was also due to Kamal’s “crazy”ness which didnt fit with his otherwise deep character. Trisha and Sangeeta’s characters were far more convincing- in fact the combination of the deep serious character of Trisha and the light hearted Sangeeta had far more chemistry and worked much better than the Kamal-Madhavan combo.
LikeLike
MumbaiRamki
December 27, 2010
Im just wondering what people would have said about the 4th , 5th ,6th movie in the whole history that used flashbacks – copy ??
I think a technique is created by one, used , improved by many in different contexts – whats the fuss over it ? Kamal , i don’t think was the first in things – i guess the only was the use of cartoons in alavandaan for projections of the mind !
LikeLike
bran1gan
December 27, 2010
kannan: I didn’t see anything so wrong about it. They have a tiff. He’s not sure she loves him. (She says, “Maybe I do love you.”) The issue is left unresolved for three years. Why is this so hard to accept? We already know Madhavan has dated her for a while. This is just another extension, a long courtship. I didn’t see this as a deal-breaker.
karthik: I agree that the acting generally left much to be desired. But I don’t understand the apparent contradiction about “a deep intellectual bearing the weight of a tragedy repeatedly stooping down to downright silly exchanges.” Deep intellectual-na mozha-neela dhaadi-yoda thiriyanuma? Chinna chinna vaarthai vilayaattugalum oru vidha intellectualism dhaane? (Well, maybe not the “deep” variety, but still.)
LikeLike
bran1gan
December 27, 2010
BTW, I don’t understand why Udhav’s comment is always at the bottom. How did he accomplish this annoying feat? 🙂
LikeLike
rameshram
December 27, 2010
I was completely in love with the trisha charecter(not the actress, the charecter) until she started poetryfying like sridevi in varumai in niram sigappu. then I was completely creeped out that kamal , who did the same exact thing with sridevi, is now brazenly using the same techniques towoo much younger heroines, like trisha.
I dont have a problem with his wooing younger heroines, (heck that would be hypocritical on my part) just that please ACKNOWLEDGE that youre older and WOO her on film the way a much older man would woo a younger person..
LikeLike
Venkatesh
December 28, 2010
“I don’t understand why Udhav’s comment is always at the bottom. How did he accomplish this annoying feat? ” —- Has Udhav changed his date/time settings on his machine ?
LikeLike
Shankar
December 28, 2010
rameshram, “heck that would be hypocritical on my part”….dude, you are awesome (genuine compliment, BTW)!! 🙂
LikeLike
chappani
December 29, 2010
“I am surprised he hasn’t said anything about why the GSLV rocket exploded”
Duh. He addressed that in Dasavatharam. In his next movie, he will string together a Unified Theory, which, among other things, will explain why a non-believer like him craves omnipresence. Rumors are that he will play both the hero and the heroine and is also seeking exclusive rights to play the audience.
LikeLike
bran1gan
December 29, 2010
chappani: OMG! I died laughing! 🙂
LikeLike
rameshram
December 29, 2010
nanri annan sangar, vazzakka thamizzz valarga thamizzagam…namma kudumbam perishu…
LikeLike
Padawan
December 29, 2010
chappani: Brilliant! Brilliant!
LikeLike
w
December 29, 2010
Mokkai-ku lam chippu. Kodumai.
LikeLike
rameshram
December 29, 2010
Haha this thread is going everywhere..another comment posted out of turn.
LikeLike
Venkatesh
December 29, 2010
BR : This thread/blogpost has got something screwy – one of my comments got lost.
Troll Thaatha aka RameshRam : adhu enna “namma kudumbam perushu” ,, puriliye
LikeLike
rameshram
December 29, 2010
“Troll Thaatha aka RameshRam …”
oru ezzavum puriyalai, ithula nakkal vera!
ni vaa di!
LikeLike
Sk
December 31, 2010
LOL!! Cant agree more. Sad to see such a drab one from Kamal. Too much time spent on pamperin and explainin himself. Maddy, though brilliant, had just been made an excellent prop for Kamal’s pedestal. And in the end Kamal does a SRK n bags Trisha! To make this movie sound like Kamal’s great experiment is like trying to read too much meanin when there is v little.
Brangan – before sasikumar and others take notes from this film, Kamal should take efforts not to waste all those statements of such depth and literary/philosophical value in such cliched contexts
LikeLike
Satyendra Jha
January 2, 2011
BR,
Though I follow your blogs religiously, I have not been on the comments section much. The reason could be just plain laziness, or probably a fear of being intimidated by the more ‘knowledgeble’ cinephiles (including you, of course!)
Anyway, my only grudge with your ‘south-films-based-blogs’ is that most of the time, the dialogues that you include in your main write-up (as example set-pieces in support of your views) are never translated. For a non-Tamizh reader like me, that’s like not being able to appreciate the exact flavour of the point you are trying to make.
Of course, such issues do not bother much when they are a part of the comments section or the repartees that others indulge in at times, since the comments section are more personal by default and generally are targetted towards a particualr individual / line-of-thought.
Besides, in the comments section, if there is a generous splattering of the local language, you dont necessarily feel cheated of not being given the chance to enjoy the bolg in its entirety.
Humble request (though I know it may not always be possible for you, and even may rob the post of its local flavour) to at least drop a modicum of hint as to what that dialogue alludes to, if anot a verbatim translation!
LikeLike
bran1gan
January 2, 2011
Satyendra Jha: I do make it a point to have loose translations for non-English words in the reviews, but as this was just a blog post, I was lazy and let go. Anyway, here are the literal translations, though you’ll understand if they sound a little ridiculous because of idiom-mismatch and such stuff. (The PJs though I’m not translating.)
Sogam mattum paambu maadhiri vayathukkulleye irukku: My sorrow is coiled like a snake in my stomach.
Nadutheru-la ukkaandhirukken — I’m in the middle of the street (a Tamil expression that means he’s destitute, desperate.)
Indha ulagathula nermayaa irukkaravangalukkellaam thimiru dhaan veli. – Arrogance is what keeps honest people in check.
As an add-on note, this is exactly why most subtitled films from here sound so ridiculous, becauase they do literal translations instead of trying to find a happy median between elegance of form and the essence of the line.
LikeLike
Satyendra Jha
January 2, 2011
BR,
Thanks a lot for accepting my request and in fact ‘literally’ (pun intended) translating them. Forever in gratitude, I will also take pride in the fact that next time onwards, if at all you will deliberate over whether to include a translation or not, you might end up providing it, and I would take a fraction of that credit for having requested you to do so.
As an aside, yes, I do completely agree with the problem of subtitles not being able to give the actual intent, and much is actually “lost in translation”.
Being from Kolkata, I am a good deal in Bangla than most, and I sometimes shiver at the atrocious sub-titles used in films of even maestro like Ray, which is probably catering to a much wider global audience than our usual run-of-the-mill films. But despite that, most of Ray’s films are celebtrated almost unanimously all round the world.
And that gives rise to another thought, if the language of cinema is so potent and powerful on its own to not be limited by a bad sub-titling, or even the absence of the same, for being appreciated for what it has visually and cinematically, is it the greatness of that particular film / director, or is it in the eyes and sensibilities of the viewer, or maybe a bit of both?
And that being the case, do we feel the lack of translation only as long as we are ‘reading’ about it, and not ‘watching’ it? in which case, my grudge will not hold any ground unless I actually watch the film (MMA in this case), before worrying about the language. Kind of Catch-22?
LikeLike
Mambazha Manidhan
January 3, 2011
– “The brilliant stretch of Madhavan’s casual cruelty while seated in his golf cart” Too bad this didn’t last for long. His character had the potential to become another suave and self-assured ‘Madanagopal’ from MMKR or even the terrific Anbarasu from Anbe Sivam who is not a bad guy deep down but selfishly puts his priorities before others’. Instead, he disintegrated into a total caricature with thanni and what not.. I am guessing it was a conscious decision to make his character more likeable and not come off as a villain.
– I liked the toe-painting scene during ‘Neela Vaanam’. It was a nice non-sequitur Kamalism moment that evokes shades of the Sivaperumal mural from Anbe Sivam.
– Another Kamalism I am growing sick of is him abusing his power to cast stars just because he can (not talking about Surya) like having Jyothika and her daughter’s voice on the phone at a crucial plot point. There was a similar instance in UPO when Mohanlal is talking to the ‘CM’ and the voice is none other than Karunanithi’s. Kamal in an interview on Vijay TV talked about how much realism it brings to the scene making people stand up and take notice. Actually, it does the exact opposite of that by pulling us out of the scene and leaving us to wonder who the fuck is imitating his voice.
– And, watching Trisha in those shorts makes me wish this movie was in 3D.
LikeLike
MumbaiRamki
January 3, 2011
“And, watching Trisha in those shorts makes me wish this movie was in 3D.”
Neenga Mampaza manidhan illa , Matter Manidhan . Panchathanthirathila solra maathiri unga sexual apparatus Brain la irukku pOla 🙂
LikeLike
MumbaiRamki
January 3, 2011
The feeling i got after seeing the film ” Take a ride in Black hummer in Kulu Manali for 2 hours and you take a right and end up in Ranganathan street !”
I thought Kamal did well in making movies with genres combining well , like MX ( comedy – yes,tragedy- yes, mystery- kind of ) , Anbe sivam,Dasavatharam, atleast at script level. But this one irritated me – there was a genre in first 2 hours and in next 30 minutes another genre – bifurcated ones.
LikeLike
bran1gan
January 3, 2011
Mambazha Manidhan: Yeah, I saw the film again, and the last half-hour rankled even more. Complete disintegration of the film, so to speak. That whole business about code-songs and such was so weird in the context of this film. And I really, really wish he’d picked better performers.
MumbaiRamki: I’d pick this any day over a horror show like Dasavatharam. I still shiver when I think of the botched makeup jobs and the overall tackiness of the visuals. Even MMA, for that matter, looked so ordinary (though at least it wasn’t tacky like Dasa) — why not hire a cinematographer who can actually do a good job?
LikeLike
jussomebody
January 3, 2011
Trisha waxing eloquent about Tamil and ilakkiyam, had to be the most unintentionally funny part of it all. This girl only fits in Vijay no brainers. What is she doing in a Kamal padam?
LikeLike
rameshram
January 4, 2011
The financier pulled the plug just about when they went on the cruise ship. The director then said, “boys, Trisha is too pissed off to do major scenes, Kamal cannot come now, because there’s no more money to be had from the producer, so we (the director, the comedians and madhavan) must ear our keep by hamming until the climax, we’ll fix it up and “correct” pannify it later on the editing floor.”
So they all went and took group photos.
LikeLike
rameshram
January 4, 2011
priti,
I like trisha’s kammals, tho.
LikeLike
MumbaiRamki
January 4, 2011
justsomebody: Yes , the on and off image of her we have in our minds and her accent makes us squirm when it is shown that she is interested in Illakiyam. For that matter , apart from Rohini , any heroine is so non-appealing for that . (Rohini – Fantastic actor who is not given good roles . Marupadiyum – chance a ille. !)
LikeLike
bran1gan
January 4, 2011
rameshram: So you’re saying the film should have been be called “Kammal Sey Sambandham?” 🙂
jussomebody/MumbaiRamki: Actually, it’s not so far-fetched. I’m sure there are people who think in English, but are interested in Tamil writing — and though they may not sound like Vairamuthu when they speak, their interest and involvement is no less valid. I hear there’s this (cough, cough) writer who gets branded a Peter even though (cough, cough) he’s a Tamilian and… oh, never mind!
LikeLike
rameshram
January 4, 2011
peteru,
kammal no sambandham.
LikeLike
Gradwolf
January 4, 2011
BR: Now you did a Kamal there^ 😛
LikeLike
jussomebody
January 4, 2011
BR, all that is ok, although I do have my doubts about the writer you talk about 😀 my problem is with Trisha, who can’t seem to do anything convincingly. A wooden and irritating PYT she is.
LikeLike
MumbaiRamki
January 4, 2011
“A wooden and irritating PYT she is.”
Understand why Mambaza manidhan made that comment . Wooden = Kattai …:)))))))))
LikeLike
rameshram
January 4, 2011
” I do have my doubts about the writer you talk about ”
yeah you think he’s an Iyer 😀
LikeLike
rameshram
January 4, 2011
and, priti, don’t knock PYTs. some of my best friends are PYTs.
BR you should make your site more PYT friendly.
LikeLike
Sanjay
January 5, 2011
Kamal wasn’t the first to use cartoons. Although it was done well in Aalavandaan, it had been used before by Oliver Stone in Natural Born Killers. I didn’t mind it at all though. I thought it was put to good use.
I also enjoyed the flash back in reverse song in Manmadhan Ambu. Yes, it was gimmicky, but in a good way, not at all like what Shankar pulls (or tries to) all the time.
LikeLike
Padawan
January 12, 2011
Regarding “Indha ulagathula nermayaa irukkaravangalukkellaam thimiru dhaan veli. – Arrogance is what keeps honest people in check.”
Did he mean it that way or did he mean that Arrogance is what protects honest people…because, I think he followed it up with “illaina maenjuruvaanga” as in people will, otherwise, walk all over the honest people.
Or did I completely get it wrong?
LikeLike
bran1gan
January 13, 2011
Padawan: I think yours is the more accurate translation.
LikeLike