Had the fuss not erupted around Thalaivaa (directed by Vijay, starring Vijay), its contrivances may have come across as just plot-propelling devices – just another name, just another item of clothing, just another occupation, just another Nayakan-derived narrative rejiggered to suit a performer who’s more star than actor. But now that we’ve been made pointedly aware of the politics in the narrative, things assume entertaining implications. The hero Vishwa (a low-key Vijay) is the son of a beloved leader – a benevolent don in Mumbai– named Anna (Sathyaraj), who’s seen, first, in a red shirt. And he’s in Sydney, where he runs a mineral water business. The reason for this particular profession becomes quickly evident when someone makes a reference to the water problems in our state. “Thamizhnaattukke thanni kondu vara mudiyale. Neenga Australia-kku kondu vandhutteenga.” And yet another mass hero seems to be making a bid to become a hero of the masses.
It isn’t just the local problems. Vijay… sorry, Vishwa takes on national issues too, like the sectarian demand that Mumbai is for Maharashtrians. Vishwa lives in a ghetto that’s a microcosm of the country – it’s populated by people speaking various languages, and following various faiths. This allows him to make “we are all Indians”-type declarations. And this binds them to him – so much so that when one of them betrays him, the act is avenged by one of the betrayer’s own kin. Vishwa even has the police in his pocket. By the end, an ambitious officer opts to quit the force and perform domestic chores for the hero’s household. Thalaivaa is one of those films whose subtext is more fascinating than the actual narrative, which, early on, wastes a lot of time on frivolities.
After a dramatic start, the film – which is about the transformation of a callow youth into, well, a thalaivaa – slows down. There’s a depressingly “poetic” heroine-introduction scene that features a butterfly. (She’s Meera, played by Amala Paul.) There’s some tired comedy involving a lousy cook and a series of overage suitors for Meera. There’s a dance competition and its attendant choreographic interludes. The best development in these early portions is that Santhanam, as Vishwa’s friend, falls for Meera – this gives rise to cheerful one-liners. The biggest joke, for me, however, came during the opening credits, where the names of cast and crew appear over pictures of famous leaders from around the world. We see “Lincon,” Marx, Gandhi, Lenin and Ho Chi Minh, who’s referred to, mass-hero style, as “Vietnam Vedi.” But that’s not the joke, which came about when a picture of Churchill flashed on screen. Someone from behind yelled, “Dei, thatha.” So much for the loftiness behind the concept.
But once Vishwa comes to Mumbai, the film takes off. As always, a giant what-if hangs over the proceedings. What if the powerful moments in the script – the twists, the transformations (like Vishwa learning what it’s like to be a killer) – had been staged more dramatically? What if the back-and-forth portions of the narrative, where we go back in time to see what really happened, had been assembled with more inventiveness? What if the villain Bhima (Abhimanyu Singh) had been a more powerful, more menacing presence?
But the director gets a lot of things right. It may sound strange saying this in the context of a film that features Vijay (and therefore is never going to be subjected to much scrutiny even if a drug-dealing Martian made his entrance midway) – but this film has been made with some integrity, with respect for the story being told (and, to some extent, the audience too). After Vishwa’s transformation, he’s rarely shown smiling. Even when Santhanam makes a re-entry, there is no joyous reunion. Even after the heroine is separated from the hero for a while, there are no “dream songs.” (Even the sole instance of his dreaming of her is instigated when he loses grip on reality after glasses of bhang during Shivaratri.) And even the presence of a second heroine isn’t allowed to add too much colour to Vishwa’s life.
These may seem like small things, but they add up – and they make the case that a movie choosing to operate in the masala mode isn’t always banished from the realm of logic (or if that’s too big a word, then just plain good sense). The film’s best stretch centers on one such masala moment, with cross-cut tension around a missing tape that both Vishwa and Bhima are after. Where Nayakan was a hero-versus-the-Establishment saga, epic in scope, Thalaivaa, for the most part, confines itself to a hero-versus-villain template. And this makes it palatable to today’s “Dei, thatha” audience, who seem to squirm at the slightest sign of ambition. Could the film have been shorter? Sure. But let’s be grateful that that’s the only major complaint. At least, we’re not left with a don dancing in the Alps.
An edited version of this piece can be found here.
Copyright ©2013 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Kaushik Frankenstein
August 24, 2013
this is certainly a.l.vijay’s best.a much more mature attempt than dt,thaandavam,madraspattinam
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Rajeev
August 24, 2013
Personally , I felt that the romance between the two leads needed to be fleshed out more…..convincingly . Had Amala Paul been saddled with just another heroine character , like that of Kajal Aggarwal’s in ” Thuppakki ” , then it really wouldn’t have mattered that much . But given how pivotal Amala Paul’s role is in this film , surely a little bit of zing wouldn’t have hurt .
My biggest problem with the film , however , was the listlessness of the leading man . As you rightly point out , Vijay is someone who’s more of astar than an actor . But I couldn’t help but wonder as to what someone like a Dhanush or Vikram or Suriya would’ve accomplished with a role like this . This part needed to played by someone who could get us inside Vishwa’s head . Not someone who exudes non – chalance and listlessness .
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Pradip
August 24, 2013
What does Dei, thatha mean? I am curious
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rajeevsid
August 24, 2013
” even if a drug dealing Martian ..” LOL.. Had me in splits !!
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Jeeva Pitchaimani
August 24, 2013
Hi Rangan, Being your fan for long , I am really disappointed wit this review.A film that had very less imagination and imitates old Tamil Don movies(and even Puthiya Paravai) and fails miserably to emulate for most part, trying too hard to be serious with eleventh hour twists which look too outrageous to surprise you, cannot become a better masala movie even if it ,unwittingly breaks certain stereotypes. I am not sure whether you have lowered the bar for analysing Tamil movies nowadays, I am seriously disappointed.
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oneWithTheH
August 24, 2013
Rangan, now that’s the second Vijay movie in a row that you have come to “accept”.
There is some “suaveness” about his movies oflate. I haven’t watched this one yet and mostly won’t. I cannot condone a movie that requires 3+ hours to tell a story, unless they tell something yet untold, in which case it’d be so engrossing that I would probably not even notice the length aspect. But 3 hours for a middling fare, are you kidding me? I didn’t watch BMB for the same reason.
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Partha
August 25, 2013
“dei thatha” audience…haahaa….hilarious indeed, but arent we being way to supercillious?
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Mambazha Manidhan 2.0
August 25, 2013
“.. who seem to squirm at the slightest sign of ambition. “
Super review. And, Devar Magan. Another film that Vijay shamelessly rips off.
“But 3 hours for a middling fare, are you kidding me? I didn’t watch BMB for the same reason.”
The length is justified because unlike say Thupakki, the story here starts only in the second half. If the second half fizzles out with songs and very few plot points, there is no movie.
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VaruthapadaathaVaaliban
August 25, 2013
“Thamizhnaattukke thanni kondu vara mudiyale. Neenga Australia-kku kondu vandhutteenga.”
Channeling Goundamani… Aaga, motta thalaikkum, mozham kaalukkum mudichchu pottutaarungO?
Lin..con??? Typographic vandalism ?! (the real one involved green paint) 🙂
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Anuja
August 25, 2013
This review is too kind… And it is strange that you believe AL Vijay showed integrity while making this snooze fest. Definitely not the word I would have used for this 3 hours too long flick. So what if the beleaguered editor snipped out the duet in the Alps? So what if Vijay did away with grinning on Vijay’s advice? What is the point of it all if you can’t be bothered with the screenplay or creating convincing characters or coming up with even the simulacrum of a decent script?
And say what you want but it is criminal to sucker Sathyaraj into being a part of a film where he is told he gets to play a Don Corleone only to make him don an ill – fitting wig for a lousy back story and off him almost immediately after using him to extract odious appa sentiment.
Finally, it is so unfair to call Vijay a performer who is more of a star than an actor, especially since he was the only good thing about Thalaivaa. Actually he is the only good thing in almost all his films since he is a performer par excellence. I think it is better to be a Rajini or a Vijay stuck in the star not actor category as opposed to the likes of Kamal, Vikram, Dhanush, Surya who supposedly belong in the real actor category which mostly sees them do what BR calls the Look Ma I am Acting Shtick!
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Kutty
August 25, 2013
Are we beginning to see a new version of BR who is more politically correct and less inclined to diss at movies (barring Issaq, which was an epic review)? Or is there finally a divergence in views? The review for Mariyaan seemed kinder than the movie deserved and then this!! This movie was an unintended laugh riot – the best part of the movie was that it reminded you of so many brilliant movies from the past (Nayagan, Devar Magan, Punnagai Mannan and more). Me and my friend had a good time picking out the characters from the old movies on which the characters in this movie was based on. At one stage, when Santhanam gets back to India, we even decided that he was the Gouthami from Devar Magan. That’s how silly this movie was.
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Yadavaram
August 25, 2013
Movie is really great, second half is damn mind blowing.People can’t neglect this film.All are said its copied from nayagan, even nayagan was copied from Marlon Brando’s “The Godfather”[1976].Good family entertainment film. Vijay performance was good no punch dialogues, no high pitch voice, no superman stunts his role is simply awesome.Compare to a recent blocbuster film which came in sequel thalaiva is1000 times better.
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Sid (@Tweet2Sid)
August 26, 2013
I agree with BR about the things the film (or its director) gets right.
Maybe if the film had better music (songs and background score) the film’s length may not seem to be a problem? I’m not sure, but except for Vaanganna I didn’t find the songs worth watching. Thamizh Pasanga song looked well choreographed but no great music there!
Then, about the similarities.. I wonder why did they have to make it look so obvious in certain places.. There were many scenes to remind the audience of other films..!
I felt almost relieved when Vishwa didn’t wear an attire similar to his father, but then they did it by the time the movie ended… and it looked ridiculous (we get reminded of Devar Magan) And, Santhanam in that particular scene did remind me of Gowthami from Devar Magan… ha ha!
That revelation about the true identity of Amala Paul’s Meera and her dad (?!).. Pudhiya Paravai.. anyone? or is it just me?
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Sid (@Tweet2Sid)
August 26, 2013
By the way.. I meant Santhanam in the scene where he says to Vijay: …moththamaa maari poyi vera aaLaa nikkura..!
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Sabari Sridhar O T
August 26, 2013
“Thalaivaa” has all the ingredients of a typical Vijay movie albeit refined by the subtlety which is director Vijay’s forte.Director Vijay’s movie all run at a pace that is not considered desirable for a commercial movie. Yet he has reaped success with that approach and here too he applies the same. Moreover who has defined rules that a commercial format movie should move at a break-neck speed. If the screenplay is engaging enough who cares about the length or the speed.
Director Vijay has always been criticized for not being original with his scripts so far. Even here it is no different but at-least here he acknowledges the fact right at the beginning.
Vijay continues with his new found maturity and subtlety in his acting that is evident after “Sura”. He has good scope to perform and he has done his job to perfection. Currently there is no one in Tamil cinema who can better him in the comical as well as the dance sequences which he reaffirms in “Thalaivaa” too. His emotive skills have become better. In couple of scenes he has done extremely well. One the pre-interval sequence right from the time he along with Sathyaraj enters the hotel room where Suresh and Amala Paul are staying. The other one is the tit-for-tat game that he plays with the Villain towards the end. Though there is enough scope for over-the-top ostentatious heroism in that sequence (which Vijay of old would have certainly attempted) he has done it in a restrained manner with tinge of sarcasm typical of him. Also his new-found proficiency in the variation in dialogue delivery and modulation is put to great use this time too.
In director Vijay’s movie invariably the heroine roles are strong and would have enough scope for them to perform. Here too Amala Paul has a significant role to play with at certain places she even becomes the saviour of the hero (which is again a refreshing change in a Vijay movie for not many of his contemporaries have done it in their movies in the recent past nor in previous movies of Vijay himself). She manages to match Vijay with her footwork in the dance sequences.
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Arijit
August 26, 2013
“At least, we’re not left with a don dancing in the Alps.”
This one was mind blowing…so that is what our expectation from films has settled to…small mercies…
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Shankar
August 26, 2013
I’ll say this…Thalaivaa was way better than Singham-2. That one wasn’t even a snooze-fest with all the blaring and shrieking going on. The characters were ill developed as well. So, this one does get some things right, as you pointed out especially in terms of defining the characters and giving them reasonable parts to play. That said, I thought it was the direction that was the laziest! the twist in the middle did catch me unawares but the second one seemed forced. There seemed to be so many clichés (some of which you pointed out)…hero introduction, heroine introduction, second heroine section etc. In the masala format, given these are intrinsic, they could have been done with some imagination. I also felt the music was really underwhelming (songs especially) though I didn’t feel it as much with the bgm this time (unlike other GVP films).
Also, personally, I found it had to accept Vijay saddled with a dance competitor image in the portions in Australia. Maybe it’s because his last few movies have seen him play slightly mature roles (Thuppaki was a good ride!) and this turn into a happy-go-lucky character (initially) just didn’t seem right. I was almost dreading that he might break into a “aye, unnaithane” routine ala Kamal! 🙂 I think Ajith has walked into that conundrum, given his mature portrayals of late…and Vijay might be getting there as well.
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venkatesh
August 27, 2013
Haven’t seen the film – might see it based on the review – but if Vijay is playing “mature” roles then i think its time to start taking him seriously.
He is a good performer saddled with the “star” tag.
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brangan
August 27, 2013
The range of opinions, expressed in the comments section, about Vijay’s thesping talents is truly… amazing 🙂
Rajeev: Yup, given the length of the film, a scene or two reflecting the present state of the hero-heroine relationship would have been welcome — though I guess there was a bit of that in that song.
Pradip: Hey grandpa!
Jeeva Pitchaimani: I didn’t have a problem with the “appropriations” in “Barfi,” and I don’t have a problem with the “inspirations” here.
And I don’t think I’ve “lowered the bar” or any such thing (even if your bar and my bar for these things may be set at different heights). This is a genre called “big star masala” — yes, that comes with its own conventions, that are different from the ones that kick in when the same story is handled with a smaller star or an “actor” — and the comparison for this kind of film isn’t “Nayakan” or “Thevar Magan” but “Singam 2” and “Sura.” I was pleasantly surprised.
Partha: But I am an elitist, didn’t you know? 🙂
Anuja: “Actually he is the only good thing in almost all his films since he is a performer par excellence.”
Um… okay!
Kutty: we even decided that he was the Gouthami from Devar Magan
ROFL!
Arijit: I would say that the evaluation of the typical “big star masala” involves the enumeration of small mercies for a lot of the time.
Shankar: I was almost dreading that he might break into a “aye, unnaithane” routine ala Kamal!
Suddenly, you’ve reminded me of watching “Kaadhal Parisu” in Devi Paradise, hating it, and then going back for a second screening because it’s a Kamal movie 🙂
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Jeeva Pitchaimani
August 27, 2013
Hi Rangan, Thanks for your reply.You have admitted indirectly that you have lowered the bar by evaluating the film based on lesser films like Singam 2 and Sura. As you would be knowing, we have plenty of films like Baasha, Dhool ,Mudhalvan,etc which are quintessential masala films with lot of imagination and conviction required for the genre ,and evaluating this movie without scaling them up against these films, looks to me , like an act of a sympathetic teacher correcting an answersheet of a slow learner showering him with marks based on his previous performances rather than doing it without prejudice and bias. To be frank, your reviews were better and spontaneous when they were far and few as in the past.
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vijay
August 27, 2013
“The range of opinions, expressed in the comments section, about Vijay’s thesping talents is truly… amazing”
I think some here are exhibiting the forcibly acquired taste syndrome or the stockholm syndrome. After all Vijay has survived 20 years in the industry, with atleast 18 of them being eminently forgettable.
A few more movies with Santhanam and you might also be gushing over his comic talents 🙂
Thankfully I haven’t let this syndrome make me fall prey to Harris Jabaraj’s music yet.
which was worse? Kaadhal parisu or per sollum pillai? Tough one to pick. I’ll go with the latter as the former atleast had a couple of hummable songs, besides both Radha and Ambika together for perhaps the final time 🙂
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brangan
August 28, 2013
Jeeva Pitchaimani: First of all, the job of a reviewer is NOT to deliver a treatise that’s free of, as you put it, “prejudice and bias.” That can and will never happen, even if the reviewer (or his readers) are deluded enough to think it does.
Secondly, we’re just coming at the movie from different ends. You’re saying that this is not as good as “Dhool” and “Baasha,” and I’m saying that this film is not trash like “Singam 2” but at the same time could have been better. Either way, we’re arriving at the not-bad range of verdict.
I don’t think anyone’s claiming this is some kind of great movie.
vijay: I still think Harris Jayaraj was the best collaborator Gautham Menon got. “Minnale” still sounds fresh, and “Anal mele pani thuli” (though writing that out in English sounds plain wrong 🙂 ) is a song for the ages — so sweet, simple, soulful. There’s a difference between saying HJ is a genius and makes imperishable music, and saying that he has a narrow range but within that range he makes some nice music. (Emphasis on “nice,” as opposed to “genre-defining” or “rule-breaking” or whatever qualifier defines the work of a supposedly “real” musician).
See, your evaluation of “Kaadhal Parisu” over “Per Sollum Pillai” is exactly what I’ve done in this review… At least it had (a), (b), (c), etc.
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Shankar
August 28, 2013
@vijay, I thought you’d say your reason to pick Kadhal Parisu would be something like Kamal flicking roses into Radha’s navel while she is sprawled on a red, round revolving bed!! 🙂 Just kidding!! It was a terrible movie but as you say it had hummable songs. I love the bass lines in that “kadhal maharani” song.
With regard to Per Sollum Pillai, which I haven’t seen, I’m still amazed that Kamal actually pulled off the “ammamma” sound despite getting his vocal chords maxed out by the tune.
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Shankar
August 28, 2013
“ammamma” song not sound from Per Sollum Pillai as mistakenly typed in my previous comment. Baddy, please correct. Thanks.
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MANK
August 28, 2013
Dear Mr. Rangan
I have been reading your articles for almost 8 years now and i want to say that i have never had enough of them. I don’t think that the quality of your articles have gone down and you should turn in as many articles you can as i most eagerly anticipate them every week. you are somebody who has your own unique ‘voice’ among reviewers like say A.R. Rahman in music. It might not please everybody as i myself has picked issues with you on your views on movies and actors but nevertheless hearing your views and the language you uses to express them are always refreshing and exhilarating. So keep up your good work and dont let some negative voices(at least definitely not on a review of a Vijay film) break your spirit and get you all worked up as it appears from your reply.
apropos to your view on Harris Jayaraj, i do agree with them but i was talking with a friend of mine about his songs and he was saying that some of his tunes are direct lifts of certain English songs (not even just inspirations )with examples. I am not so well versed in the English songs he mentioned so i wouldn’t know. i would like to hear your views on this
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venkatesh
August 28, 2013
BR : Its “Annal mele pani thuli” BTW 🙂
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vijay
August 29, 2013
“I still think Harris Jayaraj was the best collaborator Gautham Menon got. ”
maybe thats because of the number of “hit” movies they worked together. Just 2 songs from Vinnaithaandi varuvaaya is enough for me to topple anything HJ did for GVM. For that matter IR’s NEPV, a couple of songs from it, esp. the female solos would score over most of what HJ did earlier. But then I am of the opinion that GVM’s films don’t deserve any better than HJ as well 🙂
I liked Minnale and Majnu as well when they came out but then at that time little did I realize that the MD in question would go on to churn out endless variations of those same tunes.
Narrow range isn’t as much a deal-breaker for me(after all when you listen to your favourite rock group’s collection, you know all the songs are more or less going to fall in the same genre and have the same feel/sensibilities), and am certainly not expecting HJ to score for a full blown classical soundtrack. But what irks is the repetition, the deja vu feeling his songs often bring out.His tunes and meters are often extensions of each other. Yuvan was actually much more interesting for a while in the mid-2000s during the Pattiyal-Pudhupettai-Kanda naal mudhal phase.
Irandam Ulagam is by HJ BTW. Not sure if Selva could have lit a fire under HJ there
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brangan
August 29, 2013
MANK: Thank you, but that was not me getting worked up. Merely having an exchange of views with a poster. For worked up, you should go back to some of the older posts 🙂
And I;m not familiar enough with the latest pop to know what’s been filched etc., though I’ve heard “June ponaal…” is a major lift.
vijay: But then I am of the opinion that GVM’s films don’t deserve any better than HJ as well…
LOL, see I just knew you’d say this 🙂
I agree. HJ cannot do an “Aaromale” or a “Sattru munbu…” But I don’t know that these songs would “score over” what HJ did earlier, in the context of those films. Sometimes, a light/pleasant song is all that’s needed.
Shankar: That song is from PSP only pa:
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Sid (@Tweet2Sid)
August 29, 2013
About HJ…
It’s not just his songs, but I could sense the repetition being there in background score of his films as well. One does not have to look keen into it, sometimes it’s so obvious.
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Shankar
August 29, 2013
Baddy, I do know that the song is form PSP…I was just saying I mistakenly typed “sound” instead of “song” in that previous comment! That’s all 🙂
@vijay, I have listened to Irandam Ulagam a few times and it doesn’t seem to me that Selva lit any fires under HJ. Pretty much, it’s the same old treatment and deja vu feeling. It’s pleasant and all…but nothing more. Maybe he needs to get back with Yuvan to have a good score again. Then again, I won’t be surprised if he teams up with his family fav Anirudh.
Since we are discussing music here, I did like couple of tracks from Biriyani…the jack swing version especially. I can see it become an addictive hit. Also, I was pleasantly surprised by Karthi’s singing…even if the sample size was small, thought he did better than the current heroes who are prone (pretend) to sing.
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Shankar
August 29, 2013
@vijay, BTW, Kalvane from Megha is terrific. I know you haven’t been a fan of IR in the past few years, but this track is amazing with superb arrangement and thankfully, real singers crooning it 🙂
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venkatesh
August 30, 2013
BR : Thanks for that clip. Great to see that. Sometimes you forget how physical a performer Kamal was in his “prime”.
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oneWithTheH
August 30, 2013
“But what irks is the repetition, the deja vu feeling his songs often bring out.”
Sometimes I get bored with it too. But most of the times it works for me, the reason being that they make for a pleasing hearing or as Rangan put it – “a light/pleasant song”. I think somewhere over time I have come to accept him for that. That IS his forte. Also, I think a big reason for the pleasantness is that his mixing/arrangement/sound engineering(whatever these mean!) produces output of the highest digital quality. Be it my car stereo, earphones or my 5.1 speakers – his songs make for fabulous listening purely for the sound quality.
And it’s not that the guy chews out the same stuff everytime – “thottijaya” is an underrated album(I guess because the movie tanked?) and one of my favorites of his. “Force”(though he reused some of his earlier numbers, the new ones are exceedingly good as well) too. I can’t get enough of “Chahoon Bhi”. Oflate, “kaal mulaitha poove” from Maattraan comes to mind, when I think of “different”.
And there is really no answer to whether his repetitiveness comes from the director’s insistence or if he doesn’t push himself more or both. We can only speculate. I spotted atleast 2 or 3 portions in Irandam Ulagam’s songs that are lifted from his earlier scores but overall the album is a decent effort, IMO. What might Selva have felt about the repetitions – maybe he didn’t realize, didn’t care or he knew about them but felt they went well with the overall output or maybe he muttered to himself “ivan thirundhave maatana?” 🙂
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Madan
August 30, 2013
Aaromale goes right past me for some reason. I just hear a very generic country type song with some chanting imposed on it. I liked Endhiran score more than VTV…maybe I am a ARR fan who can’t move on from the 90s.
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Rajeev
August 31, 2013
@brangan – Thank you for the response , Sir . And yes , while there was a bit of it in that song , I didn’t find myself caring much for the leads’ romance . It was nice , for a change , to see a heroine empowered ( for the lack of a more appropriate word ) with a relatively meaty role ( with regard to what we normally see in Tamil cinema ) . But the chemistry between her and the leading man was so underdeveloped that the pre – interval twist , and the portions that succeeded them , sorely lacked that magical ” oomph ” that would’ve done the film a world of good .
For this film’s romance to work , it needed to be infused with a little more subtlety . It needed to be handled with a little more finesse . But I guess expecting something like that from a mainstream film , let alone a Vijay film , is like heading over to KFC and asking for a fresh vegan wrap . 😀
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Sid (@Tweet2Sid)
August 31, 2013
@Venkatesh –
“annal” can be perceived as அன்னல் / அண்ணல்
@BR –
I think it’s best to use the tamil script for the whole phrase: அனல் மேலே பனித்துளி
😀
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Suresh Kanna (@AhSuresh)
August 31, 2013
@brangan: Anna, I love your review. But in thalaivaa case, i somehow feel it is overrated. Nayagan, Sarkar, Baadshah, Devar magan = Thalaivaa in my opinion. Don’t you the feel the same is my question.. Better they could have decently said it is a remake of Nayagan..
Lets come to music, as far my opinion they are few combos which is best always..
Manirathnam – A R Rahman
Shankar – A R Rahman
Selvaraghavan – Yuvan Shankar Raja
Gautham Vasudev Menon – Harris Jayaraj
Sad to see Selva & Yuvan not working, after a misunderstanding happened in “Aayirathil Oruvan”. Later GV Prakash replaced Yuvan in “Aayirathil Oruvan”. But Yuvan is the only composer who gave life to Selvaraghavan Movie..”Thulluvatho Ilamai, Kadhal Kondean, 7G Rainbow Colony & the classic U1’s best till date Pudhupettai. Harris did a good job in “Irandam Ulagam” but he cant touch what Yuvan did for Selvaraghavan. Hope Selva soon works with Yuvan again.
The same happened between Gautham menon & Harris Jayaraj. Harris gives his best to Gautham, rather can say that Gautham extracts the best from Harris. It looks Gautham not going to work with Harris again, as he settles with Mozart of Madras ” A R Rahman”.
But as a music lover, I love to see Selva-Yuvan & Gautham-Harris combo soon. It will be a treat to all music lovers.
Thank You.
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Honest Raj (formerly 'V'enkatesh)
March 13, 2017
‘Lincon’ – Even Vadivelu’s Aapraham Lingan couldn’t help Vijay?
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