The protagonist of Thanga Meenkal, Kalyani (the director Ram), is very much like Prabhakar, the protagonist of Ram’s earlier film, Kattradhu Thamizh. It isn’t just the beard and the glasses and the slightly crackpot air about the character (who looks like the kind of guy who’ll approach you for directions and then, for no reason, stab you in the stomach, smiling all the time) – but also the cussedness, the refusal to listen to good sense and lead a peaceful (if compromised) life, preferring, instead, to lock oneself up in an ivory tower of misplaced idealism. Kalyani and Prabhakar, in a way, are like the films they are in, practically daring us to love them (or, frankly, find anything even likeable about them) – and as with Prabhakar, I found myself with very little patience for Kalyani’s self-inflicted travails and profound sympathy for the people around him, the victims of his moods and eccentricities.
I felt sorry for Kalyani’s father (‘Poo’ Ramu), a retired schoolteacher who has to keep providing for his son’s family, and also has to stand in as proxy father for his developmentally challenged granddaughter (Chellamma, played by Sadhana, who’s directed to give a wide-eyed, over-emphatic performance). He, not Kalyani, is the one who ends up pleading with the headmaster of Chellamma’s expensive private school when she flunks her exams. I felt sorry for Stella Miss (Lizzy), a harsh-tongued teacher who isn’t paid nearly enough to compensate for the overflowing classrooms and for being yelled at by irate parents. (To Ram’s credit, he lends his characters these grace notes, otherwise we may have ended up thinking that Stella Miss is this story’s villain.) Most of all, I felt sorry for Kalyani’s wife Vadivu (Shelly Kishore), who must surely be ruing the day she chose to elope with this man.
In a story widely publicized as one about a father and a daughter, you’d think that they would walk away with the plum scenes – but the film’s most poignant moment belongs to Vadivu. After a squabble with her mother-in-law (Rohini), she waits outside for Kalyani to return, and when he does she asks him, “Konjam velila koottittu poreengala?” All she wants, at that moment, is to escape these surroundings in which she’s confined all day. She wants to step out, and it doesn’t occur to her that she could have gone for a walk on her own. In another beautiful moment, when Kalyani is away in Cochin, she calls him from a public phone and as her voice rises with emotion, she catches herself in time, becoming aware that the person manning the store may be eavesdropping on her distress. At one point, Kalyani tells her that they’re no longer husband and wife, and that their only interaction thereon will be as Chellamma’s parents – and you feel terrible for her plight, caught between a daughter who’s described in generic terms as mandham, dull-witted, and a husband who sometimes seems as much a child. Ram is so invested in the relationship between father and daughter that we never learn if things are ever back to normal between husband and wife. This lack of closure seemed, to me, especially sadistic.
You could argue that this orneriness is precisely the point, that Ram’s protagonists are meant to challenge our preconceived notions of a lead character whom we at least sympathise with, if not empathise. You could argue that this is how someone snaps when he just can’t seem to catch a break and when life has pushed him into a corner. But it’s hard to shake off the feeling that Kalyani has pushed himself into this corner. At first, we see that he took up his job as a silver polisher because the flexible hours give him more time to attend to his daughter, but soon we see that it’s because his face gets coated with a patina of silver and this delights his daughter. (Silverface, she calls him.) And later, he pretends to be Santa. You get the feeling that he’d rather be a child, along with her, instead of growing up, being a man, and facing problems in a more practical fashion. (This infantilism was evident in Prabhakar too.) I wanted to applaud when an exasperated Vadivu tells Chellamma that it’s not really Santa but her father. Someone has to be a grown-up.
And even when Kalyani grows up, so to speak, and takes up a more remunerative job in Cochin, he never really escapes that ivory tower. In the film’s most jaw-droppingly awful contrivance, he traipses across mountains in search of a “rainmaking device” belonging to tribals – so that he will get the money to buy Chellamma the “Vodafone pup” she so wants. Ram wielded a bludgeon while depicting an aggressive form of chauvinism in Kattradhu Thamizh, and he wields the same bludgeon here, depicting an aggressive form of cuteness and whimsy. (You know what you’re in for when, in a song sequence early on, father and daughter catch the moon from the sky, play ball with it, and toss it back into the sky. Actually, you know what you’re in for the minute you register that title, with its twinkling metaphor.)
As in Kattradhu Thamizh, Ram goes all out to paint his protagonist a victim. He asks a friend for money to pay Chellamma’s school fees, and this friend mocks him as soon as he leaves (he doesn’t really leave, though, for how would we be manipulated if he weren’t around to listen to this mockery?). And later, when this friend fishes through his purse for a slip containing a job contact, we’re pointedly shown the thousand-rupee notes that he’s not giving Kalyani – and this allows Kalyani to make an observation about rich people. And software people, settled in Australia. And classrooms that make students dance to songs by the pop group Aqua while there are other kids playing homespun games that involve Tamil chants. And no, Kalyani doesn’t speak much English, and for money, he has to approach people who speak English and even French. (There’s surely some sort of irony in this film being produced by Gautham Vasudev Menon.)
And with all this, Chellamma never really develops into a flesh-and-blood character. It’s an interesting choice to not do what Taare Zameen Par did. The parents here are worried about their daughter being mandham, but they don’t seek to address this in any special way. And that is how it surely is in many households, where people just don’t know that something like dyslexia (if that is what this is) exists and that there are ways to get around it. But this makes the message at the end, about the importance of teachers, sound phony and tacked on. We’ve seen teachers being impatient with Chellamma but we’ve not seen her bloom under the eye of Evita Miss (Padmapriya, who has a baffling scene where she appears to be the victim of domestic abuse… or not). These portions as so hurried as to seem an afterthought, as if Ram realised that he’d better stop focusing on himself and get back to his daughter.
It would be easier if Ram made lazier films. He clearly thinks about what he’s doing, how he’s shaping his material. There are unusual point-of-view shots – in one from Stella Miss’s vantage, we see her necklace dangling in front of us. The sounds of transport – trains, planes, even a cargo liner – become a leitmotif. (Why, I haven’t been able to figure out.) And given the delightful scenes with Chellamma’s friend Nityashree (Sanjana), Ram does know how to write for children. There’s a sweet little scene where the two girls, on opposite sides of a window, talk about a fantasy life where Stella Miss is marched away by the police. But these stray stretches are undone by the director’s aggressiveness. He cannot make a reference to a cuckoo without noting its tendency to live in the nests of other birds, and then having Chellamma remark that they are like cuckoos because… they live in her grandfather’s house. That poor old man.
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.
Anita
August 31, 2013
You implied fishes as a verb and not a noun ?
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Kaushik Frankenstein
August 31, 2013
but you did’nt write about katrathu tamizh.did u? that’s such a great movie.
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Annamalai
August 31, 2013
Just skimmed through and found enough words and phrases on your judgmentalism, urban/western sensibilities conformism and a shrunk heart. For reading in detail, would spoil the dream experience I have had watching this gem.
Actually they say – karuththai, karuthaal sandai idu. For people like you, definitely that level of argumentative tolerance would totally be undeserving off. Especially after so many of these instances.
When its Kattradhu Thamizh, Aadukalam, Vazhakku Enn and now Thanga Meengal, automatically, your urban elite self would coin phrases like “them Vs us”, “too rugged to warrant my patience”, bla, bla, et al and you safely sit in your haven with a shrunk heart and continue to expertly criticize gems and artists and auteurs. Probably, connecting all these dots, you should get a picture of yourself (“konjam rustic, rural, tamil milieu films-naa brangan aagiya naan, scene pottu criticize pannanum. yennaa urban dhaan weightu, western dhaan scene-u. also throw in few bits of tamil rural milieu bits which you have liked and try to make it look all neutral and even. its just sophisticated hypocrisy or conformism of a higher order.) If that doesn’t help, have a look at yourself in the mirror. If still you need some help, here it is from me – “you dont have a big enough heart to appreciate life and art.” (yes thats my personal remark/judgementalism. and now, dont as usual mistake this for a lack of analysis/left brain/cerebral stuff. I or people like me, can spend 8-10 hours or more just using our left brains and arguing with you, why some of these films are real good. Also, dont think am a arivaal culture pilms fanboy, I can give a long list of urban/westerners which I love as well. I almost semi-worship Mani Ratnam as well, though I have never been ‘in any conversations’ with him.)
Lastly, you are too small to understand an auteur.
I have given your blog a longer run than it deserved. Bye forever. Wish you a happy life with your shrunk heart. I dont care if you publish this or not.
And, hey am not an anonymous fanboy (another 1 of your weaaaak counters).
I am Annamalai (annamalai1111@gmail.com).
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Sakkaravarthi Kaliannan
August 31, 2013
Just finished watching the movie, and loved the movie. Though I am also confused of Padmapriya’s entry, it did show signs of domestic abuse(or it didn’t). Anyway I have to disagree when you say that Prabakhar was painted as a victim when in fact he was portrayed as a psycopath misunderstood as a victim. Ram could have toned down the “observations” on “the others”.
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Sabari Sridhar O T
August 31, 2013
Dear Rangan, My views on this movie (written yesterday night):
There was more than flashes of Ram’s narcissistic tendencies in his debut movie “Kattrathu Tamil”. He seems to be more than passionate bordering on obsessive and psychotic in certain issues that seems to interest him. The economic disparity is one and breaking off the societal expectations and norms is another. In his second outing, the long delayed “Thanga Meenkal” these tendencies are most prominent that it revulses you after a point. Watching the movie one gets a feeling that Ram is on a mission to tie up and gag the viewers and foist on them forcibly all that he is passionate about including the almost psychotic love that dad of his story have on his daughter.
The protagonist is a school drop-out, not that he is prodigy or a artistic person who comes out of the school to follow his passion. He drops out because he marries his plus2 class mate and lives his life on the shadows of his well-to-do parents. He changes jobs frequently and finally tries to settle on a job only because there he need not go at fixed time and can roam around with his daughter whenever she wants to.
He pampers his daughter so much that he can go to extreme extents to fulfill her smallest of wishes all in the name of love that father has on his daughter. This is a sure shot path towards her becoming a spoilt brat when she grows up.Though he tries to justify that when his close kith and kin tries to instill some sense in him that his daughter would not ask him things he will not affordable to.
Except Ram all other characters are sensible and practical. Be it Ram’s wife or father or sister, everyone seems to be sensible but when Ram gets angry on them and mouth “FOR THE FRONT-BENCHERS” kind of dialogues you wish someone gives a nice kick on his back and bring him to senses or may be he must be admitted for therapy to deal with all those cognitive distortions.
Another sore point is the manner they have portrayed the teachers and schools. Though the idea is laudable, trying to showcase how private schools are run with business motive, all those scenes are plain theatrical straight out of amateur drama stages. Especially the teachers characterization are all down right silly. That is what exactly the problem with this movie. There are quiet a few astounding scenes interspersed with quiet a few plain ordinary ones.
One of the brilliantly written scene is when Chellamma engages in a conversation with her friend Nithyashree where she explains how intelligent she is. Especially the maths and the grandfather’s reaction to smoking of her dad and uncle are outstanding moments. But when she avoids studying and performs poorly she gets into one’s nerves. It is not that she is dyslexic or having some learning disability, she is plain lazy and spoilt by all the pampering she gets at home.
Of all the actors the one who is the most causal and spontaneous wowing the audience with her charming presence is Baby Sanjana as Chellama’s friend Nithyashree.
On the whole, “Thanga Meenkal” is for those who can get exploited easily emotionally. For the thinking lot who use rational sense in analyzing what is being shown it is an futile attempt of “How a father should not raise his daughter”.
Excerpts from my review on my blog. Sorry if it is too long.
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Harish S Ram
September 1, 2013
there is some unwritten rule in film reviewing about focusing only on the given product right?
anyway i wouldn’t care even if such a thing existed, for this approach is more than justifiable for the point you have set out to convey.
On a different note what stopped you from being intrigued by the film regardless of the conflicting and contrived ideologies it encompasses? I haven’t seen thanga meengal, but wrt Katradhu tamizh i thoroughly enjoyed the way the film was staged even though i couldn’t digest the philosophy it projected. Isn’t Selvaraghavan doing the same mistake? I feel the agendas or the ulterior motives of the leads in a selva film dont have any consistency and are used only to serve the purpose of projecting selva’s constricted opinion on the characters.
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Prashanth (@WothaDei)
September 1, 2013
I am kicking myself for not mentioning the delightful, little Nithyashree in my review. The kid who played that part gave a much better performance than Sadhana.
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brangan
September 1, 2013
Anita: No, noun. Prabhakar and Kalyani. Different species, same type of creature.
Kaushik Frankenstein: I didn’t like that film either, and I wrote about it here.
Annamalai: Thank you reading this far, despite what seems to have been obvious conflicts of interest. Hope you find a reviewer more in sync with your views.
Sakkaravarthi Kaliannan: I didn’t get psychopath, here. Psychotic? Maybe 🙂
Sabari Sridhar O T Thanga Meenkal is for those who can get exploited easily emotionally.
Hmmm… I am pretty susceptible to emotional manipulation and this film did nothing for me. In fact, I don’t have a problem with a film being manipulative — the intent to engineer a scene to bring about a particular response is not at all a bad thing. It only becomes a problem when the filmmaker jumps on you and screams “laugh,” “cry” etc.
Harish S Ram: I am focusing on the given product, no? The director’s previous film comes up because this seems almost like a sequel.
And I *was* intrigued by the film. I wrote so much about it. Had the film not interested me at some level, I would have written a couple of paras and been done with it. Engaging with something is a sign of involvement. That you may end up not liking the film — after all this engagement — is a different thing altogether.
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Gradwolf
September 1, 2013
And it begins!
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Manikandan
September 1, 2013
Not a Word about Cinematography ! Sir ??
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dinakaranonline
September 1, 2013
Interesting thoughts you have here and i liked the movie for exact reasons why you hated it 🙂 I liked fact that most of the characters was etched the way how we expected them to behave and all are shown in good light based on situations . Especially protagonist’s sister and mother.
There are many moments which i loved it absolutely and the weirdness of dad is what attracted me a lot. Though trying to buy a pug for 25 K seems stupid, i wondered how many well read parents are running from corner to pillar to pay fees and satisfy all child needs right ? 🙂
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Sudipta Bhattacharjee
September 1, 2013
Brangan – I have been a long-time reader and greatly admire your writing – you can gauge my admiration from the fact that I even read the reviews of Tamil films written by you (even though I have little hope of watching them given that very few of them are available with good subtitles for non-Tamil speakers). May I request you for one thing though – it would be a great deal easier for me to understand your points if you could provide a rough and ready English translation of the Tamil dialogues/lyrics that you quote from the subject film to buttress a specific nuance.
Cheers
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Sakkaravarthi Kaliannan
September 2, 2013
Well I just read your views of Kattrathu Tamizh and just couldn’t shake off the feeling that Ram is intentionally portraying his characters in a particular way. For example, in Kattradhu Tamizh, Prabhakar is shown as championing for the Tamil cause and cursing the Western influence. However, from the beginning of the movie, the character goes through many traumatic events that affects him mentally, rendering him socially unstable and not connecting to the current world. All his grand speech then becomes mere ramblings of a mad man.
In Thanga Meenkal, Kalyani is a dropout who complains of Australian migrated sister, the grandfather sending the grand daughter to a private school when he had been the headmaster of a govt. run school. These may not be rants of the character but instead, jealousy and regret,”I attended the same school, but I couldn’t achieve the same as others”. Perhaps Kalyani might have been a dyslexic himself and therefore empathises with his daughter’s plight. He lives in his own ivory tower, but he is not necessarily a fool.
Ram’s movies, as far as I noticed, shows the choices that his characters make and the consequences of that choices. Many may neither pity nor empathise with the characters, but maybe, that is the whole point. Who else says this “us vs them” soundbytes than the people who had gone through a lot because of their experience. Ram may have directly thrown at our face this very statement, “Only losers complain”.
Just my opinion. 😀
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brangan
September 2, 2013
Sudipta Bhattacharjee: As I have said earlier, the meanings of those words/lines are right there.
“she waits outside for Kalyani to return, and when he does she asks him, “Konjam velila koottittu poreengala?” All she wants, at that moment, is to escape these surroundings in which she’s confined all day. She wants to step out…”
The literal translation of “Konjam velila koottittu poreengala” is probably “Will you take me out for a while,” but (as in the review) “She wants to step out…” works just as well.
Sakkaravarthi Kaliannan: That’s a brilliant way to look at Ram’s choices, one that didn’t occur to me. So you’re saying that his characters are losers whose rants are simply the justifications they make to themselves that their lives are not as pathetic as they seem to the rest of us.
Someone should ask him if this is indeed the case — though it seems to me that he’s deflating the importance of what he wants to say if he’s conveying these thoughts through the construct of a “mad man” (or “ivory-tower loser” or whatever you want to call it).
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Mambazha Manidhan 2.0
September 2, 2013
A film like Taare Zameen Par is a cinematic movie. This is reality cinema. Cinema verite’ of the Balu Mahendra mold, well done. Immersive. That’s why at times when the background score kicks in telling us how to feel in the crying scenes, it feels a little jarring and a tad inconsistent with the tone, as if trying to switching between two molds. Aanandha yaazhai is a one such wonderful cinematic moment.
But, there is no excuse for the anti-technology viewpoints of Katradhu Tamizh (lovely movie) sneaking into this film. If you don’t want to blame this on Ram, the character himself reeks of double standards, as per his own convenience. He makes fun of his sister’s laptop and dismisses it as “Lottu Lottu”, but it is in fact the same invention that leads him to the Rainmaker.
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venkatesh
September 2, 2013
BR : “Someone should ask him if this is indeed the case” – what makes you think that he is doing this on purpose ? Or even that what he thinks about it is relevant ?
Surely you belong to the camp that says “Authorial intent is irrelevant, what matters is my opinion or what i took out of it”
Porque la pregunta ?
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Poda
September 3, 2013
Why is the Hindu publishing your Tamil reviews? I don’t understand. Firstly, before talking about the movie, your reviews are NOT in sync with majority of the Tamil audience.
Thank god I saved reading this shit on paper after watching the movie. If you think Ram is eccentric, I’m sorry to tell you no one can tolerate your reviews except the phonies on your blog. So, stick to your blog. Like someone said, you’re going to destroy the dream experience of many.
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Sam Edwards
September 3, 2013
The comments section, as always, is hilarious. It’s fun to see how many people get offended when others don’t agree with their points of view.
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nsranganathan
September 3, 2013
It is fascinating how Tamil movies seem to provoke extremely passion reactions from the audience. At some level, it feels as though the fourth wall doesn’t really exist here. A criticism about a movie is a personal affront, and a positive review is a sign of comradeship. It seems fairly unique to South Indian movies. We really should get Woody Allen to direct a Tamil film.
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ram
September 3, 2013
It is like a porn movie: show us cheap porn, and when it is climax, advise us to wear condom. Ram directed well what he conceived, but the problem is, what he conceived is an unhealthy and a sickening filth. It is emetic to see him cry in unwanted scenes. The portrayal of the girl and the daughter-father relationship was highly artificial.
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ram
September 3, 2013
Show us all non-senses throughout the movie sans the climax and when it is climax, preach us that government schools are good.
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MANK
September 4, 2013
I had a great laugh at your comment about getting Woody Allen to direct a Tamil film.It seems that people in Tamil Nadu are getting so offended these days by movies that they are threatening to blow up theaters and exiling the people for acting in and directing them as well. At least BR is luckier than them. Nobody has threatened him with extermination or exile till now.
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brangan
September 5, 2013
Mambazha Manidhan 2.0: Okay, you and I seem to have very different definitions of cinema verite 🙂 At which point did you get the impression that Ram was just “observing” what was going on? He was intruding in every frame in every way possible, either as actor or director…
venkatesh: You misunderstand my stand about authorial intent. Yes, it is irrelevant to my viewing of the film. Just because a director says he wanted to have A, B and C in his film doesn’t mean I’m going to see the same things, see the film that he had in his mind while making the film.
But at the same time, it’s interesting to know what those A, B and C were. What was he thinking? It’s purely an academic exercise. Sort of like a “Conversations with Ram.” One of the greatest tragedies about our film conversations and interviews is that we don’t pick the brains of interesting filmmakers enough — and I have to give him this, Ram is definitely an “interesting” filmmaker. I’ll bet he has some great thoughts/theories inside that head 🙂
Sam Edwards: Oh this is nothing. A lot of readers turned on me when I wrote slightly uncomplimentary things about “Taare Zameen Par” (see comments by a “Sanjukta” here) 🙂
I looked up other negative reviews, and the readers there are equally irate:
The New Indian Express
Sify
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venkatesh
September 5, 2013
BR: Fair enough. Ram is a very opinionated person or at least that’s how he comes across in his various interviews and this is a good thing. I am more interested in directors with a voice and are unafraid to use it.
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pravin
September 10, 2013
மகள்களை பெற்ற அப்பாக்களுக்கு மட்டும் தான் தெரியும்; இந்த படம் REVIEWக்கு எல்லாம் மேல் !!
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Mambazha Manidhan 2.0
September 11, 2013
BR – We seem to have different definitions. 🙂 I guess so. This would qualify as ‘reality cinema’ in my own book of lazy definitions.
Btw, reading this review I wouldn’t have guessed that you hated this film as I gather now.
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potripaadadiponne
October 2, 2013
An audio discussion on Anandha Yazhai song & how Ram in Thangameengal is different from Prakash Raj in Abhiyum Naanum – https://soundcloud.com/potri-paadadi-ponne/ep23
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Arun
October 7, 2013
And it seems Thanga Meengal was indeed meant to be a sequel..in a recent net chat.. he has said he is currently doing Tharamani(love story in a IT background) He has further said it is a triology.. Thanga Meengal is a good film.. but why he forced his points of views on audience.. about Vodafone ads and kids being influenced easily…cannot say what he meant…against globalisation in a simple themed film?
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Swapna
October 25, 2013
🙂 Rangan, I like your writing style. Unfortunately, your heart (mind) should open a little more to let differences come in. Have you ever thought about this word- empathy? It goes beyond classes, masses or whatever we use to define humanity. Each is a mad person. I see a lot of madness in your writing too. But the process of film reviewing is not understanding the film from only your point of view but also from the director’s point of view, that is, the person behind the director. It is pretty clear from your writing, the kind of person you are. Egoistic, caught up in your own world et al. You must read Freud’s work to understand yourself better. May be go to a shrink. Or try this – next time you meet Ram, sit with him and ask him why you made this movie..sit with him without judgements- may be hard for a person like you, but i would say possible. And then if something he says touches you, let go off intellectualize. Then write your review. You would not only find out what is ‘wrong’ about the movie, but also will learn to appreciate life. Perhaps people might start loving you.
All is well.
Swapna.
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Swapna
October 25, 2013
//let go of the need to intellectualize// You should take it up atleast as a challenge. 🙂
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guess
November 4, 2013
First off, I don’t watch many Tamil movies. When I do, I google it, read the review/story, and then only decide to watch it. With this one, my husband turned it on, I caught a few scenes, got hooked, and didn’t move ’till the end. Dude, I just have one question for you.. What were you high on when you were watching this flick? It’s either that, or you belong to other side, the judgmental people inflicting pain on the little girl and her father. I suppose it is easy to judge when you don’t understand. Anyhow, I grew up in Canada, and that story of a father struggling for his family is something I’ve seen. Oh, and Stella miss would have been arrested for abuse here. Anyways, you are entitled to your opinion, I just thought I’d add my two cents in case some one decides not to watch it because of your highly uncalled for judge mental review!
Ps: I loved katrathu Thamil too.
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Nagarajan.s
December 21, 2013
Respected sir
I have recently only watched the thanga meengal in ciff 2013 and I liked it very much the film also won the best film tamil mr ram started his speech by saying the hindu title sponsor which said thanga meengal is a nondha meengal which would have hurted him a lot I think and you would know what all was balance of his speech I have a great respect for both of you as a critic and as a director for ram I want to know your view on this appreciation it has won as a healthy cinema lover
Regards
Nagarajan sivaraman
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Rahini David
December 23, 2013
So you need to read Freud or visit a Shrink as you didn’t like a movie? You are a part of “the judgmental people inflicting pain on the little girl and her father” and if you learn to appreciate life, perhaps people might start loving you? Oh my Goodness. Do people even read what they write before hitting the “Post Comment”?
Basically I didn’t watch this movie but the review is awesome.
“At one point, Kalyani tells her that they’re no longer husband and wife, and that their only interaction thereon will be as Chellamma’s parents – and you feel terrible for her plight”
“Ram is so invested in the relationship between father and daughter that we never learn if things are ever back to normal between husband and wife. This lack of closure seemed, to me, especially sadistic.”
“He(Kalyani’s Father), not Kalyani, is the one who ends up pleading with the headmaster of Chellamma’s expensive private school when she flunks her exams.”
With these lines you proved what real empathy is all about. People who empathize only with Kalyani and not his wife and father are probably very shortsighted people who can’t see beyond the end of their nose.
And how dare the Vodafone Ad Makers? They should understand the prize of a pug before they advertise their product. Hmmph.
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onenishanth
August 10, 2014
They are playing this on TV right now and i thought there is a point of discrepancy here, theoretically. How much of what a film is marketed as should impact how it turns out? (Katradhu Tamilzh was named and marketed as being about Tamizh and Thangameengal was marketed as being a dad-daughter story)
In both instances though the story turned out to be about more than just tamilzh or dad-daughter. While reviewing a movie, can we afford to have a problem with this kind of a dichotomy or should we plainly review a film in blood and flesh?
The question is even more interesting in the context of the recently released jigarthanda
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