Spoilers ahead…
In the scene that opens Manjapai, directed by N Ragavan, an elderly villager (Raj Kiran) writes out “amma” and “appa” on a writing slate and asks his grandson to read the words out loud. The boy says “thatha.” The heart-warming (or bile-inducing, depending on your constitution) song that follows lets us know that the boy wasn’t dyslexic – his parents are no more, and his grandfather, really, is his all. We then cut to Chennai, many years later, when the boy – Thamizh (Vemal, sleepwalking through the part) – is employed as a software engineer. He dreams of going to the US, and he invites his thatha to stay with him till he leaves. And we’re strapped squarely into a time machine whose dial is set to the 1980s. Or the 1960s. Or maybe even earlier, to the time cinema was a single-celled organism crawling out of primordial ooze. The film is that primitive.
Like villagers do in the movies, thatha bathes in the fountain outside Thamizh’s apartment complex. (Serious question: Do all rustic men wear those striped, baggy underwear? I mean, isn’t there a single man who, girded with the spirit of adventure, tries on a pair of tighty whiteys?) He meddles in the affairs of neighbours, who, inevitably, come in units of nuclear families lacking wisdom-spouting elders. He slaps an eve-teasing creep, and then slaps the girl’s father for allowing her to wear clothes that invite eve-teasing. He thinks a Mac is a sandwich maker, and – in a scene sure to make Apple consumers close their eyes and cower under their seats – tries to toast a chickpea sandwich on the keyboard. Better yet, he turns purple with rage upon seeing the American flag at the US embassy. When Gandhi and Nehru have fought so hard to grant us our freedom, how can anyone tolerate the fluttering of this “white man’s flag”? The question isn’t mine. It’s thatha’s.
We’ve heard of movies that push the audience’s buttons. Manjapai grabs a live wire and gooses the audience’s behind – so desperate is it to evoke a reaction that it even has a little girl munching on rat poison. And wait till you see the end. There is a love interest somewhere (poor Lakshmi Menon), but the film is all about thatha and his quest to make human beings out of the monsters that inhabit a big city. How do these films get made? Is it under the assumption that there is a large (and undemanding) audience in the smaller centres that craves simplistic, sentimental fare? No one can deny a filmmaker the right to make money, but when money is apparently all that the filmmaker cares about, when the craft is so non-existent, we have to wonder why he chooses to make movies. Why not get into the business of manufacturing, say, striped, baggy underwear? (There’s clearly a huge rural market for it.) Why venture into art?
KEY:
* Manjapai = yellow bag
* thatha = grandfather
* Lakshmi Menon = see here
An edited version of this piece can be found here. Copyright ©2014 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
MN MURTHY
June 7, 2014
Oh boy! There goes another awesome title மஞ்சப்பை When i heard of the title for the first time, i was reminded of the father-son-duo introduction scene in Aaranya Kaandam http://goo.gl/sjdXUK, I was praying that the bag is also a character in the film, but the trailers gave me a wrong idea. Now (with this review) i know that i am-wrong-to-wrong-a-worse!
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vinsamp
June 7, 2014
Its been a long time since I have read a review from you written with some much candidness. Reminded me of your reviews for Chocolate and Good boy, bad boy from your Indian Express days. Quite enjoyed this one.
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vinsamp
June 7, 2014
Typo = *so much candidness.
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venkatesh
June 7, 2014
Bang smash wallop —- I can almost imagine you going at it.
Is there really a market for these films ? From what i have seen aspirational films set in the City work very well in the mofussil towns.
These kind of films are just delusional. Poor Raj Kiran. He can be such a powerful actor (Nanda anyone ?) ?
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Anuja
June 8, 2014
Yeah Venkatesh! My thoughts exactly… Raj Kiran is one helluva actor! Loved him in Nanda and Thavamai Thavamirunthu. He has to be one of the most underused actors in Tamil cinema. I really hope he gets to work in films more worthy of his talent.
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oneWithTheH
June 8, 2014
Lol. This is pretty scathing – “goose with the live wire”.
I am pretty sure I will give this a miss.
“but the film is all about thatha”
I just caught the trailer. A good measure of it is all about the romance and the “thatha” is relegated to the final one-third stretch which is pretty misleading given what I read here. The makers are clearly trying to highlight what they think is good for the business of the movie – the love angle, kuthu song, etc. Feels like a mess all through!
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Anand (@Anand74869006)
June 8, 2014
So why do we still have movies patronizing the so-called Tamil culture and rural lifestyles? Where cities are vile centers of depravity and decadence, where people are selfish and untrustworthy, where the youngsters are morally directionless and disrespectful, where there is irresponsibility and callousness when it comes to the weak and suffering, where Tamil culture is kicked away in favor of Western materialism.
While villages are all about wholesome goodness, moral values, concern for society, and the people are uniformly responsible, wise and loving. The worst part is that regressive attitudes against women, outmoded notions of honor and pride, superstitions and questionable ethical principles are all passed off as earthy wisdom.
Why is Tamil cinema alone stuck in this appeasement of B&C centers at the cost of urban audiences? How did Bollywood grow out of this?
Isn’t our cinema too sustaining itself on urban audiences? After all multiplexes, even if fewer in number, weigh in heavily thanks to ticket prices. And even if you ignore the multiplexes, most theaters are in urban centers, and patronized by mostly youngsters. If not upwardly mobile, at least those aspiring to get upwardly mobile and look up to them and their lifestyles. Most movies get shown the most in cities, marketing and publicity on FM radio and the internet again target city dwellers, fan clubs are in cities.
As for those who claim that the city dudes go for illegal downloads so are not contributing to the success, that is a gross generalization, as everybody these days, including villagers and the poor, have televisions and dvd players, so are just as guilty of encouraging piracy as anybody else. Also more urban people are bound to go to theaters as a regular social activity.
Besides, even if you assume that bulk revenue comes from outside the city centers, is it fair to assume that the people there are all ignorant hicks who cannot comprehend a word of English, need a dumbing down of urban notions, and most importantly, hate cities and would like to see city culture be defamed in cinema? After all even in villages and even among the poor, most households have televisions with cable, if not smartphones with internet, and everybody has friends and relatives in the city. Most aspire to send their children to cities for education and opportunities. So everybody everywhere is constantly exposed to urban events and pop-culture. If anything, there is an aspirational element to anything urban for them. For example, Chennai 600028 showed this perfectly- lower class youth who have their subculture but are still open to upper class charms.
This is not to say that all movies need to be set in Boat Club, with rich Tambrahm characters and Gautam Menon style English dialogues.
But at the same time, taking strong sides on this urban-rural divide seems motivated and unnatural.
So what do you think is encouraging and sustaining this attitude in Tamil cinema? Who do they think is lapping up this attitude and asking for more?
I noticed you mentioning about this on your reviews for movies like Katradhu Thamizh, Vazhakku Enn, etc. too. But you didn’t get into what could be driving this general trend?
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Shankar
June 9, 2014
Baddy, sema kizhi! 🙂 I wonder how Vemal manages to get more films! I haven’t seen even one that has impressed me with his performance.
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brangan
June 9, 2014
vinsamp: Wow, so you’ve really been a long-time reader. Thank you so much.
Anand: I don’t think it’s wrong to make these films. I mean, they may not work for you or me, but they may push some buttons in the target audience. What bugs me is that there is no effort to write decent scenes, to avoid cliche, to have a narrative trajectory etc.
Why does this “trend” exist? For the same reason as the caricatures exist in films — to provide an easy source for laughs or hate or whatever emotion you want.
Shankar: Vemal is like Imran Khan, whom I saw in “Jaane Tu Ya Jaane Na” and thought was destined for good things. Little did I know that that was the ONLY thing he could play. Similarly with Vemal and “Pasanga.”
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Rahini David
June 10, 2014
Anand: “Why is Tamil cinema alone stuck in this appeasement of B&C centers at the cost of urban audiences?”
Have you noticed that the urban population never complains about this trend and tends to lap it up instead? Even A center seems appeased by this suggestion that urban is evil. And even inside the urban population the demographic is divided into “those who watch english movies” and “those who don’t watch english movies”. The second urban demographic just seems to assume that it is on the rural side and nods along to this. You say you noticed Rangan’s Katrathu Thamizh and Vazhakku Enn. Try the comment section of those 2 reviews.
I have no clue why this is so. But apparently listening to English Pop songs like Backstreet Boys and stuff corrupts people.
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Ravi K
June 12, 2014
Maybe the city dwellers have some latent guilt for leaving the villages?
Even here in the US, the NRIs watch the same crappy Tamil films they show in India. I suspect it’s because they have no choice, but the few times I see a movie like Thegidi or Soodhu Kavvum here, there are only a handful of people in the theater.
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bart
June 12, 2014
Below the belt! 🙂 Maybe these rural patronising movies bring out something “in” you.. Loved the phrases of “striped, baggy underwear” vs “tighty whitey”.. Very much below the belt..
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Kayir
June 23, 2014
Re: tightey whitey. Nope, take my word for it. Striped it is, every time
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Karthik AR
August 14, 2023
Blue sattai maran is saying that you will take this review off from website so he has taken a screen shot of this review it seems. He just didn’t understand you and your style of review at all. Its sad that in his crusade (??!!) against Ajith, Rajni and Vijay fans he is dragging you
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brangan
August 14, 2023
Karthik: Say what? Is there a link?
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arkarthi
August 14, 2023
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arkarthi
August 14, 2023
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Jai
August 14, 2023
😁🤣 BR, there’s no other reviewer who writes reviews for films they don’t like, with as many surgical-precision jabs as you do. And all with a wicked sense of humor which keeps your readers guffawing.
Among your colleagues, Anna Vetticad goes for the heavy bludgeoning approach, beating a movie she dislikes with baseball bats and kitchen sinks of politically correct terms, over-detailed (and quite inapposite) politico-socio-economic analyses, et al. Others go for roasting the film (and cast) over hot fire. But it takes skill indeed to take a scalpel to a film as entertainingly as you do!
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