Gautami opens up to Baradwaj Rangan about ‘Papanasam’, her milestone movies, and, yes, Kamal Sir.
You know how some actors look even better sitting across you than on screen? Gautami is charmed like that. She could probably jump out of bed and pose, simultaneously, for a keep-your-skin-glowing ad, a be-trim-in-your-forties ad, and one of those ads where a woman gets mistaken for a college-goer until her daughter comes running in, screaming Mummy. She speared a broccoli floret in her rice pasta and laughed when I asked if it was the genes. “I eat sensibly,” she said. That probably explained why the broccoli was disappearing faster than the pasta. She reframed that statement: “I don’t eat what doesn’t suit me.” Translation: no gluten, no lactose, very little salt and sugar. The latter is a problem, she said, because she has a sweet tooth. I didn’t believe her. Looking at her, would you?
She was in a white, cottony kind of salwar kameez ensemble. A pale blue dupatta hugged the neck. Her daughter Subbulakshmi, sitting nearby, had tuned out, preferring to listen to whatever her earphones were piping in from the tablet in her hand. It was an upscale restaurant, so people didn’t exactly stare, but you could sense them pausing as they passed by. The quick recognition. Hey, that’s… The slight hesitation that follows, whether to carry on and act cool or stop and say things like I’m a fan. This, Gautami said, is a validation of success. “If ten people don’t look at me and point, then what am I doing? It’s part of the job. It’s the path I’ve chosen.” And no, it doesn’t bother her. “It’s as normal to me as a bank guy going to his office. Of course, if people do this in a boorish manner, then I get angry. But then, I’d feel that way even if I were a girl going to college.”
She was that college girl once. She didn’t want to endure ragging during the first weeks of engineering, so when a relative offered her a part in a Telugu movie he was making, Dayaamayudu, she jumped at the offer. I looked it up. It’s some kind of Biblical costume drama, with Gautami attired like an extra from The Ten Commandments. If you believe in what the film industry likes to call “sentiment,” Gautami’s subsequent rise to fame is not surprising. Her first words on screen couldn’t have been more auspicious. Hallelujah. Hallelujah. She had a bigger role in Gandhinagar Rendo Veedhi, released the same year, 1987. “I was this sheltered, protected child,” she said. “Prim. Proper. A polite, Bishop Cotton child, all yes ma’am, no ma’am. Suddenly, I was like, Wow, let’s do this. I get a kick out of pushing the envelope for myself.”
* * *
Alice in Wonderland. That’s how she described herself when I asked how that prim, proper, polite child, that Bangalore girl, felt on the sets of one of her rustic Ramarajan movies. “I didn’t know one side of the field from the other side. I had no idea how to wear a pavadai-dhavani.” She had no idea about Tamil either – her household was Telugu, and she spoke almost exclusively in English. So she learnt the language. The first Tamil word she taught herself to read was seidhigal, which appeared on the title card of the nightly news bulletin on Doordarshan. “I taught myself the language through a process of elimination. I’d pick up a Tamil newspaper. I knew what a word should look like. Then I’d look at the letters that would repeat. I’d look for patterns. It was like a jigsaw that I put together.” It paid off. Gautami had quite a run as heroine. “I didn’t sleep very much for about seven years, and I loved it.”
There was a gap – almost two decades. And now, Alice is all grown up in Papanasam. The most difficult scene, Gautami said, was the one where she pleads with the boy whose actions change the course of the story. “By nature, I’m rather restrained. I’m not the kind who’ll burst into tears. It always takes something for me to step out of that natural core of reticence and perform highly emotional scenes, especially after such a long time. It was a pivotal scene. If it fell flat, then the rest of film wouldn’t work.”
Thevar Magan was another “big push.” That scene where Banu returns and finds Shakti married… Gautami called it a personal triumph. “That’s not me on screen. It’s not who I am in life.” I called the film memorable. Gautami preferred to call it a milestone. Aboorva Sagotharargal is another. It was early in her career. She was an industry outsider. She knew nothing about makeup, hair, emoting. “I was shown a particular paradigm, and I was following it.” She’d sit patiently in her chair for an hour and a half , while the makeup artist slathered her face with stuff – first, a pan stick foundation to camouflage the skin, then powder to remove traces of oil, and finally pancake to smooth it all out. One day, she asked him why he took so long. He said if he didn’t take that long, they’d think he wasn’t doing his job. Also, this was what makeup had meant since the black-and-white days, when the film stock needed heavy lighting.
Kamal Haasan was present at the look trial of Aboorva Sagotharargal. He did the makeup very differently. No foundation. No eyeliner. Very light makeup, to suit the new kinds of film being used in that period, which needed less light. Gautami kept goggling at the mirror. For the first time, she saw a person in there. She told herself, “This is what I want. This is what feels right on my face.” From that day, she began experimenting. “I made mistakes, but I found what I was comfortable with.” Another milestone: Dharmadurai. She spoke of the scene where, after a separation, Rajinikanth comes looking for her and finds her washing clothes for a living. “I had done heavy scenes before. In Enga Ooru Kaavalkaran, I had to break down at one point, and for the first time I really burst into tears. But this scene took me to the next level. It was a solo shot, a close-up. It tapped into something deeper. It wasn’t just about crying. It was about acting. I wanted to do this more often.” She also spoke of Nee Paadhi Naan Paadhi. “I let go. I’d go to the set and become the character. It was about ease of performance. It was just me with a clean, scrubbed face. No tricks.”
Gautami found that she had to undergo a “period of readjustment” when she played Rani, the character from Papanasam. “I wanted her to look natural. But the makeup you see in the mirror is different from what shows up on camera. I’d do it differently today.” I said there was this other thing that seemed out of character: Rani’s manicured fingernails. Gautami grinned. “I noticed that too. I whacked myself mentally and said, That’s unforgivable. That should not have happened.” But the rest of the look worked – the gold chains, the glass bangles, that purse, the clothes. Given that Gautami is credited as Costume Designer, I asked how one went about “designing” costumes for someone like Rani, someone so next-doorly. “It’s common sense plus an instinctive understanding of the character,” she said. “I got my saris from the places we shot. Chennai. Thenkasi. Thodupuzha. The sari you see me wearing during the first song… that was the most expensive. It cost around 1800 rupees. The others cost some 300-400 rupees.”
When the budget is “kind enough,” the saris get fancier – like the ones Andrea Jeremiah and Oorvasi wore in Uttama Villain. “These days, there are duplicates for everything,” Gautami said. “But there is an innate difference. The difference comes from the lustre, the fabric, the quality of the embroidery. Most importantly, it’s about how the sari makes the wearer feel. You carry yourself differently when you’re wearing a real Kanjeevaram.” In Kamal Haasan’s forthcoming Thoongavanam, Gautami has given Trisha a “stylish, very feminine look. It looks like designer wear, but it’s very approachable, very wearable.” She spoke about a suit she got made for Kamal. “The tailoring is different. I keep playing with cuts and fabric and lining. It adds so much to the character, whether he’s seen in silhouette or is in motion, running and jumping.”
* * *
Speaking to Gautami can sometimes sound like speaking to Kamal Haasan. There’s always that – what’s the word for it? – hyper-intelligence, hyper-awareness, hyper-articulation. When I asked if I should refer to her as Gautami or Gautami Tadimalla, she said, “Just Gautami. There was a time people kept seeing my surname and they were confused. Anyway, it doesn’t matter. A name is born of a need to regulate society. It’s like having a voter ID. It’s like DNA. People probably started using names to avoid inter-marriage…” When I asked if heroines had it better today, she said, “Definitely. It’s still hero-centric, but the arena is open to experimentation with so many platforms for content delivery…” When she spoke about losing her parents, she said, “I was forced to step out, but I was ill-prepared to face the rocks and boulders of life…”
I asked if it was easier acting with Kamal Haasan now. “Yes and no,” she said. “Personally, I am more attuned to him. I can read him as an actor, which is needed when you’re doing a scene. Otherwise, it’s the same. We have a very strong personal equation, but on the set we are just two actors.” She started her career in awe of him. She still is. “I’ve seen every side of him there is to see, and yet the pedestal hasn’t faltered. The innate honesty with which he lives his life is amazing. He is what you see.” Even as an actor. “I feel that Kamal Sir’s performance comes from the mind and heart. It’s an intellectual and emotional exercise.” And what about Mohanlal, who played the protagonist in Drishyam, the Malayalam film on which Papanasam is based? “I find with Mr. Mohanlal a certain analytical, clinical approach.” That sounded similar to how the two legends interpreted their parts. “I don’t think one can’t do what the other does. They’re more than capable. But at first glance, this would seem to be the difference.”
Gautami’s first shot for Papanasam was the one in the bus stand where the family meets the character played by Charlie. “It felt good. It felt familiar and new at the same time.” She was never really away from cameras, after all. She was on TV – serials, a talk show, reality dance shows. She was on film sets. She was designing costumes. But as part of the crew, she had gotten used to looking at the whole picture, what everyone was doing. Who’s doing what off of whom? Who needs what kind of support? She caught herself thinking about all this when she began to play Rani. “I was stepping outside the character’s skin and taking in a panoramic view. Then I remembered that as an actor your perspective needs to turn inwards. You need to develop tunnel vision. Once I realised this, on the third or fourth day, I was fine.”
I asked her if the things she’d been through – life, basically – had made her a different actress, maybe even a better actress. “The older and wiser you get, you become a better actor,” she said, and spoke of her battle with cancer. “It’s not that that experience is going to help me play a cancer patient better. But you become more… self-aware. It adds to your personality, how you look at things.” At one point in her life, one thing caromed into another. She married. She separated. She became a single parent. She lost her mother. She lost her father. And then, cancer. She called it “the finishing touch.”
That changed everything. “I was always dealing with issues, anticipating the next blow. But now, something within me gave me a kick in the back and said, ‘Get out of this constant crisis-management mode.’ I started looking at where I wanted to be, how I wanted to spend my mental and emotional resources. If you give me a negative review or if someone else doesn’t like my face, that’s your problem. That’s not my problem. I don’t want to focus my energy on that. I want to focus on goodness, the right kind of life, filled with smiling people…” Being a parent has been another teacher. “Children are so sensitive. They get their baggage from us. So when Subbulakshmi was around, I never said things like ‘My hair does not look good today’ or ‘I’m looking fat today.’” Fat? She saw my eyebrows shoot up and said she had toxaemia during pregnancy. She ballooned up to 200 pounds.
These life experiences, she said, changed her approach to performing. It’s now a technical and intellectual exercise rather than psychological and instinctive. She reads a lot. And when she reads, it’s an audiovisual exercise. “I have a movie running inside my head.” It’s the same thing with a script. “But now, I can also bring an intellectual approach to the character. What are the other angles to this scene? What is the deeper implication of this action? I am enjoying that. Twenty years ago, I was an actress with potential. I have the confidence now that I can deliver on that potential.”
* * *
I asked Gautami if she felt there were deeper implications – maybe something misogynistic – in the scene where Rani’s husband comes home and says he’s in the mood for sex. Only, given his tendency to filter life through the movies, he playfully says he wants to enact a “rape scene.” Gautami gave me an I-don’t-believe-this smile. “This is a man who’s overwhelmed by oestrogen. He’s supremely indulgent with and protective of his wife and daughters. There’s a strong, secure relationship between man and wife on an intimate level. So it’s a private joke. So many people make inappropriate jokes. It’s just that. Anyone who can even infer such a horrendous meaning from one light, barely-there statement, made by actors and filmmakers with this kind of credibility, can see anything terrible and horrible in the most innocuous things. At the end of the day, it’s a character.” She did concede, though, that “in India, the line blurs a lot between character and actor.”
Gautami got the Papanasam part during the Theyyam-makeup trials for Uttama Villain. Jeethu Joseph, the director of Papanasam, showed up for a preliminary meeting with Kamal Haasan. After a while, they called for her. She thought they were going to ask her to help with costumes for the film. Instead, Jeethu Joseph said he’d like her to play Rani. Gautami asked him if he was considering her as an actor, or because of the curiosity factor that would arise from casting a real-life couple. She agreed only when he said he was interested in her performance. “In any case,” she told me, “I know Kamal Sir…”
Sir. I asked if she called him that because that’s what she used to call him when she was his co-star. “It’s not habit,” she said. “ It’s a very conscious decision born of respect that has been earned consistently. When I refer to him in public, in any kind of context, that’s how it is.” And in private? “Even then, I do not call him by name. I’m a traditionalist in some ways. That respect is always there.” Anyway, she continued. “I know Kamal Sir. I know who he is. I know about his integrity. At the end of the day, despite his personal feelings, the actor has to be right for the role.” She shrugged. “So it does not bother me.”
The defensiveness was directed at some journalists who asked her, before the film’s release, if her personal equation with Kamal Haasan fetched her the part. (She hasn’t signed any film after Papanasam.) She spoke of the uncertainty on the part of the industry. “Most people think I’ve done this movie only because it’s Kamal Sir’s movie. In that case, he’s done so many other movies. Why wasn’t I in them? I did this one because it was right. I did it because of the film. The fact that it was with him was icing on the cake and the cherry and everything.”
An edited version of this piece can be found here. Copyright ©2015 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Anu Warrier
July 11, 2015
This was a nice conversation to have, Rangan. (Indeed, it seemed more like a conversation than an interview. Nice!) I met her during the shoot of Aboorva Sahodarargal and remember thinking she was so pretty. More than that however, we Malyalis remember her fondly from her outings in Malayalam – the simple Nair girl in His Highness Abdullah, for instance. It’s nice to read about her again. Thanks.
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Akhilan
July 11, 2015
Have never really been a fan of Gautami, but this was extremely fresh and insightful to read BR. Great work!!
P.S. I just had to ask BR, has anyone ever mistaken you for Benny Dayal before…?? 😀
And, do you on occasion like to hum/sing along to certain tunes…?? Apologies for my oh so very random questions… 🙂
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venkatesh
July 11, 2015
BR : Kudos. She does come across as very articulate and very aware. And a great personality
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kans345
July 11, 2015
A refreshing interview. IMO Iruvar was one of her best roles.
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krishna
July 12, 2015
Beautiful!
The kind of ‘interview’ I wish the mainstream media did more often.
Only wish there was more about how she did those, as you say, rustic roles.
For, in a decade when the ‘village film’ was the staple, she was probably the only heroine who not only never looked stupid doing what she did in a pavadai-thavani but she was also almost always believable as the gramatthu ponnu.
There was a kind of sincerity she brought to a role, however silly it might have read on paper (And more often than not, look silly on screen when other actors take up similar roles)
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Shankar
July 12, 2015
Given all the trials and tribulations in her life and her current happier state, her sign-off for this conversation could aptly be ” Vazhavaikkum Kadhalukku Jay”!
Really nice piece, Baddy!
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saimali
July 12, 2015
The more I thought about your Benny Dayal question, the more I’m convinced they look so much alike!
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Neena
July 12, 2015
BR: Read this interview wondering if you had asked her the question. Her answer: “Anyone who can even infer such a horrendous meaning from one light, barely-there statement, made by actors and filmmakers with this kind of credibility, can see anything terrible and horrible in the most innocuous things.” Come on! That’s such a ‘how dare you call me a racist, you racist!’ type response.
To stir up the hornet’s nest a bit more, Aboorva Sagotharargal reminded me of ‘Raja Kaiya Vecha’, the whole Car-Woman siledai. Remember my mom shaking her head going ‘not funny’ back then!
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brangan
July 12, 2015
Akhilan: No, haven’t been mistaken for Benny Dayal… yet 😀
Neena: Oh, I’m not saying that her response is definitive. Just saying this is what she said…
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S.P
July 12, 2015
She does come across as a very straight forward, no nonsense kind of person. BR as u noticed her manicured nails in papanasam I felt she was looking too classy for her role even in her “300-1500” saree range.
I think Kuruthipunal and Iruvar were her best performances i don’t remember Aishwarya Rai performance from Iruvar but I do remember Gowthami. Anyways a nice conversation… even though BR the “Kamal Sir” question was unwarranted 😉
BR I recently started reading your reviews, must admit you are merciless and thats fun 🙂
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Neena
July 13, 2015
Of course, I get that. The ‘Come On!’ was for her 🙂
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Kutty
July 13, 2015
BR : Curiosity raises its head. Was the question on the “rape dialogue”, a result of the discussion on your pages or was it something you wanted to ask anyways? If it was the latter, then that is great reward from being a reader/commentator on your blog. But either ways, it is wonderful that you were able to, and did, discuss something which most interviewers would have shied away from. Kudos to you for that! And of course, a great interview otherwise. Backs up your statement about how you perceived her as being hyper-aware and hyper-articulate.
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brangan
July 13, 2015
S.P: even though BR the “Kamal Sir” question was unwarranted
Why? When you’re doing a sort of profile on a person, i.e. going after not just professional but also personal stuff, wouldn’t that be the most natural thing to ask?
Kutty: It was a result of these discussions. Like I’ve always said my reviews here are just the starting point — a jotting down of my initial thoughts about a movie. Hardly the final word. The discussions that follow go a long way in shaping my thoughts, sometimes even changing them.
Like this “rape scene” thing, to me, made me simply register it as a part of — as I said in the review — “cinema being a running subtext in Papanasam” and “Suyambulingam’s emotions being dictated by the movies.” So the discussion about the “rape scene” made me look at the whole thing in a new light.
And then, when I was told to interview Gautami, it seemed a natural question to ask — i.e. once I got the feeling she’d be the kind who’d answer such a question. Had I not got that feeling during the interview, had she appeared closed-off, then I probably wouldn’t have asked.
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MANK
July 13, 2015
I find with Mr. Mohanlal a certain analytical, clinical approach
Brangan, was she speaking in the context of his performance in drishyam or she was making a generalized statement about him as an actor. If its the latter, then its just not true IMO. Mohanlal, all throughout his career has anything been a clinical analytical method actor. He has always been a naturally spontaneous full on emotional performer and famed for this quality in the industry, for pulling off extremely complex roles with minimum of actorly preparation. Mammootty has always been the clinical analytical actor in Malayalam films. Even in drishyam, he interpreted his character as a canny, analytical calculative man who doesn’t show much emotions. But there was nothing of ‘method acting ‘ I found in his performance.
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bart
July 13, 2015
A very refreshing interview and the write-up. Well done, Sir!
Read somewhere during my school days that she was an engineer-turned-actress (not sure though). So the mind had placed her in the intelligentsia group. So, it was always odd seeing her doing “namma ooru poovatha”, “enga ooru kaavalkaran” etc. She was more easy to accept in “Guru Sishyan” or a “Aboorva Sagodharargal”. But then, any top heroine in those days did a Poovayi role.. Also could never accept Ramarajan in that detective / police movie even from posters. Much later, am learning that typecasting is my mind’s guile and stupidity. Zero bias is what everyone wants, but from their biased neutral points 😉
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Ram Murali
July 13, 2015
@bart, laughed out loud at your “poovayi” comment! it was so amusing to watch gowthami in “ooru vittu ooru vandhu” though i must confess i found the “sorgame endraalum” song to be incredibly catchy!
i thought she did full justice to her strong characters in devar magan, nee paathi naan paathi, nammavar & kuruthi punal.
@brangan – just curious. have you seen “Nee Paathi…?” I thought she was fabulous in those superbly written scenes with Srividya. The movie was damaged irreparably by some horrendous comedy. But the first half, with good performances by the senior character actors (srividya, jaishankar, sulakshana & manorama), was very well written and acted…
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brangan
July 14, 2015
MANK: She was talking about them in general, but I don’t think an analytical/clinical approach is necessarily better/worse than a emotional/intellectual one. It’s not a comparison — just an observation. It’s just the way one does things — and we need people to do things differently, otherwise it would too boring.
That said, I am consistently amazed by how every aspect of a review (or something) is treated as an evaluation or a judgement. Sometimes, you’re just observing things and jotting them down. It’s a neutral zone — not about “this is good” or “this is bad.”
Like this bit from my Papanasam review:
Suyambulingam is a mite too careful with money — he’s the kind of person who keeps switching off the lights in the house. This annoys his wife. That’s about the extent of conflict in these lives. We’re being shown paradise — before it is lost.
I was just stating what kind of person Suyambu is. I wasn’t judging him. I was jotting down a number of things that — IMO — showed some sort of paradise. This is the extent of the conflict here sort of thing.
And then someone told me that he didn’t think Suyambu was stingy. First, I was like huh? And then I re-read the review and realised he was talking about this bit.
bart: she was an engineer-turned-actress… So the mind had placed her in the intelligentsia group.
Engineering-na intelligentsia-vaa? rofl, saar. See me, for instance. 🙂
BTW, you mention of “Poovayi” brought to mind the “Aasayila paathi katti” song. I love this song.
Ram Murali: Yes, have seen it. Don’t have very fresh memories about it, though. Should watch it again.
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S.P
July 14, 2015
BR – I felt that it was ‘Times of India’ kind of question. Atleast when i think of sort of personal profiling question, how do u call your life partner ? ( Even if the partner is Kamal Hassan) Is not most natural thing to ask. Its sort of very private question. Anyways I did enjoy rest of the article.
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brangan
July 14, 2015
S.P: But I am not asking her out of the blue. It’s not as if we’re discussing her films and suddenly I’m saying “How do you address Kamal”?
I am interviewing her, and she keeps saying “Kamal Sir” and then it seems natural to ask about this form of address, which is a bit unusual. To me, this doesn’t seem gossipy at all. It’s another facet of personality.
Gossip, to me, would be something like “So how do you Kamal unwind in the evenings?” or something. And even this may be appropriate if the piece is about the personal side of Kamal-Gautami.
See, the very nature of interviewing etc. is intrusive. It’s about making people tell you things. And you have to do it if you want to dig deep and not just settle for superficial stuff.
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bart
July 14, 2015
Ram, thanks and true…
Saar, naan appo iskool student. Yengineerna emmam perya padippunnu, pakkathula irundha vaigai dam-a paakarappellam nenachukuven.. Later when I did mine, the shutter opened 😀
Saar, neenga engineering padikkadha arivaalinu neengale sollikkanuma? Naanga edhukku irukkom? (As a few point out, the BR fanboys and fangirls group!)
I used “poovayi” as a reminder to that beauty and the other wonderful song, “arumbagi mottagi”..
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brangan
July 14, 2015
bart: What are you saying? I am an engineer, boss. That’s why I was able to deny, with such authority, your intelligentsia claim 😀
OMG, this is the first time I’m seeing this song. Rikshakkaran-level sets, pa.
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bart
July 14, 2015
Oh… my mistake. Senior Deputy Editor, teaching Journalism course etc made me think otherwise. The mind… Even that comment of yours could’ve been (mis)understood any ways and hence you have been diagnosed with intelligentsia 🙂
Ramarajan paatellam kaettu rasikkanum, paakkapdathu. paatha sippu sippa varum..
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Neena
July 14, 2015
Engineer, hence intellect, hence not poovayi… multiple levels of stereotyping, that is! That said, yeah, being an engineer in the social sciences usually gets you admiration. Beats me why, though 😛
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Vanya
July 14, 2015
“Even in drishyam, he interpreted his character as a canny, analytical calculative man who doesn’t show much emotions.”
@MANK: I totally agree with your characterization of Mohanlal and Mammootty, and Gautami’s comment caught me by surprise too. But I think you’re being generous about Mohanlal’s performance in drishyam. I don’t know if it’s age or Botox or both, but there’s an inertia that’s crept into his micro expressions now, and his recent performances all seem to blend into each other. The “doesn’t show much emotions” may not have been a conscious choice on his part.
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venkatesh
July 14, 2015
BR : I see that you are mixing with the hoi-polloi now – … oru Peter who uses words like intelligentsia casually watching aasaiyile paathikattu…
dude we all dont have beautiful women like this dancing around us in ze villages you know .
🙂
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venkatesh
July 14, 2015
On a serious note – the defining Gowthami look for me are these :
And
Superb.
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MANK
July 14, 2015
Vanya, yes gauthami’s comments were totally wrong
After all she started her career in Malayalam with lal in his highness abdullah-that was when lal was at his spontaneous peak.perhaps she has forgotten about that experience
Reg: lal’s acting. Well mohanlal, the actor’s golden period was from 1985 to 1995. He set new benchmarks for acting during that period that will never be matched by any actor anywhere in the world, for the sheer diversity of the roles and number of them and for the sheer easiness with which he used to potray complex roles- from a drug addicted doctor in amritham gamaya, the drop dead romantic hero in thoovanathumbikal, an artist indulging in euthanasia in sadayam, the psychiatrist in manichitrathazhu, or a rowdy in sphadikam – he has done it all during that period in about 200 films. But after that his health problems started, first he lost his voice, then he started to put on weight at an alarming rate, both of which are anathema to an actor, especially to a spontaneous performer who is depended on his inner rhythms and instincts to perform. His instincts started to fail him in both picking scripts and playing roles. he fell into the hands of bad directors who misused him and changed his approach to acting turning him towards larger than life characters which was never his forte. even though, his characters have gone back to the real life mode, he is yet to regain that spontaneous rhythm that he had at his peak.( and perhaps it never will) so for the last 5 or 10 years, he’s been coasting on a default mode and riding a wave of nostalgia of his glorious days. The good thing is that his default mode is still way better than any other actor around
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Ram Murali
July 14, 2015
4 very loosely related thoughts below:
Speaking of the Aasaiyila Paathikatti song, our “then isai thendral” got “inspired” by isaignani for this song, at least the start of the song:
This sequence features my favorite character actor, Srividya. I was pleasantly surprised that Gautami could hold her own: When time permits, watch the scene from the 36:20 point. In NPNP, Gautami plays the illegitimate daughter of Srividya – Jaishankar. This is a scene where she confronts her Mother.
RIP MSV Sir. If I were to pick one song that is very redolent of the 60s’ movies and music for me, it is “malarndhu malaraadha”…what a lovely tune, what lovely lyrics and what lovely acting…
bart – your post reminded me of the exchange from “madhil mel maadhu”
Paalkaaran Jayapal (to Maadhu’s father): Ena Sir, 7th standard varaikum padichirukura…yemaam periya padipu…naan enatha kanden…naan verum ettaam class!
Maadhu: Appa, 7th standard ettaam class ode perusu-nu solli vechurukiya…paalkaaran-a vida oru class kammi-ya padichiruke nee!
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MANK
July 14, 2015
Another baffling thing about gautami is , what she is now a costume designer, how the hell did that happen. isn’t that a highly qualified professional job. I didn’t know it was something retired actress could take up just like that. Or just being the current wife/ woman of kamal would do. I think sarika used to do that before and now gauthami is handling costumes for all of kamal’s films
Brangan, you should have probed her how she got into this designing business and what qualifications she has rather than how do you go about designing for that particular character?
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venkatesh
July 14, 2015
RIP MSV sir.
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Vanya
July 14, 2015
“The good thing is that his default mode is still way better than any other actor around.”
@MANK: Maybe, but because his talent was always light years ahead of others (IMHO), it’s only natural to pit him against his own performances, and that’s what makes it so painful to watch Spirit, Drishyam, etc.
This is my one of my go to examples for showcasing Mohanlal’s spontaneity (couldn’t find a version with subtitles unfortunately, but the body language alone is worth a watch):
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Iswarya
July 15, 2015
OK, Since there is no other place to put it down… R.I.P MSV, the last giant of the age that made its songs an inextricable part of everyday life.
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Anu Warrier
July 15, 2015
MANK, it’s because I like Mohanlal in his earlier roles that I despair of him now. He’s become, in our old college slang, unsahikkable, 🙂
You said he’s even today light years ahead of others – that is a low bar to set, surely? When, like Vanya said, we will only measure him against himself, and find him wanting?
@Vanya – thanks for that clip! I remember how that scene ended too – it was cut in this video, but his consternation (after she leaves) that what she said about the sun glasses might be true was even more hilarious!
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Santosh Balakrishnan
July 15, 2015
“made by actors and filmmakers with this kind of credibility”
cos IMO she had answered your query quite clearly (as she explains that “barely there” comment within the context of the movie/couple’s chemistry) with her previous lines..
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Possibly Serious
July 15, 2015
“Speaking to Gautami can sometimes sound like speaking to Kamal Haasan. There’s always that – what’s the word for it? – hyper-intelligence, hyper-awareness, hyper-articulation.”
Really, BR? Where is the “hyper-intelligence, hyper-awareness, hyper-articulation” in this piece?
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Prasad
July 16, 2015
“Another baffling thing about gautami is , what she is now a costume designer, how the hell did that happen”
MANK
Nepotism is not new right for Kollywood especially. Before Sarika even Vani used to be the Costume designer. Another example also is Suhasini writing dialogues for some of Mani’s films. You just need to be the Wife that’s more than enough.
Forget about costume designing, Dialogues…even casting is based on some prejudices otherwsie how can one explain the casting of Andrea and Pooja Kumar in Uttama VIllain?
Talking about this….another thought came to mind. Anyway politics gone to shambles long back due to Nepotism. But the level of nepotism see in Indian Cinema is beyond our imagination and THAT’s also probably one of main root cause of our Poor Quality of Cinema.
On what basis Soundarya Rajnikanta got an opportunity to direct 100 crore Movie “Kochadiyan” and deliver such a ordinary movie (considering the budget) where even character’s “Eyes are not” in focus. Forget about the story. The only qualification needed is she is just Rajni’s daughter that’s it right. Or take the example of Abhishek ….on how much flops he had in his career…and still got some movies purely due to his surname!
Probabaly that’s the only reason the standard is hollywood is maintained as nepotism is so low. Am not saying it is not there but there is a definitely much better profressional approach overall.
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Nathan
July 16, 2015
Now that she’s a real person and all, should we laugh or cry when we see this:
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Madan
July 18, 2015
Probabaly that’s the only reason the standard is hollywood is maintained as nepotism is so low. Am not saying it is not there but there is a definitely much better professional approach overall.
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Vinu
September 12, 2015
Completely agree with MANK here regarding Lal. And like Vanya also said, the naturality and spontaneity of Mohanlal (of 80s,90s) is unmatched.
A brilliant (comical) song sequence from one of the all time blockbusters of Malayalam, Yodha (from early 90s) will also be a wonderful eg. to see this. The song pits 2 legendary actors, Mohanlal and Jagathi Sreekumar. The song is amongst the earliest AR Rahman songs.
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