Spoilers ahead…
A kid in a jail cell. That’s an unusual image to begin a movie with. He seems to be filling out some sort of what-I-want-be-when-I-grow-up questionnaire, and against “Ambition,” he scrawls, carefully, “Police.” His mother, after all, is a cop (played by Raadhika Sarathkumar). Soon, he slips out of the cell – he was just hanging out. And a prisoner (Rajendran) takes his place. They strike up a conversation. “Rowdy perisaa police perisaa?” The prisoner makes a case for his kind and we slip into his story, detailing the conflict between a cop (Azhagamperumal) and a rowdy (Parthiban). The narrative is amazingly fluid – the two storylines slip into one another like pleats of silk. And then we discover it isn’t a story after all. These characters are real. Their conflict is real.
The writer-director Vignesh Shivan uses this technique a lot. He’ll show us the last bit of a series of events, and then, a little later, he’ll take us back and show everything that happened. We see Kadambari (Nayantara, who looks fantastic) enter the police station with a broken cell phone – later, we see how she was apprehended, how the phone was broken. We hear about a dead parent – later, we’re shown how the death occurred. What’s surprising is the tone. Pandi (Vijay Sethupathi) – the kid at the story’s beginning – wants to become a rowdy. But this isn’t Pudhupettai. Kadambari is out to avenge herself on the man who annihilated her family. But this isn’t Kill Bill. The beautifully shot Naanum Rowdy Dhaan (the cinematographer is George C. Williams) is, instead, a comedy – sometimes a very black one. I haven’t laughed this hard over innocent men being snuffed out by a silencer-outfitted gun. Anirudh’s jaunty score clues us in to the mood. Even when someone is being stabbed to death, a mariachi band seems to be playing in a corner. Remember Thirudan Police, which treated a revenge drama like a comedy? Naanum Rowdy Dhaan is a sibling. With a dash of Thamizh Padam, in the way it skewers our cinema’s obsession with antiheroes. Pandi is an… anti-rowdy.
There are a few rough patches, and the overtly sentimental scenes are a mistake. (Nayantara’s fussy emoting doesn’t help.) When you’re trying to make the audience laugh, you don’t dwell too much on a girl’s reaction to her father’s gory death. Or a man receiving the news that his mother has been kidnapped and, most likely, killed. But these passages are easy to overlook because the film is such fun. Take Pandi. The extent of his “rowdy-ness” is the adjudication of a dispute between two schoolboys – Ramesh, Suresh – who happen to be in love with the same girl. And his “lair,” bathed in fluorescent light, is hilarious. Graffitied on the walls are his rates. Hand breaking – Rs. 10000. Leg breaking – Rs. 15000. And at a corner, this admonition: “ID proof compulsory.” Pandi is so patently unfit for the job, the film could be called Non Rowdy Dhaan.
This is a welcome return to form for Vijay Sethupathi, who seemed to be trying too hard to become a star, with films like Vanmam and Rummy. He shines best in roles with a lower wattage – Pandi is an endearing dimbulb. And he’s surrounded by a crack team of comics. Rajendran, of course – but also RJ Balaji, who keeps tossing out pop-culture nuggets. Looking at a giant of a man, he exclaims, “Audio launch-ukku vandha Arnold maadhiri…” And Parthiban is in glorious form. The scene where a bunch of amateurs try to assassinate him is the most sustained stretch of farce I’ve seen in ages. They try everything – eggs, petrol, a burning tire. The audience explodes.
KEY:
- Naanum Rowdy Dhaan = I, too, am a rowdy
- “Rowdy perisaa police perisaa?” = Who’s bigger? A rowdy? Or a cop?
- Pudhupettai = see here
- Kill Bill = see here
- Thirudan Police = see here
- Thamizh Padam = see here
- Vanmam = see here
- Rummy = see here
- “Audio launch-ukku vandha Arnold maadhiri…” = A reference to Schwarzenegger
Copyright ©2015 Baradwaj Rangan. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
praneshp
October 21, 2015
I wonder how they got Nayanthara to give up the fake eyelashes. I’ve never seen her act this well.
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Anand Sethuraman
October 21, 2015
There is also this pre-decided technique to follow up every emotional scene with a comic one in the first half. The film really succeeds in the way it travels from comic caper to emotion to action across its runtime with absolute ease!
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gowthamanmoviebuff
October 22, 2015
I felt that emotional part also was handled pretty well ! The scene where the parthiban side kicks will hit Vijay while he modulates the dialogue is a classy act !
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Cuddalore Ramji
October 22, 2015
தாராவின் நடிப்பு மிக அற்புதம். அவருக்கு விருது நிச்சயம்
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Priyangu
October 22, 2015
oops.. clicked post before finishing the comment.
“He shines best in roles with a lower wattage”
🙂 BR-style lines cannot be plagiarized ’cause it has got the “BR” watermark like the watermarks in RBI-issued notes.
I just imagined Vijay Sethupathi telling this line in Tamil, “Low watts bulb dhaampaa bright-a eriyum, ennamaadiri..”
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Venkatesh
October 22, 2015
Waiting to see this dialog onscreen ‘Neenga Donnnn sir, naan don sir!’ 🙂
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vijay
October 22, 2015
Nayanthara seems to be on a roll with her choice of movies. At this rate her salary might eclipse Vikram’s.
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chitti
October 22, 2015
Nayanthara seems to be on a roll with her choice of movies. At this rate her salary might eclipse Vikram’s.
— about time she got paid more than rajini, ajith, vijay kind of nonsensical heroes.. worst part is she is not even earning more than crap sivakarthikeyan or mostly average vj sethupathi
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Anuja Chandramouli
October 22, 2015
It is good to see Vijay Sethupathi in fine fettle! And Parthiban was bloody brilliant! Hope to see more of him on the big screen. Can’t say I was particularly taken with Nayan’s performance though. She looks stunning but seemed to have trouble finding that delicate balance between cutesy loosu ponnu, avenging machine and manipulative vixen (which she disguises behind more cloying cuteness) demanded by her somewhat perplexing character.
Vignesh Shivan has clearly come a long way since his Poda Podi days and I thought his latest offering was pretty decent. The scene with the botched assassination attempt was hilarious but the protracted climax which was on similar lines fell flat for me because of the jarring tonal gear shifting which had plagued the rest of the movie as well, though to a lesser extent.
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Ganesh
October 22, 2015
Very enjoyable movie. As you rightly say, there were a few draggy emotional scenes & another thing which didn’t work for me was the comedy in the climax. No word on that?
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Rakesh
October 23, 2015
There is a disturbing thematic inspiration in the way this review has been written. No obvious signs of plagiarism, yet. The same goes for Suganth’s review for 10 Endrathukulla.
http://timesofindia.indiatimes.com/entertainment/tamil/movie-reviews/Naanum-Rowdy-Dhaan/movie-review/49490723.cms
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Vignesh Sankar
October 23, 2015
Just back from theatres after watching it and again booked tickets for the night show to watch it just for the cast and dialogues. LOL is also an understated word to describe this black comedy. Can definitely call this soodhu kavvum part 2.
Vijay sethupathy was back to what he does best, naturally emotes scenes without any big fuss and makes comedy with a straight face. The casting was pefect, a special mention to Parthiban and RJ Balaji (Hats off to his one liners with a straight face, it was like as he was competing with Vijay sethupathy as to who will make better jokes).
PS: Fantastic script and direction by Vignesh, Eye catching camera work by George and peppy songs n background score by Anirudh). Easily , this year’s best comedy movie so far.
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udhaysankar
October 23, 2015
Vignesh Sankar: Good movie, yeah. Soodhukavvum part 2? definitely not.
Nayan was disappointing. She looked great yeah. But, her range is extremely limited here. Her dubbing didn’t come off well. I couldn’t buy her cutesy-ponnu thing. But she was hilarious in that “pul pudungum” scene during the assassination attempt. Apart from that she wasn’t accomplished enough in her performance. Whenever she starts to cry, I could see someone trying to act with glycerine.
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Vasist Das
October 23, 2015
yennadu? nayan without fake eyelashes-aa? yennavey cutting-edge tamizh cinema-nnu sonnalum, rombavey risk yedukkarangley!
by the by, like (jugi chawla of yore and) deebiga (‘happy new year’) and kangana (inconsistently) out there, who are the actresses who don’t resort to cutesy making faces, but have genuine comic-spark down south ?
(dr.rangan, please delete the above comment already posted in my goof-up below your Shaandaar review).
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brangan
October 23, 2015
Rakesh: I noticed that too. Almost the exact same points. Plus the use of the verb “graffitied”… Oh well…
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Kaaviyathalagani
October 23, 2015
Vandi summa air-liye parakkum. Yen na avaru AAMBALA XD
The nuggets were so on point, right down to TR’s puli speech and Vedhalam’s trailer. The only real issues I had here were the dwindling positions of Kadambari towards Pandi. Did she develop feelings for the hero at all or was PondyPandi only a means to her idea of justice was rather unclear, right down to the end. But when the gags came so fast….
I laughed so much more here than I should have.
Does it say something about our audience if I found them being equally responsive to an otherwise dramatic venture like Kuttram Kadithal? Both turnout-wise and applause-wise.
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balaji
October 23, 2015
Why nobody credited the remarkable performance by Anandhraj. There were 3-4 sequences and his introduction and climax sequence, i laughed out loud. his reaction when he saw 10 lakhs. Wow!
As usual parthiban’s word play and dialogue delivery worked out superbly. Vijay sethupathy, some scenes were best only because of his natural slang in delivering the dialogues
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Raghav
October 24, 2015
I really enjoyed the movie!! It was a glorious return to for Vijay Sethupathi as he had completely lost it post Soodhu Kavvum. He delivers a natural, simple performance in this laugh riot.
His scenes with his dude RJ Balaji brought the roof down & his scenes with Parthiban have to be seen to be believed. Really good.
Anirudh acts as a perfect foil to carry the story forward. His songs Thangamey & Neeyum Naanum are going be raved about in the future too. And he delivers a very good background score too.
Also, do check out my blog guys!! Would love to get feedback about it from you all:
http: \ www. Hit-Ya-Miss.blogspot.in
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Ravi K
October 25, 2015
It’s not as good as Soodhu Kavvum, but it’s pretty close, which is good enough for me. I wish that I didn’t have to wait two years in between such films. The audience I saw it with was thrilled. The screening I planned on seeing yesterday was sold out, and the audience I saw it with today loved it, so I hope that’s an indication that this film is doing well at the box office.
There were some funny lines and gags that you could blink and miss. Things tossed off quickly right before the shot cuts to something else. And the film maintained the humor throughout. Wickedly funny, not just on the page, but in the execution. Comedy lives and dies with the pacing and staging, and the scene with the car and the eggs and so forth was done brilliantly.
When Nayantara is in Vijay Sethupathi’s office and she mocks him, he asks if there is a misspelling behind him, which must be a reference to “kednapping” in Soodhu Kavvum.
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Blasta
October 26, 2015
For a constructed and almost unreal story, NRT falls just short of a blast.
After failing at N+movies, Vijay Sethupathy, who (+his DHF’s) holds pretensions of being UP-THERE is back to solid form, where he belongs, HERE. He just fits in, and that the story takes off from the same bungling rowdy base that Soodhu Kavvum took off from puts him in familiar and lovable territory*.
Paired off against a svelte Nayan, who looks too damn polished to be real, his (cough) well-round-ed-ness looks less worrying. Nayan seems to be turning out to be our own Julia Roberts, with immense staying power, and consistent desirability. She can act, and in this movie, it shows, unfortunately.
Not just her, everyone is very acty, even veteran Radhika, but that is little worry in a screenplay that is constructed on the edge of sanity. Parthiban, again acty, but amazing screen presence, another worthy addition to an era of vicarious villainy. In fact , no actor feels out of place, if there be such… a place.
The audience were laughing throughout, inarticulate-d innuendos included. They weren’t absorbed with the seeming serious scenes though, which is kind of OK. This is the new cinema, where everything hangs loose, against which the older stuff tends to look too stiff and stagey.
It is clear that the product has turned out the way its crew wanted it to be, a fun movie, very watchable, if just to see what happens next. The camera accentuates that candy crush feel, Anirudh, still early days, wanting to be heard to be noticed. The editor, did matter… but4him.
*An actor thinks his purpose is to act, variety seems key. To his audience however, he is a product to be consumed, consistency is key. A product that is intentionally and intelligently designed around a star seems so much in place that one wonders why otherwise?
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Ram Murali
October 26, 2015
I was just so excited to watch “Naanum rowdy thaan.” For the Parthiban fan in me, the second half was heaven sent! The man surely does have a way with words. Right from his “Baby sitting” comment up to the unforgettable “ungala p—-num” sequence, he was hilarious!
BR, I see that you enjoyed his role here. And, I also remember you had good things to say about his performance in “1000-il oruvan.” What’s your take on Parthiban, the actor, in general? I am asking because I once wrote about how he could have gone on to become one of those great performers in the mould of Sathyaraj or Raghuvaran. One who could essay a wide variety of roles (including those with shades of gray) but kept getting shoehorned into the same kind of ‘kundaka mandaka’-type roles. I don’t know if you have seen “Housefull” or “Sornamukhi” – two movies very different from one another and I found him to be equally brilliant in both. I just wish he had the Manivannans and Bharathirajas that Sathyaraj got in the 80s, creators who could understand his strengths and comfort zone and yet push him…
(Bart – pongitten thalaiva!)
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Raghav
October 27, 2015
This is a good movie. After Pizza, Sodhu Kavvum , Sethupathi delivers a believable, enjoyable, natural performance which makes for a really fun experience.
Even Nayanthara has delivered a good performance, although as you said BR, the emotional scenes could have been cut down a bit as that didn’t add too much value to the script neither did it add value to the light-hearted story.
After seeing this, I saw Vignesh Shivan’s first directorial venture ‘” Poda Podi” recently & I must say it was a good contemporary love story which surprisingly failed to strike a chord with the audiences as I found to be a good, fun film with decent performances from the lead pair Simbu & Varalakshmi.
Btw, what did you guys think about Poda Podi??
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neabs
October 28, 2015
Loved the movie. Had a chance of watching it on the first day itself which made effect so thrilling. Beautifully written and enacted movie.
Had been missing this Vijay Sethupathi for a while, he was excellent through out, the final transformation in his body language from an ordinary man to a Police man was commendable.
This year Nayanthara has few hits to her credits like Thani oruvan, Maya and now NRT.
I laughed out terribly for the assassination scene particularly Rj Balaji’s dialog and reaction was priceless.
Vijay Sethupathi’s hit dialog were cleverly used, though it was deliberate it suited at the parts. The next hit dialog is going to be “are you Ok baby” 😛
The naming of the characters was also quirky like old man being named Rahul, Was the pet name put there purposely “Kadhu ma” refering to kadhu(ear).
The climax was a surprise, I got a bit scared when Pandi was in between Mansoor and killivallavan and of course Radhika in white saree, the ending added a classy effect to the movie.
Overall it was perfect entertainment.
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doctorhari
October 28, 2015
Unlike others, I didn’t see the emotional scenes of Nayanthara’s character as a drag. I think it was intentional. She was supposed to bring a serious emotional dimension to the film. And Vijay sethupathi’s character, a quirky humor. I thought that the director was quite gutsy to even attempt juxtaposing these two. It made for a deliciously insane combination. But the potential of the script wasn’t fully realised, I felt. Though there were quite a few laugh-out-loud-scenes, on the whole it wasn’t a satisfying experience as, say, a ‘Soodhu kavvum’, which too had such a nutty core. The scenes had a somewhat scrappy feel, and there were too many double-meaning dialogs which didn’t belong to this film. And those stuff ended up spoiling the superb core of the film for me.
I’m hoping that this director keeps improving with his subsequent films rather than letting this work become the benchmark for himself. He seems a real talent to watch out for.
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bart
October 28, 2015
Dialogues and timing were the biggest propellers of the movie. Looked like its a combined effort (RJ Balaji, Parthiban et al alongwith the director). For Vijay Sethupathi, it is an extension of “Idharkuthane aasaipattaai balakumara”, the proprietorship of which he now rightfully owns to himself. RJ Balaji’s cross-talk, “ketkaadha kaadhukku headsettum, poison saapida pal settum” and a few more places were a scream. Parthiban was a delight – “parvathi poojaila, baby-sitting, podanum, chiclet” – more such light-weight (?!) roles please Ram, neenga avar size alavukku feel panni pongirukkinga.. Idhukku mela neengalo, avaro – yaar ponginaalum screen thaangadhu boss..
Very well made entertainer with right bits, inserts and timings.
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Anuja Chandramouli
October 29, 2015
‘If there was a college-level course called Loosu Ponnu Studies, Shakila would graduate with a gold medal.’
Nayan’s Kadhu would give her some tough competition!
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Ram Murali
October 29, 2015
bart – was waiting for your response! LOL on the “idhuku mela ponginaa thaangadhu” comment!
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brangan
October 29, 2015
Ram Murali: I think he’s got a little too much “personality” and you have to be careful about the kind of roles you give such an actor. This villain who was more funny than evil was a great fit. I’m not as great a fan of him in the more regular hero kind of roles, which kind of suck away the really interesting and unique aspects of his personality.
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bart
October 30, 2015
Agree with BR. He rocks those roles where there is a lot of wittu, bittu and chittu… In a full-fledged serious role (e.g.: Housefull) he doesn’t add much to that role. Though it is an exaggerated comparison, it is like Kamal playing all 9 roles for the sake of it (I do not even want to talk of Sugamana sumaigal, second half of Pondaati thevai, Thalaatu padava etc.). Sornamukhi, my vague memories are that he was his usual quick-witted persona in a serious movie (he did this in “Andhapuram” as well). 1000-il oruvan brought out something different, I agree aided largely by the landscape and the different role.
Satyaraj and Raghuvaran on the other hand had bigger emotional baskets to pick their fruits. The nayyandi and lollu of Satyaraj were additions to his arsenal ,while he stood out even without those in a “Vedam Pudhidhu” or a “Walter Vetrivel” strongly.
Parthiban stands out for his intelligence, quick-wittiness and presence of mind as a personality. He can liven up the proceedings greatly and thats what he has done in NRD (BTW, one of my favorites of his is “Unnaruge naan irundhaal”).
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Ram Murali
October 30, 2015
brangan & bart, thank you so much for your comments…
I agree with both of you on your point that he needs roles that utilize his wit and persona. For instance, even I never enjoyed him much in “Nee Varuvaay Ena” or “Azhagi,” both good movies but his roles could have been essayed by anyone. He didn’t bring much to the table.
“you have to be careful about the kind of roles you give such an actor.”
–> Totally agree. That’s why I said that he would have really benefited from collaborations like what Manivannan and Sathyaraj had. Manivannan knew how to extract the best out of Sathyaraj and the latter too, excelled the most in movies directed by Manivannan…
bart, Sornamukhi time kedaicha thirumba paarunga…he was quite amazing. He was not just his sarcastic self. He also brought out the pain of a jilted lover quite beautifully. Also, if you have time, have a look at what I wrote about “Parthiban” in my “Inspirations” series in my blog.
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sridharraman
October 31, 2015
Another movie of Parthiban that I really enjoyed was Sabhaash (with Divya Unni and Ranjith). I am not sure if the story was lifted from an external source, but it was quite well made. In some ways, I feel Parthiban is a bit like Upendra of Kannada cinema.
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sai16vicky
October 31, 2015
Parthiban is witty and creative but suffers from the same disorder his “ancestors” and “contemporaries” suffered from.
Pandiarajan – Has an excellent sense of humor (“Aan Paavam”, “Oorai Therinjukitten”) and dialogue delivery but is really bad on other aspects and can’t cover it up due to average direction/writing skills.
Livingston – Has good dialogue delivery and a sense of humor but nothing more.
I see some sort of pattern in all these 4 folks. They are undoubtedly talented but I feel they try to step into everything (Bhagyaraj composed music 😀 ) which makes their movies sort of half-baked. I wonder when our artists will come out of this Kamal syndrome (“I can do everything and I will do everything”) and get back to reality.
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Ival Oru Thodarkadhaya?
November 20, 2015
I’ve never liked Nayanthara much, but it’s impossible to overlook how much her movie choices and public image have improved over the years. I remember glimpsing a chubby picture of her with Mohanlal in a Malayalam magazine and thought she will never make it to Tamil movies. Later, with Asin getting meatier roles, she seemed like one of those one-time glam actresses. Her image of being Rajni’s heroine (twice), playing homely roles followed by glamorous ones public affairs with Simbu and Prabudeva, dramatic return to form (literally!) in the item number in Sivaji — I can’t think of any other actress who has seen the heights and valleys of stardom. Hoping to see her in the kind of intense roles Gautam Menon dreamed up for Jyotika…
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Pady Srini
November 24, 2015
This movie had its moments but appears the past few years, there are quite a few falling into the same bucket (jigarthanda, soodhu kavvum, burma ), and now it is getting exhausting.
There is only so much escapist comedies one can take in such a short period (5 years). There arent great plot twists either. Just dependent on actors/dialogues carrying it. So getting closer to a stage play. Movies are more than that.
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Venkatesh
November 24, 2015
sai16vicky: Spot on! About Bhagyaraj’s screenwriting abilities, I used to wonder too. His movies were quite entertaining, but to call him the best screenwriter, even in mainstream Tamil cinema, is an insult to others.
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Pady Srini
November 25, 2015
Always used to wonder why Bhagyaraj never made it as big as a Mani – in spite of so many hits. And by chance, last week, I saw an interview of Mani with Madhan. He refers to keywords “moments” “visual” in movies. Bhagyaraj was a good writer. Not a good director. And we remember Mani because of the moments in his movies. Very visual and performance based. Same for GVM and Bharathiraja. They are great movie makers – visually conveying the story. Bhagyaraj is a great drama/stage creator. He depended on the words to do the magic instead of the performance. Kamal in Appoorva Sahodarargal – where his mother calls him a dwarf – the audience went nuts when he reacts in shock towards his mother. Words werent needed.
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Rahini David
November 25, 2015
Is anyone else reminded of this quote?
http://www.brainyquote.com/quotes/quotes/o/orsonwelle142012.html
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brangan
November 25, 2015
Pady Srini: There are many Bhagyaraj films that have an equivalent of the Aboorva Sahodarargal scene you mention. (eg. the baby-crossing scene in Mundhanai Mudichu). In fact, there are many Tamil films (especially with SivajI) with that kind of scene — where a combination of music and facial expressions produce a heightened form of melodrama.
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Pady Srini
November 25, 2015
BR – I truly hope you were not comparing Kamal & Bhagyaraj in acting. Yes, I remember a couple. The results matter. Bagyaraj just wasnt a skilled actor. So his dialogues had to do all the talking. The baby-crossing scene is a plot point – one cannot just watch that scene alone and say “wow”. The kamal scene can work magic without having watched the movie. Similar to a “thagadu thagadu”. Or a Rajni style scene. Point being, that is the magic of movies compared to a play. It is much more than just good writing.
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brangan
November 25, 2015
Pady Srini: Obviously not comparing the two as actors, but saying that this TYPE of melodramatic scene isn’t something that’s new or even an example of great directing. If that were the case, Vietnam Veedu would be the best directed film of all time 🙂
I’m just saying there are far better examples of “pure” directing — say, the time-slows-down stretch in Rajaparvai, or the chase-on-foot in Thevar Magan.
Of course, if your point is to just single out this scene as a performer showcase, then I have no quibbles, though IMO, this is hardly among Kamal’s finest moments as an actor. He’s literally sending smoke signals to the audience about what he’s feeling.
(None of which is to knock Aboorva Sagodharargal. It’s a great film. Just that I wouldn’t pick it as a great example of “directing,” especially when you use the term “visual moments.”)
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Pady Srini
November 25, 2015
BR – Agreed. I was using this to show how “visual moments” & performance seem to carry much more impact than pure dialogues/screenplay. Execution is everything.
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Venkatesh
November 25, 2015
Rahini David: If that particular quote is about ‘Bhagyaraj – the writer’, then you’re wrong.
Pady Srini: I think you’re probably the only person who thinks Bharathirajaa’s films were visually realistic. Some of his films were visually appealing, but not realistic. GVM’s films too mostly fall into that category. When you talk about visually realistic ones, think of the scene in Apoorva Raagangal where Srividya literally stops Kamal when the shadow (of her drying her hair upstairs) falls across the corridor when the latter tries to sneak out of the house (recalling this from BR’s conversations with Mani Ratnam 🙂 ). The cinematography in Balachander’s films were quite innovative and had some great angles. But the aspect of visual realism wasn’t consistent throughout all his films. Mullum Malarum was probably the first “visually realistic” film in Tamil. All of Mahendran’s and BM’s films consistently followed this trend. Films like Nenjathai Killathey and Moodupani had both quotients – visually rich as well as realistic! When you talk about Mundhanai Mudichu and Apoorva Sagotharargal, shot respectively by Ashok Kumar and PC, we would never get a feeling that they were shot by them!
Bhagyaraj was a natural talent and a good director too – don’t talk about song picturisation, dance, etc. 🙂 Mani, on the other hand, is more a self-taught and thinking filmmaker; I wouldn’t call him a natural talent. But unlike Bhagyaraj, he evolved with time. That’s why he is more successful than the Mahendrans, BMs, BRs, etc., 🙂
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Ram Murali
November 28, 2015
“He’s literally sending smoke signals to the audience about what he’s feeling.”
–> BR, I must confess that the one aspect of your reviews/comments where I continue to be surprised most often is the way you review performances. Having read CWMR multiple times, I can really understand your views on good DIRECTION (vs. writing), apt casting, evocative cinematography, etc. But despite having read DFTWC (specifically the write-up on performance appraisal) and of course tons of your reviews, I don’t seem to be able to predict what you would call a good performance vs. interesting vs. bad… but I feel like I am so constantly surprised or, in this instance, a little shocked (!) since I have always really admired how Kamal projected pain with his expressions.
Just for kicks, would you mind mentioning what you think is Kamal’s best scene (as an actor) in Aboorva?
Also, I am curious – what did you think of his acting in Hey! Ram? Outside of all the big acting moments, there’s this one moment towards the end of the movie where he looks at himself in the bathroom mirror (after deciding to put away his gun) where I have always wondered how it was possible for him to project so much guilt and repentance without really doing much with his facial expressions… I am citing that scene to see if that’s the kind of performance that you appreciate more. Would you mind explaining if time permits?
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Venkatesh
December 1, 2015
This scene is a classic example of “visual moments”. I mean not just plain visuals, but in terms of direction. The emotions and the possibility of having a sequel are deftly conveyed through the background score:
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Jo
December 2, 2015
Nice movie..
nayanthara has lash extensions on. Not false lashes. Therefore, looks natural. ..
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Ram Murali
December 6, 2015
BR, still curious to hear your response to my q on performance! (Last reminder, I promise.)
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brangan
December 7, 2015
Ram Murali: The “projecting of pain” — as you call it — is very obvious in this case. The discussion was about “direction” and my point was that if an actor is basically giving out all the information needed to be given to the audience at that point, then there really isn’t much happening “directorially.” So the scene becomes an actor showcase rather than an example of how “well directed” the film is.
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Ram Murali
December 8, 2015
my point was that if an actor is basically giving out all the information needed to be given to the audience at that point, then there really isn’t much happening “directorially.”
–> This line of yours made me think of the KB movies of the 70s and 80s. At his peak, KB could use the perfect blend of performance and direction to heighten the impact of a scene. In “Agni Saatchi,” there’s a beautiful sequence where Saritha asks her Dad to sing a Bharathiyar lullaby. The way the old man’s voice in the background blends with the silent joy on Saritha’s face was just amazing. At his worst, KB could be unbearably showy with his “directorial touches” but when in form, the impact was undeniable.
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