Spoilers ahead…
Why doesn’t Bala make comedies? His obsession with bloodbaths may suggest he has one of the most twisted minds in the industry – it’s a wonder he’s not yet been snapped up as a consultant by the people who run Hell, to design increasingly vivid tortures. But his mind is also one of the funniest – he serves up jokes with a uniquely whimsical twist. Like the scene in Thaarai Thappattai where the folk artist Sannasi (M Sasikumar) finds himself staring at a serving of rum in a bottle cap. Or the one where he goes to recruit a dancer named Chinnaponnu. Or the villain’s ringtone – a devotional chant. I found myself grinning at even some of the non-jokey lines, as when Sannasi’s father Saamipulavan (GM Kumar, whose contracts with Bala clearly have a clothing-optional clause) curses his son, “Nee ellaam nallaa irukka maatte.” Look, it’s a Bala movie. As if someone needed to say that.
Some might view Thaarai Thappattai, which is set in the village of Padithurai in Thanjavur, as Bala’s take on Avatharam. The storyline woven around the miserable plight of folk artists, the near-mythical end, the magnificent Ilayaraja score (more on that later) – it’s all here. Others may view the film as Bala’s take on… Bala’s older films. An early stretch of the film features the Discovery Channel, but subsequently, we feel we’re watching the Rediscovery Channel. The déjà vu, especially in the latter portions, is undeniable. But the power of his films is equally undeniable. At one point, a man likens an impromptu Caesarean operation to splitting open a jackfruit and scooping out the flesh. I can’t readily think of many other filmmakers whose dialogue can make you feel violated. With Bala, the “should I watch this film?” question is moot. You already know the answer.
That could be said of Sanjay Leela Bhansali as well, and for the first time, I sensed some kind of kinship between the two filmmakers. (Perhaps the very recent viewing of Bajirao Mastani had something to do with this.) At first, this might seem ridiculous, given their sensibilities, aesthetics, vision and the fact that they operate at opposite ends of the economic spectrum. But both essentially keep making the same movie. Both are drawn, repeatedly, to darkness, and love is but another stop on the tortuous road to doom. Plus, the highly stylised performances, which don’t seem to come from the actor so much as the director. Watch the villain in Thaarai Thappattai – he looks smashing in a white veshti topped with Aviator sunglasses – throw his head back and cackle, as if auditioning for a Tom and Jerry cartoon. Bala’s films may be set in a discernable reality, but this isn’t “realism” – not by a long shot.
Bala is especially visible in the character played by Varalaxmi Sarathkumar, which is to take nothing away from her livewire inhabitation of the role and her full-throttled commitment to it. (She plays the dancer Sooravali. Contrast her name with that of the Sasikumar character, and you get the gist of their personalities.) But it’s still a Bala performance – in the mockery she makes of the word thaaipaasam when her mother advises her not to drink during daytime; in the hammy glee she brings to the query “Enakkaa?”, when Sannasi buys her a sari (she sounds like a five-year-old trying to emulate late-period Sivaji Ganesan); in her mimicking of the full life cycle of alcohol consumption, from opening the bottle to falling back inebriated; and in her brazen appropriation of the things we expect from the hero, right down to beating up bad guys. (She refers to herself, rightly, as Mr. Sooravali.) Sasikumar, on the other hand, plays the character like he plays all his serious characters, like he’s exhausted and he’d rather crawl back into his beard. He’s the straight guy amidst the others (like the excellent new find, RK Suresh), the much-needed foil.
I watched Thaarai Thappattai like I watch all Bala’s films – partly exasperated, but also (for the most part) able to brush aside the annoyances because he’s such a singular creator. Foremost among my issues with this director: the jagged cutaways, the oddly spliced in reaction shots, the vague-looking foreigners, the painfully one-note villains, the naked desire to shock the audience (he’s K Balchander’s equal in this respect; look out for the bra-buying scene), and most of all, the utter lack of finesse. Note the awful scene in which women parade before a two-way mirror – it’s directed like a Bindu Ghosh comedy routine. How can a visionary who’s been making films for so long give us such crude frames? Then again, the Bala apologist in me wonders if this lack of polish is deliberate. Maybe this kind of filmmaking is as much an act of violence as the endings of his films. He’s doing to our sensibilities what the villains did to Suriya at the close of Pithamagan.
But then you see what he does with the Paruruvaaya song sequence, with Sannasi carrying Sooravali like a daughter – in his arms, on his back, leading her to the bathroom like a little girl. It’s moving enough when you see these scenes as they’re unfolding, but the blow-to-the-head import comes only at the end, when these images come full circle. For such a sensationalist, Bala can be terrifically subtle. I was especially taken by the link he fashions between the scene from Titanic where the hero paints the heroine and the one in which this film’s hero paints his heroine, as she’s readying for a performance in the Andamans. Everything’s there for a reason, however minor. At first, the film-song medley in the second half looks like another thing Bala has to have in his movies. But it’s not just a lazy talisman. It’s also the culmination of the character arcs of a brother-sister duo in the film. And it’s also a comment on the hierarchy inherent in even a form as loosely evolved as folk. Saamipulavan is the equivalent of the Somayajulu character in Shankarabharanam – the dour purist. He looks down on his son’s bastardization of the art, and Sannasi, in turn, looks down on what the brother-sister duo is doing with the art, setting it to film songs. (This is this film’s equivalent of Shankarabharanam’s rock n’ roll Broche vaa sequence.)
But does the brother-sister duo warrant this extended interlude? Put differently, why not give them a few more scenes, earlier, and help us get to know them more, so we better appreciate their participation in this sequence? Why not spend a little more time with Saamipulavan and flesh him out with regard to his dynamics with Sannasi and Sooravali? A bit of all this is there – but not enough to make us feel for these social outsiders the way we felt about the quartet in Pithamagan or even the duo of Avan Ivan. We know, from the Andaman sequences, that Sooravali will do anything for Sannasi – yet, this knowledge in the head doesn’t warm the heart. And the minor characters, usually so memorable in Bala’s films, are just part of the background here, illuminated only by their names. (Sooravali’s dancing cohorts are called… Puyal, Anugundu, Boogambam.) More troubling are the scenes that needed to be more powerful – the villain’s reveal, the random way in which Sannasi stumbles upon Soorvali after she’s gone missing (one scene he gets the news, the next scene he’s right by her side), or even Sannasi’s transformation at the end, which appears to arise not so much from pages of a screenplay as bars of sheet music.
I refer, of course, to Ilayaraja. It isn’t everyday that we celebrate a 1000th film, and the maestro rises to the occasion with a rousingly red-blooded score. Translation: with the exception of Aattakaari, bye-bye tinny synth sound. It’s fitting that this landmark deposits him right in Annakkili’s backyard – he seems to have come full circle too. Even if Sannasi’s climactic transformation makes little sense from a narrative point of view, Ilayaraja’s score – violins, conch shells, beats that slam the brain – almost makes you buy it. The scenes don’t last long enough for leitmotif-driven background music, but the bits are brilliant – the thavil with konnakol syllables in Saamipulavan’s introduction, which segues superbly into the less-classical-sounding piece as Sannasi makes his introduction (you have reams of character development right there, in that switch); the rhythms and the thrilling pauses in the instrumental piece that plays over Soorvali’s dance in the Andamans. And then, the songs. Idarinum and Paruruvaaya are heartbreaking, but my favourite song in the soundtrack is Vathana vathana vadivelan, which sounds like Deepavali inside your head. If Ada veettukku veettukku is single-malt, this is hooch. Voice and percussion come together so organically that you may think the singer, rather than the rhythm section, is keeping beat. And for long-time fans, there are amusing flashbacks – to Kuyila pudichu, to En purushan dhaan. The latter plays as a ringtone in a sequence that’s the exact reversal of the doormat situation in Gopurangal Saaivadhillai – here, the husband is pressing his wife’s feet. Tell me again, why doesn’t Bala make comedies?
I suppose it’s the second half that will test the patience of the staunchest Bala fan. The sad lives of these artists has already been alluded to – for instance, in the Andamans stretch, where the female dancers are regarded as easy. We get more scenes saying the same thing, and it feels like filler, like something an assistant director was asked to do while Bala went backstage to sharpen his machetes and load his spray gun with red paint, for the climax. (The ensuing kicks and beatings are their own kind of percussion.) And there are three massive musical sequences (not exactly helped by the repetitive dance moves) that suck up all narrative energy – though one of these songs made me smile. It’s an update of Aarambam aavadhu pennukkule, from Thangapadhumai, with Padmini’s laments ingeniously transformed into fake-wails for a corpse. Only Bala can make an attention-deficit modern audience sit through a thathuva paadal, by making them think they’re actually watching a kuthu number.
KEY:
- tharai thappattai = a folk percussion instrument
An edited version of this piece can be found here. Copyright ©2016 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
NK
January 15, 2016
You are impressive Brangan, in that you could find enough to be amused in what probably is the least inspiring Bala movie ever. The staunch Ballower (Bala Follower) in me still really can’t appreciate the finer details of thaarai thappatai because the larger whole just wasn’t worth it
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ganapathi
January 15, 2016
Horrible movie we came out after watching for about 45 minutes. a very big let down.
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drunken monkey
January 15, 2016
Can totally relate to ur lines on ‘vadivelane..’. Some next level energy.
I like ‘avana pathi..’ from avan ivan for this same reason. To think about this high tempo-energy songs are something Bala’s films had always had no?
Or aayiram, adada agangaram, om siva oham followed by these two. Didn’t really care for Paradesi after learning it was composed by GV prakash.
Also love this one from yuvan – https://www.youtube.com/watch?v=NFzxlhj7Qm0
P.S: Likewise, thanks for mentioning the synth based track. The plastic sound puts me off immediately.
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Anuja Chandramouli
January 15, 2016
So many BR reviews! Yayyyyyy!! And this was a super review. Ordinarily I don’t like to read reviews before watching the movie but nowadays I can’t resist a new BR review so damn it I keep breaking my rule.
I seriously think Bala’s seeming lack of finesse and aesthetic sensibility with regard to framing is merely an extension of his particular style of filmamking – raw, bloody and brutal. Which is as far removed as it is humanly possible to be from SLB’s masturbatory style of high – strung crappola.
At his most exasperating Bala is still something else. I thought he had tried my patience once too often with Paradesi but bless the man’s twisted soul, I am dying to watch Thaarai Thappattai.
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Aravindan
January 15, 2016
SPOILERS
Translation: with the exception of Aattakaari, bye-bye tinny synth sound.
This observation is accurate, probably in 2008/09. The synth sounds are not that bad these days. Last year, specifically, with all the terrific albums that were delivered. (I love AattakkAri mAmamboNNu).
Note the awful scene in which women parade before a two-way mirror
Raaja’s cue for this scene was fascinating, to say the least. It made me queasy, it made me sad, it made the scene amusing and what not.
I was terribly disappointed with the film. The film was quite random and disconnected, which was the case with Avan Ivan but that film atleast teased me with a few conceits and thoughts. Except for Paar Uru Aaya and the scenes around it, I took away nothing from the film. No surge of emotions, no worthwhile characters, no thematic element to connect everything together. Idarinum and the theme piece made no impact whatsoever. I was just hoping no one would say ‘yEn ippadi karagAttakkAriyA poRandhu..’ line and save some embarassment and Sannasi said exactly the same thing and subham!
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Ram Murali
January 15, 2016
“…livewire inhabitation of the role and her full-throttled commitment to it.”
To quote Kamal from MMKR, “Soakka sonne… thooL ya… idhelaam ipdi varrathaan ille…” 🙂
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Manikandan V
January 16, 2016
Movie gets us a slice of every aspect of Folk Arts Scenario today – Reduction in sensibility among Public (Death Song), Influence of Cinema on Folk arts (After Interval Song), Hoary past but not able to influence the present Generation Artistes (Saami Pulavar-Sannasi), Government’s Apathy (IAS-Driver), Lack of Patron ship from affluent (Chettiyar), Borderline on Dancing vs Prostitution (Andamaan), Current Place of Classical Music (GM Kumar’s Concert), Artists wish to escape the grind (Sooravali Wedding), Current State of Folk Arts (In Mortuary) – Who will foster care on Chettiyar’s Child now? – Plot lines are loose but its nothing compared to scale in which Bala tests our sensibilties – Raw Fantastic Film Making
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Sutheesh Kumar. P. S.
January 16, 2016
Well i guess Sanjay Leela Bhansali is a romantic nihilist and our man Bala is a hardcore nihilist and there’s space for both, in the sense that it presents a contrarian perspective to the otherwise bubbly and frothy masalas that are constantly thrown at us in the smug belief that this is what we really want.
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Prasad
January 16, 2016
BR,
Excellent review BR.
“Maybe this kind of filmmaking is as much an act of violence as the endings of his films. He’s doing to our sensibilities what the villains did to Suriya at the close of Pithamagan.”
Can’t agree more. He should add a initial to his name M (Morbid) Bala. He is a guy who wants to just unleash his morbid thoughts on the screen. You have mentioned “why can’t he think of comedy”? am asking why can’t he think of normal people and normal stories itself. Something like “Kirumi” or Masaan. His so called protagonists has to be the abnormal …gravedigger’s, psycho’s or Aghori, in Naan Kadavul.. din’t know how.
Am not against disturbing stories. But there is sensibility one needs to show and there’s a limit for crudeness. Haven’t we seen disturbing movies this year?
Look at the premise of “Masaan” and how delicately the subject was handled and just see “Talvar” ….is it such a disturbing real story how maturely it was handled by Neeraj and Vishal B.
Don’t you think Selvaraghvan also falls in the bracket somehow …exists in his own world… away from reality and he can also be very crude but not like Bala though!
How do you compare these both?
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Stshsh
January 16, 2016
Can someone please tell me the story in two lines? I Am yet to recover from naan kadavul so I don’t want to watch this
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brangan
January 16, 2016
Prasad: You are talking about crudeness of content. I am talking about crudeness of FORM.
I don’t have an issue with “crude” material. But I was (somewhat rhetorically) wondering — in that para — if the crudeness of form was an inadequacy or a deliberate choice.
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B
January 16, 2016
The movie worked for me. I was thinking of TItanic only a couple of days ago (what with Leo’s newest Oscar nomination) – trust Bala to refer to that love story in this one 🙂 The Bala bleakness, as always, balanced by a vivid sense of ‘life’. The sheer energy of ‘Attakkari’, juxtaposing a saavu pattu with a kuthu paatu, showing skin (and how!) – I don’t think I have seen so many flabby-skinned women shown so… normally on the screen (or what is ‘normal’ for the screen).
“The awful scene in which women parade before a two-way mirror”
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Prasad
January 17, 2016
Thanks BR for your response. Having to know of Bala looks like it is deliberate choice.
On another note, any comments on the oscar nominations for this year? Saw some predictions already for “Fury road” for best Picture. Do you think it will happen?
Also what’s you take on best actor?
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Kurinji
January 17, 2016
If Ranveer Singh is the ideal bhansali lead man, then varalakshmi is bala’s ideal leading lady. She is one talented actress which is why I don’t expect her in any good movie anymore. Just Like parvathy menon or priyamani. The film made sense until the interval. The scene where she says “nee than enakku Sami” it was intense, heart breaking and just when you pull out the tissues to wipe that tear threatening to come out, there comes the extraordinary Paaruruvaaya, and you weep like a baby. Bala is capable of giving that.
But isn’t that tragic enough? Why does the man have to be some sort of human trafficking overlord, devil in human form kind of guy. This movie starts with the plight of folk artists. Some sort of research about their culture, historicity political reasons for their downfall would have been appreciated. Is that too much to ask for from Tamil directors? Instead we are subjected to a bunch of morons beating up women to pulp. It was unbearable, gory and I wanted to get out of theatre because the movie seemed to turn up its goriness by every minute. But don’t we all live in a country which is the fourth least safe country in the world for women?
I went to the movie with my brother who is a doctor. At the end I asked him what mental illness does bala have? Does it have a specific name or its just morbidity? Is it just the work of a twisted mind or he is empathetic to the people living in fringes, people living in the bottom of the pit. I think it’s a bit of both. His movies keep showing these villains who run illegal businesses exploit humans unperturbed by law or police. We all live at the top of the pyramid. Is this what is happening at the bottom? The petty crime romantic guy in pithamagan, the blind beggar in naan kadavul, highness in avan ivan and now the folk dancer in this movie. They all suffer the same fate. It is as if he starts doing different movies in the first half and ends up doing the same movie again and again in second half. its a pity because this guy is one of our best.
There were brilliant moments though. I absolutely loved the titanic reference. That dance sequence when sannasi dances with his troop in the opening. The roar of Ilayaraja. Oh my god. It was priceless.
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brangan
January 17, 2016
Kurinji: The scene where she says “nee than enakku Sami”…
I loved that scene. It says something about a filmmaker when he can take a horribly cliched moment like that (X dragging Y to a temple or shrine and saying “saami mele sathyam pannu”) and make it so weird and moving and wonderful.
That whole sequence worked brilliantly for me — and the highlight was the point where Saamipulavan comes to her defense and she says (with those dead eyes) it’s okay. “Let him have his say.”
It’s amazing how Bala writes. Another filmmaker would not think of that bar scene before this one, with that comedy about pouring rum in a bottle cap. They would have made this a dramatic stretch through-and-through.
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Ram Murali
January 17, 2016
It says something about a filmmaker when he can take a horribly cliched moment like that (X dragging Y to a temple or shrine and saying “saami mele sathyam pannu”) and make it so weird and moving and wonderful.
–> I am yet to watch “Thaara Thappattai” but your statement about how he made “horribly cliched moments” work made my mind go back to Dec 1999 when I first watched “Sethu.” That movie had soooo many moments and characters (hero with a gruff exterior and a heart of gold, docile brahmin girl, orthodox father, stern anna, friendly anni, loyal friends) that might have sounded cliched on paper and made something that was so funny, moving and poetic. I think the biggest difference between Sethu (and to a lesser extent Pithamagan) and all his other movies has been the fact that the scenes in “Sethu” flowed so beautifully from one scene to the next that I don’t think any other movie of his has stacked up to it with respect to screenplay. Of course, it doesn’t help that the violence and gore levels seem to have gone to stratospheric levels consistently!
Having said all that, I AM eager to watch this movie!
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lurker
January 17, 2016
Dear Rangan, I am a long time lurker, first time commenter. I wanted to thank you for changing the face of reviewing in Tamil cinema and for telling people that it is okay to take films seriously. I don’t agree with you all the time. (I hated Bajirao.) But I always respect the full commitment, dedication, passion you show for your proffession. I am yet to see Tharai Thapattai. But I think Bala will be happy reading this, as everyone else is ripping the movie.
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Manikandan V
January 17, 2016
For the Mirror Scene – Chettiyar is worried about his identity disclosure. Adding – he is more worried about how people will look upon if he openly support folk arts in many ways- Even while patronizing, Patron s chose few , left many unchosen for various reasons – not to forget glee of villain on gross show by his initial line up – his repeated insults to Chettiyar – consider this – Classical Music has survived while Folk is breathing its last in a Mortuary – Who shall save it ?
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Vijay Nandakumar
January 17, 2016
Seems like this movie also falls into what has become a “Bala Template”. Yet to watch the movie but seems like Bala is caught in his own construct like other gifted contemporaries in the industry- Kamal, Gautham Menon etc.
However, I still don’t mind spending money on him as he showcases a new section of folks in the extremities of our society each time.
BR, I agree Bala does not make comedies but I have seen original wit more in his movies than in so called comedies filled with one liners and counters. Take for example Naan Kadavul and Avan-Ivan- the comedy portions in those movies are still worth their scene length in gold.
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ThouShaltNot
January 17, 2016
Watching a Bala movie is like being on a blunt force trauma simulator for a couple of hours (after paying for it). Few directors bring emotional intensity to their characters like Bala does. Bond to death, berate to death and beat to death. Death itself as fascination. He also abhors that the world of the “normal” averts its collective gaze from the world of the “abnormal” pretending that such a world does not even exist (like the proverbial cat that equates closing of eyes to all around descent of darkness). He knows darn well that “normals” are suckers for movies (a case can even be made “normals” are the ones who have lost it, for we watch the same formulaic crap week after week after week). He draws us in and saturates our senses with his worldview. His movies are not known for comeliness (au contraire, they churn the stomach) and are formulaic in their own way, but he couldn’t care less.
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vijay
January 17, 2016
Bala is no doubt formulaic. Regardless of whichever fringe element he chooses to portray it all ends the same, in a bloody revenge-fueled climax with some rousing music in the background. Apart from Sethu and Nandha it has always been the same.
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Kurinji
January 18, 2016
“That whole sequence worked brilliantly for me — and the highlight was the point where Saamipulavan comes to her defense and she says (with those dead eyes) it’s okay. “Let him have his say.”,
That sequence was the peak of the movie and anything after that was pointless. The choice of manickavasagar’s paaruruvaya is a stroke of genius. I wonder if its bala’s or raja’s idea. The song is a desperate plea of a devotee for salvation from earthly life. It is the same she asks for. A release from this torturous life, a salvation except that she doesn’t ask that to everyone’s god but to HER god.
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Naveen
January 18, 2016
can someone throw more insights into the music?
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vijay
January 18, 2016
“A release from this torturous life, a salvation except that she doesn’t ask that to everyone’s god but to HER god.”
Did’nt Pooja do the same in Naan kadavul? There the song by Shreya got edited out.
At this rate it is tempting to start a guessing game on what other fringe elements or tragic characters will Bala take up in his next misery-porn. Following, in no particular order, come to mind (copyrights are strictly mine):
AIDS patients
transvestites
the village “untouchables”
bar dancers
sewage workers
movie extras
assistant directors
farmers in drought lands
Hmm..innum 7,8 padathukkaavadhu minimum kadha therum pola irukke. Bala has a long ways to go 🙂
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ThouShaltNot
January 18, 2016
That sequence was the peak of the movie and anything after that was pointless. The choice of manickavasagar’s paaruruvaya is a stroke of genius. I wonder if its bala’s or raja’s idea. The song is a desperate plea of a devotee for salvation from earthly life. It is the same she asks for. A release from this torturous life, a salvation except that she doesn’t ask that to everyone’s god but to HER god
Well, this is reminiscent of the climax scene from Naan Kadavul where Pooja implores Arya to finish off her earthly self (not seen Thaarai Thappattai and so context it appears may be different here). There is a harrowing monologue from Pooja which goes “…Eppa Saami enakku vidivu kaalam…Karuna kaatunga saami” and Godman obliges. The scene shreds our hearts. Of course, it’s not quite lyrical as Paaruruvaya, but the setup there was both deeply disturbing and touching at once. In a sense, this feels like a reprisal.
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Vjs
January 19, 2016
Bala is truly the Madhur Bhandarkar of Tamil cinema!!
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Sureshkumar
January 19, 2016
Cues and unreleased songs from Thaarai Thappattai score here
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doctorhari
January 19, 2016
Wonderful review. I feel this ‘exteriorising the villain’ and then making him die a gruesome death in the hands of the hero is in a way laziness from Bala’s part. I wish Bala creates a hero who has such dark shades in himself, and writes a story out of how he tries to overcome it. That might give us a multidimensional character in the lines of Martin Scorcese’s protagonists.
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Kurinji
January 19, 2016
“Well, this is reminiscent of the climax scene from Naan Kadavul where Pooja implores Arya to finish off her earthly self “
Naan kadavul was actually adapted from the novel ezham ulagam by jeyamohan. This is the same guy who co wrote the timeless epic kadal (hope the sarcasm is obvious here) with manirathnam . He sure does a number on any director he works with. Hated the whole premise of naan kadavul. Hated it even more when I watched it with my friend who has a disability. Thankfully Tharai thappattai is nothing like NK. It has a heroine who drinks liquor straight from bottle and smacks her lips, it has literally “puzhudhi parakkum” dance sequences, an earnest love story and few other normal stuff before all hell breaks loose.
Having said that our man bala has been operating in metaphysical level for quite sometime now. He keeps telling us earthly life is endless suffering and death is the ultimate emancipation. Imho it is sick.
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ThouShaltNot
January 23, 2016
He keeps telling us earthly life is endless suffering and death is the ultimate emancipation. Imho it is sick
KB also put many of his characters (particularly women) through the emotional wringer with tragic endings for these characters. But, it was not all gloom and doom all the time, he also made movies that offered hope when the deck was stacked against them (Ethir Neechal, Vaanamey Ellai, Unnaal Mudiyum Thambi, to name a few). Also, he mostly shied away from gruesome violence in his movies. Bala is a talented director IMO, but his stories have a predictable arc that always bends toward despondency and death (involving ghastly violence). For me, the interesting part of his movies will remain his quirky characters. However, one hopes (big hope) that he won’t forever remain a prince of darkness and will at some point film a story that offers his characters (and the audience) a reprieve from existential angst.
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brangan
January 23, 2016
I continue to be fascinated by what we — me included — think of as cliche and “how long will he keep making the same thing?”-type considerations.
I am able to live with — and even admire and enjoy, to whatever degree — reworkings of the masala template (Yennai Arindhaal), love stories (OKK), family dramas (Thangamagan), as long as there’s something a little fresh and new.
And in most of these cases, the most major thing that’s “fresh and new” is (a) the actors or (b) the milieu.
But with certain kinds of films, this consideration doesn’t quite work.
With RGV’s underworld films, for instance. Or with Bala’s films.
Each film of these filmmakers is different in terms of (a) actors and (b) milieu, and there are enough tweaks to make each film different from the other — AND YET, there’s an “oh no, not again” feel with these films that we don’t get when we see the other kinds of films (like the ones I listed above).
Again, you may not care for these PARTICULAR films — Yennai Arindhaal or OKK or Thangamagan. I’m just talking about these types of films, these genres.
I think it has to do with the whole “entertaining” vs “serious film” divide. With the former, we are okay with cliches. With the latter, we begin to tire of them.
Any thoughts?
PS: As I write this, am thinking it would make a good topic for a column.
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MANK
January 23, 2016
Brangan, you said it yourself it’s the entertainment vs serious divide. I think a sense of dejavu helps in the ‘being entertained’ factor. Which explains the glut of sequels and ripoffs, both here and Hollywood. When it comes to serious dramas, this could be a hindrance.
May be on second thoughts even that could be too much of a generalised statement.
I didn’t like yennai arindhal – liked may be certain portions of it – but on the whole it looked like a lazy rushed job. I liked OKK- the feeling of dejavu notwithstanding – it still felt well crafted and fresh.
But this isn’t a norm with all directors. take the egs of Sooraj barjatya, yash chopra or Manmohan Desai whose last films were real slogs. You could just throw up your hands in despair and say ‘not again’ at their reworkings of the wholesome family entertainers, mohabbat ki dastaaan or madcap masala
Then there are the cases of Steven Spielberg or Martin Scorsese who rework their pet themes and still come up with really engrossing films like AI or war of the world’s or the departed even in the latter half of their careers. So may be it all boils down to the individual director.
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MANK
January 23, 2016
Brangan, I find Bala’s sensibility very close to that of Ken Russel. Don’t know whether you felt that way? I can imagine him making a desi version of The Devils. Or maybe in the case of contemporary directors he is closer to Winding Refn or Gasper Noe. I had the same feeling of ‘can’t take this anymore’ at the explicitness or exploitedness and crudity while watching nan kadavul the same way I was watching Only God forgives or Enter the void. even though they have much more refined techniques than Bala. It’s a kind of cinematic sensibility that thrives on provoking and shocking the audience into extreme reactions.
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brangan
January 23, 2016
MANK: Oh, but the similarity ends with these directors intent to shock. Whatever the content, you still find that a Noe film, for instance, has been crafted. There’s some aesthetics (not to be confused with mere “beauty”; I’m talking about “aesthetics” in a broader, more philosophical sense).
With Bala, especially this film, there is just NO CRAFT.
How can a filmmaker who’s been making films for so long be so indifferent to craft or technique? Hence my question: Is Bala’s aesthetic to be as “unaesthetic” as possible, to DELIBERATELY be as crude as possible in craft/technique terms — which becomes another form of “violence” on an audience?
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ThouShaltNot
January 24, 2016
I think it has to do with the whole “entertaining” vs “serious film” divide. With the former, we are okay with cliches. With the latter, we begin to tire of them.
Also, maybe something related – we have different expectations of artists who operate in the realm of the avant-garde (without getting into how someone ended up here) from those who operate in the realm of the aracha-maavu. Term for it is “soft bigotry of low expectations” (credit: Dubya’s speechwriter) 🙂 One side of this coin is when someone of a high caliber does something mildly sucky, it gets magnified many times over (relatively speaking).
Hypothesizing.
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Arsenal man
January 24, 2016
Great review sir. While u say they make the same type of movies, i am perfectly fine with the nativity n originality they hold or represent. I don’t care how Karthik subbaraj or nalan kumarasamy are gonna Tamil cinema to Vera level. They make quirky n wannabe Tarantino types, come on man! We all prefer the original raw product. Something that our people can relate to. Of course this movie is highly not recommended. But it was not made to make money or scrape through as a Pongal festive entertainer. It is his type. His vision . His preference. His liberty to show what he feels like. Watch it or don’t, it’s A certified! U saw some stroke of magic in parurvayya but u did not even identify or u failed to mention the pre interval reveal of the villain. That is no ordinary scene, the background score n the visual is haunting, scary n magic. Sir this is not ur ordinary OKK types or the yennai arindhal.. This is from south of Tamil Nadu. Real, intense n raw . I don’t care if they entertain or not but am proud to see what a visionary like Bala is capable of. What did u expect before booking ur tickets, Shawshank redemption? Only Satyajit Ray is a match to this man! On the same note..Aren’t ur reviews holding the pattern? Are we bored by it? Not at all.. In fact this movie is not a review material. Not that ur capable to critique but u need some understanding on the grounds from where these are made from . U missed it like how u fail to identify the layers in pa ranjith’s madras. Thanks.. No offence given
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Prasad
January 25, 2016
“I think it has to do with the whole “entertaining” vs “serious film” divide. With the former, we are okay with cliches. With the latter, we begin to tire of them.”
Great Point but have a question. How do we classify a QR, Scorsese films or a Denis Villeneuve movies then? Even their films are serious subjects but we FIND them PROFOUNDLY entertaining!
Denis’s “Incendies” ….very serious film and subject but an exciting premise and great entertainment! Point am driving at, yes films can be very serious if we can relate to the character’s and movies keeps us entertained we don’t bother much right? Pl let me know your thoughts.
“But with certain kinds of films, this consideration doesn’t quite work.
With RGV’s underworld films, for instance. Or with Bala’s films.”
Completely agreed. Other than the points you’ve mentioned we can add it’s the sheer predictability and no freshness or nothing new in their storytelling. Why can’t the same can be extended to Madhur Bhandarakr or even a SelvaRaghavan? There are quiet a few things you can predict in their movies too and as you told it is not entertaining , movies becomes a crushing bore. Probably they just have a template approach to movie making.
Even Hirani’s PK has a little bit of formulaic approach but look at the entertainment value in his movies!
Also Especially in Tamil movie there is a school of thought, that you show rawness that is supposed to be inventive, different. Seems Bala is a strong supporter of this to produce protagonists like an abhor, grave digger or a somebody like in Paradesi.
Even Pauthiveeran had the rawness and shock value but nothing was deliberate and forced and the sequences were so well connected and characters were full of life (Capital L)
Off late, Bala’s movies Everything looks deliberate and forced and how can a viewer relate or empathize with the characters.
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Sutheesh Kumar. P. S.
January 25, 2016
Finally watched it yesterday, released only this Friday in Bengaluru. That Bala is an ardent fan of Ilayaraja is in no doubt and the Maestro has repaid his faith abundantly with his stellar work on the sound track. So the moot point here is this, did Bala hastily string together a movie just to fete the Maestro’s 1000th film.
The laziness is pretty much evident here, Bala’s pet theme of exploitatively glamorizing a marginalised section of society, the quirky characters, forced humour and the hammy performances, only that he has dialled it up a bit more. The scenes felt rushed and what started out as harmless fun in Pithamagan with the Simran bit, where Bala started taking potshots at his fellow industry men has gotten nastier with each passing film.
What should one make of the scene where Saamypulavan’s music is lapped up by an appreciative audience comprising of different races and him later contemptuously declining an award from the Australian governor. Did anyone spot a meta reference there?
Another thing i find disturbing is Bala’s penchant for glorifying substance abuse, for instance, the loving way the camera captures the rolling of the joint, the click of the Zippo, the crackle of the joint, the sight, the sound, everything had a heightened sense of feel to it. Yet his own tryst with mind altering substances hasn’t helped him expand his mind but pushed him to be nihilistic, disgruntled and bitter.
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Varun
January 26, 2016
Whats the point the movie Trying to make? Although its a fact, that their is only one Flim maker in India who had the Guts to make a full commercial cinema on beggers, Somehow I dont agree with Bala’s kind of flim making or his understanding of cinema. He is making movies for like 17 years and not even one movie shows us Ray of hope for life itself. I guess he is under the understanding, that Fairy tell or happily ever after endings are simply not reality and a film with a happy ending is not a real cinema? What kind of Cinema is that? In the first half of movie, Every one in the dancing troop just Give up at Andaman. But Soorvalli rises up and conquers the odds with her Dance. I guess thats the real human spirit and the Spirit of all art forms… To me the real villain in the movie is not Karuppaiah but Bala himself. He kills all Available Human Spirit and hope, not only of the Viewers watching the film but the life and spirit of very Folk artists which the maker is trying to say is all about. An irresponsible film making at its best and display of GODS Ego in a flim maker at its worst..
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chenab35
January 28, 2016
Sasi’s look in this film reminds me of Poraali. That film (Poraali) did not deserve negative reviews at all. initially I hated Poraali but now would like to watch it again.
Bala should have gone the Samuthir kani way. He is trying something else.
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