Thoughts on the music of ‘Kabali’, which is easily the least “Rajini-style” album since ‘Sri Raghavendra’.
Listening to Santhosh Narayanan’s soundtrack for Kabali is an exercise in imagining what must have run through Rajinikanth’s head as he heard these songs. I’m sure he must have smiled at Neruppu da, even if the track is driven by unusually subdued beats for a hail-hero anthem. The drummer isn’t trying to rouse us. He’s just keeping time. 1-2-3-4-5-6-7-stop. 1-2-3-4-5-6-7-stop. For propulsion, the song relies on other effects. Growling guitars. The voice that strives to out-growl those guitars. Snatches of super-cool, Spaghetti-Western whistling. Stretches of Rajini-speak. (“Bayama?” “Magizhchi.” “Kabali da.”) A chorus that just doesn’t want to let go of the film’s title: Kabal-i-i-i-i-i… Kabal-i-i-i-i-i… And the pulse-quickening wail that kicks off the number, the love child of a megaphone and an ambulance siren. There are no words yet, but the lyrics write themselves: Hold on to your heartbeats! Superstar striding through! In slow motion!
What would thalaivar have made of Ulagam oruvanukka? Thematically, the song treads familiar paths, fusing Rajini-style celebration (think “Kaattukuyilu,” but with lines like “Parayisai adithu nee paattu kattu”) and MGR-style the-oppressed-shall-overcome philosophy (think “Yaen endra kaelvi,” but with lines like “Ina mugavari adhu ini vizhi thirandhidume”). But musically, the song is its own creature, mixing rap and song, poetry (beautiful rhymes like poovin nizhal / pullanguzhal) and punch-in-the-face prose (“Naanga enga porandhaa ada unakkenna poda”). The similarly themed Veera Thurandhara is an equally unusual Rajini song. There have been many songs that have praised him, but not in rap that alternates between Tamil and English. Even Spanish. Siempre peligroso, which was also the title of a 1999 song by the American hip hop group Cypress Hill. It means: Always dangerous. Was Rajinikanth recalling the songs from his 1999 release, Padayappa? How differently the “always dangerous” idea was conveyed there: Vettukkili alla, nee oru vettum puli endru…
Words change. Styles change. Times change. Even Rajinikanth’s music directors change. The news that Santhosh Narayanan was scoring a Rajini film isn’t half the surprise it was when Hamsalekha was called on to score Kodi Parakkudhu. At least Santhosh Narayanan is one of the top composers today. Hamsalekha, then, was virtually unknown to Tamil audiences. As was Vijay Anand, who made music for Naan Adimai Illai. Heck, there’s even been a Bappi Lahiri, disco-ing up Thaai Veedu. So this isn’t about the composer, and it isn’t about the non-mainstream nature of the music either. AR Rahman’s Oru koodai sunlight from Sivaji wasn’t exactly composed keeping in mind the “masses.”
But that album had compensations in the form of Sahana saaral thoovudho (conventionally melodic) and Balleilakka (conventionally beatsy, with an energetic SPB amping up the song by a factor of a hundred). Kabali has none, which may be the album’s biggest surprise. After decades, possibly since Sri Raghavendra and its Carnatic-infused compositions by Ilayaraja, a Rajinikanth album sounds less like it was made for the star and his fans, more like it was made by a composer who follows his muse around the requirements of the narrative. When you look at the first few words, Vaanam paarthen feels like a “Rajini song” all right – the words bring back memories of Vaanathai paarthen, from Manithan (the 1987 Rajinikanth film, not the recent one Santhosh Narayanan scored). But the moody minimalism of the music harks back to something like Thendral idai thoranangal, from Ilayaraja in experimental (i.e. “non-Rajini”) mode.
And what about the marvellous Maya nadhi, the closest Kabali comes to a duet? It sounds so grown-up, so mature, especially with the line “thooya narayilum kaadhal malarudhe.” Rajinikanth must have smiled wistfully remembering how much more “crowd-pleasing” his earlier grown-up duets were – songs like Rekkai katti parakkudhadi, from Annamalai, which also had a line (though far less lyrical) referring to his grey hair, with Khushbu addressing him as “naracha maapillaiye.” He must have realised that the release of this album is a hint that the idea of “a Rajini film” itself has changed. And he must have wondered if his audience has changed. We’re wondering too.
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.&
Baradwaj Rangan 
Narendiran sundarapandian
June 13, 2016
Wow finally.. someone who feels like me.. I’m a huge rajini fan.. Its been a long time since a rajini movie album had some sensible and situational songs with neat lyrics. I’m one among many people who want to see the old actor rajini.. After listening to this album i’m confident that pa.ranjith has not compromised the script for the star. Can’t wait to watch the film.
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Honest Raj (formerly 'V'enkatesh)
June 13, 2016
As a Rajini fan, I’m disappointed to the core. 😦 It’s like thappu thalangal. Had high hopes on Santhosh Narayanan. The lyrics are good though. Glad ‘Neruppu da’ didn’t turn out like ‘Lollu Sabha’ Manohar’s dialog. 🙂
Kodi Parakkuthu and Naan Adimai Illai had atleast one good song!
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Srinivas R
June 13, 2016
Regardless of how this movie turns out, I hope Rajini the super star serves the script this time. If it works, I hope Rajini keeps opting for sensible plot driven, craft driven movies. It’s time he gave thought about his filmography.
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Srinivas R
June 13, 2016
Forgot to add.. a very apt title 🙂
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rohitsathishnair
June 13, 2016
Was going through the Comments section of ‘Vaanam Paarthaen’ and a lot of folks comparing the song to ‘Sundari Kannaal’. Also found others saying “gr8 song, SaNa does an Ilaiyaraja, but not right for the ‘Rajini padam’ “.
It was just then that I remembered that it’s been 25 years since ‘Thalapathi’ was made. I find it hard to believe that any star vehicle, leave alone a Rajini movie, could be made this way
Will you be writing a piece on it, Sir?
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rohitsathishnair
June 13, 2016
Correction: could be made this way *today
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bart
June 13, 2016
http://newtamilcinema.com/suppose-kabbali-music-by-ar-rahman/
Something along similar thoughts. The lines speak of the protagonist more than the Super star himself. No SPB / Mano / Jesudas. No Vairamuthu. That’s the maximum risk anyone has taken on a Thalaivar album in past 2 decades. Well done to Sa Na & team, Ranjith & Dhanu!
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Raj
June 13, 2016
Is it an attempt to test waters with his fans or an attempt to change his fans? Rajni in one of his interviews has mentioned he is more of a catering service- serving his fans what they want and not the one who experiments.. So I feel this is an attempt towards evolution for the SS as the dynamics of his fans have changed. Hope this movie lives up to the noble intention and the SS can continue with such attempts.. SS and Karthik Subbaraj will be a deadly combo and only a successful Kabali can facilitate it, which means one more combo of SS and SaNa..
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blurb
June 13, 2016
Should it be “Copyright 2016”?
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Santosh Kumar T K
June 13, 2016
Speaking of Balleilakka , BR, have you come across this obsession for this track in American choirs? Here’s a YouTube search: https://www.youtube.com/results?search_query=balleilakka+choir
Not accounting for repeats, it runs into ~15 pages! 🙂
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Rakesh
June 13, 2016
Another soundtrack Thudikkum karangal by spb.. Unusual choice for a composer.. Did that create a buzz back then when this pairing was announced?
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Mohanlal
June 13, 2016
I posted this in a previous comment, but this is my favorite Rajini album in a very long time. Every song seems to be situational with the excepiton of the theme song. No mona gasolina boom boom robo stuff. Maya Nadhi and Vaanem Paarthen are songs that let you know that this a different Rajinikanth film. My only hope is that the movie doesn’t flop because it isn’t “masala” enough.
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brangan
June 13, 2016
Rakesh: Thudikkum Karangal made more news for it’s 80-foot cutout of Rajini, the biggest until that time 🙂 But I really like the songs in the film. SPB channels both MSV and Raja beautifully, and what he lacks in originality he makes up for with the sheer listen-ability of the music.
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praneshp
June 13, 2016
This might be blasphemy around here, but I dislike Santhosh Narayanan. He has 4 templates, and all his songs are values filled into those templates. Iraivi would’ve been a much better movie with two less (or different songs). Needless to say, I don’t like SPB not crooning the opening number.
After Linga, every Rajini album is going to be in the “much better” category.
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udhaysankar
June 14, 2016
I part disappointed and delighted with ulagam oruvanukkaa. Rajni intro songs are meant to be instantly orgasmic, exciting and gooseflesh inducing ones. But, ulagam oruvanukkaaga serves the characters more than the man, which is all welcome.
He makes up for it with ‘nerrupu daa’. The sheer image of Rajni walking in slow motion for this number is worth the ticket money.
The coolest song of the album has to be veera thurandhara. It sounds like a ripoff of those leisurely awesome soundtracks of GTA series.
Guess, It’s time for time to catch up with thalaivar.
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Ram
June 14, 2016
Just hope rajnikanth does not fail us once again with usual template flashback
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SRS
June 14, 2016
SaNa definitely brings in a fresh sound. The soundscapes he pulls off is difficult – because everybody has access to the same technology SaNa has. So there is some magic sauce in there. The issue is, everything is so shallow. The lyrics seem above average in most of the songs in Kabali. The music is ‘sounding’ good but the soul is struggling to get out. Cannot really put my finger on this “thavippu” the music is going through.
Some people argue Deva’s music was shallow too. The thing with Deva was the magical combination of sheer simplicity and punchy-ness of the package. Just take the title songs in Annamalai, Baasha and Arunachalam. The tune was deceptively simple and catchy. The orchestration and arrangements had that punch – no holds barred. Rahman and SaNa seem to almost take an approach saying ” that’s too loud. Let me underplay and make it sophisticated”. For a Rajni film, sophistication in music lies in the simplicity. Oru Pen Pura, Thanga Magan indru were masterfully tuned – but the end output is simple as simple can be.
Painful to see Rajni (with SaNa here) and Kamal (with Ghibran in the countless movies) go through this transition.
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Mowgli (@Nambitious)
June 14, 2016
‘Ulagam oruvanukka’ has many reference to dalit overtones. ‘aandariyin kadhai mudippan’ is against the higher caste oppression. ‘mettu kudiyin koopadu, naatu kullae kaekaadhu’ …
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Harish S
June 14, 2016
isn’t Kochadaiyan a departure for Rajini + ARR? Yes it had an intro for the sake of it. But all other songs were unconventional. Am I the only one who liked that album?
Anyway SaNa pulled off a great feet by giving a ‘non-ARR’ Rajini album that is great.
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KayKay
June 14, 2016
Color me underwhelmed. Outside of a situational context, Santosh’s music just doesn’t do it for me. Maybe I’m too “meat and potatoes” when it comes to songs. I need a proper melody bristling with gorgeous hooks and Santosh is a little too “off the beaten path” in that respect for me. That’s not to say he isn’t capable of crafting nice melodies. The gorgeous “Cuckoo” album and the haunting “Naan Nee” from “Madras” is testament to that.
Apart from “Neruppu Da”, which probably had ample time to sink in owing to it’s use in the teaser, the other numbers haven’t made an impact on me at all.
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KayKay
June 14, 2016
“Am I the only one who liked that album?”
No Harish S, I loved that album too. The only saving grace from that debacle!
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bumblebee
June 14, 2016
Ulagam oruvanukka has to be the best song in the album for me. Especially the line, vithayaga vaazhum namakku kathaigal irukku… Personally this song just hooked me and kept improving on repeated listens. Compared to a strained sounding SPB in Ballelaika I feel this works better as an intro song (that is if it indeed an intro song) !
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Kumar
June 14, 2016
Harish S- I thought the album was good as well and pretty underrated. But the movie itself was such an afterthought that I think people just forget about it. It wasn’t a live action film either so can’t actually be counted as a rajini film.
As for Kabali songs, I just loved it. SaNa nailed the album to the core and I think fans of this music understand that beyond the songs by themselves, for those who witnessed Jigarthanda and Madras, these fans also know that the brilliance of Narayanan is seen while watching the movie itself. Rajinikanth in slow motion in the most stylish getup of his career yet, while walking to ‘Ulagam Oruvanuka’ and ‘Nerupa Da’?! Can’t contain the excitement…Could Rajinikanth have made a better move by choosing this project? New age music director and director who will work towards his image while adding loads of new flavors to him.
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Ragenikanth
June 14, 2016
Compared to a strained sounding SPB in Ballelaika I feel this works better as an intro song
fully agree
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Harish S
June 14, 2016
@Kay Kay & @Kumar: Good to know it didn’t go unnoticed.
Today morning, when I was listening to both Kabali & Kochadaiyaan, I felt how unique these two composers are in integrating the ‘mass’ factor of Rajini into the songs. Brushing aside the questions whether ARR could have done what SaNa had done in a Rajini film, I am kicked about what reaction this album will get in the ‘mass’ market. If successful, we will get into an era where composers will truly get liberated and hopefully, ARR’s next Mona Gasolina will be as he conceives, instead of an adulterated version.
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brangan
June 14, 2016
I don’t think Kochadaiyan was all that unusual a soundtrack. Apart from the big hero numbers (Maatram ondru dhaan, etc.), there were love duets, dance-ready numbers. What we’re seeing in Kabali is a kind of moody, idiosyncratic music (in the context of a big-hero mainstream movie). Music that (at least as an audio-only listen) seems to lend itself only to montages — not to duets, not to dances, etc. Very different thing.
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Harish S
June 14, 2016
@BR: true, Kabali tilts more towards themes in the how it is conceived. What I wanted to point out was with Kochadaiyan, ARR went on his experimental mode in the same generic situations. While Kabali calls for a quirky soundtrack (assumption), Kochadaiyaan didn’t. In that aspect isn’t that a departure from the Rajini norm?
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apala
June 14, 2016
After Enthiran, Kochadaiyaan and Linga – anything should be better! But here SN has given a really a good album. I loved “Maya Nadhi” and “Neruppuda”. The teaser looked all Rajini but the songs seemed to fit the narrative, rather than Rajini. The songs made me think that this might really be a good film! I hope I am right.
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Santosh Kumar T K
June 14, 2016
BR, what I like about the Kochadaiiyaan soundtrack — even if it’s not pathbreaking as such — is the fact they treated an animation product (no matter how warasht) with respect when it came to the music that filled the movie. No funky techno-sounds, no synthetic voices, nothing that screams “animation.” Even if the lyrics are pedestrian (with my limited understanding of tamizh), the compositions are straightforward (in a good way), serviceable, and hummable befitting a big scale movie making me wonder how it’d have been were it a live action movie with a real Rajini.
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Shankar
June 14, 2016
“Thendral idai thoranangal”….Baddy, trust you to quote that one! 🙂
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Madan
June 14, 2016
I am not so fond of this Western-influenced minimalist melodies in Tamil. Not that the formula cannot work in Tamil but for that the mood has to be a lot more introspective. Maybe Vaanam Parthen will become clearer on watching the film but as it stands, it just feels like less deadpan and more traditional Tamil-type singing (a la SPB) would have lifted the song and given it the momentum it badly needs. Otherwise, it just feels like it’s drifting along to nowhere. Maya Nadhi worked much better for me, also has the kind of arcs I like in melodic music.
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vittethi
June 14, 2016
SPB’s take on modern music directors (starts from 16:00). Is the MD he is referring to SaNa (with the Australia connection)?
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Madan
June 15, 2016
@ vittethi: Could be, although whatever I read about SN on the net only says he records the album in an Australian studio ‘with experts’. If these are sound recording experts, that’s fine.. But a music ‘producer’ (a concept largely irrelevant in India) may have substantial inputs in the arrangement. Wouldn’t be the first to do that. What would those much feted 60s American rock bands be without Phil Spector and The Wrecking Crew?
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bumblebee
June 15, 2016
Another reason ‘Ulagam oruvanukka’ and ‘Neruppa da’ songs work for me is they don’t appear to be sung by superstar’s character in the movie, in the sense they are songs sung as an ode to the character, by others. Somehow feel this is more befitting of the man’s stature ! Can’t remember the last time this was done so well. Endhiran attempted this to a lesser extent in ‘Puthiya manitha’ but that turned out to be more step-by-step instructions for creation of Chitti the robot 😛
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Harish S
June 15, 2016
@vittethi: it occurred to me too when I saw the episode, what with SaNa going to Pradeep, Kalyani & Sean Roldan for melodies. Would be interesting when Pradeep becomes a full time composer. Nevertheless I don’t mind SaNa being a music director than the expectation in the industry for him to be a composer.
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Siva
June 15, 2016
Nice review BR. Can’t agree more. One of the best,versatile and off beat Rajini movie albums in many years. lt is an abum whch gives an insight into the movie and not just Rajini the super star. Well done Santhosh!! A rock song (Nerupu da), a poignant melody in Raja style or should I say SaNa style(Maya Nadhi), a heart warming pathos number in vanam parthen(what a beautiful rendering by Pradeep), A hip hop Ulagam Oruvanukku and a 80s jazz style veera thurandhara fusioned with rap. A stellar album. Repeat mode. Cant wait for the movie now !! Sana has proven yet again he makes albums for movies content and not just stars.
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venkatesh
June 15, 2016
I saw the SPB episode as well and while it is interesting, I didn’t understand the nitty-gritty though.
What are the roles of the Music Director vs Composer vs Producer vs Arranger ?
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Sutheesh Kumar. P. S.
June 15, 2016
The whistling bit seems to be inspired from the whistling in Rammstein’s ‘Engel’.
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Utkal
June 15, 2016
Love the album. What a fresh new sound! Who could imagine rap could be used so well in a mainstream Tamil film!
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Madan
June 15, 2016
“What are the roles of the Music Director vs Composer vs Producer vs Arranger ?”
Music Director and Composer are interchangeable in the context of film music. Basically, music director is an Indian-ism. As such, the person who comes up with the music for a song is the composer. The strict traditional connotation would be a person who writes the score (in staff notation) for a composition (usually classical) but the interpretation has become broader with the advent of popular music.
Producer in the Indian context simply means the film producer. But in the West, there is a producer for an album too and he exercises control over many aspects of the recording even if he doesn’t actually come up with the compositions. He can select or reject musicians who are to perform in the recording, he can work with the engineer to produce a certain kind of sound which he has in mind, he can cut short or expand songs based on his judgment. So on and so forth. The producer is a very important link in the chain in the Western music business. In India, the music director generally doubles up as the producer.
Arranger is the person who comes up with instrumental, usually orchestral, arrangements for the song. Usually engaged because the composer does not have the skill to come up with an orchestral arrangement by himself. Many art rock bands in the West used to hire arrangers in the 70s to embellish their recordings with orchestra. Ilayaraja may have hired an arranger owing to sheer paucity of time; otherwise he is reputed as someone, among the few, who can ideate, write the music, devise the arrangements and also conduct the musicians. All in all azhagurasa.
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Ravi K
June 15, 2016
The book “Behind the Curtain: Making Music in Mumbai’s Film Studios” has a wealth of information about the composers, musicians, assistants, and arrangers who worked in Hindi film music. It’s a great book. I wish something like that had been written about the industry in Madras.
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Mohanlal
June 15, 2016
BR-Just wanted to state that the lyricist confirmed all the songs with the exception of Ulagam are montages.
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Honest Raj (formerly 'V'enkatesh)
June 15, 2016
After repeated hearings, I’ve changed my views. SaNa is the next ARR. 🙂
Totally agree with you on ‘Maya Nadhi’ – it’s such a haunting number.
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Tambi Dude
June 16, 2016
Doesn’t Neruppu Da remind the title music of “Mission Impossible”.
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Rahul
June 16, 2016
To add to what Madan has said, I believe Lakshmi Pyare used to divide tasks . Lakshmi was the composer and Pyare was the arranger and producer. A similar division exists between Salim and Sulaiman , with Salim doing the composing and Sulaiman doing the arranging.
Madan, you seem to be singularly well informed about music. Are you a keen listener or are you connected to music in any other capacity?
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Ragenikanth
June 16, 2016
wihout knowig much about SANA spb comments on him without naming is disappointing
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Raj
June 16, 2016
Like Madras, Dalit politics will be in the background. The Malaysian tamil angle is just another ploy cleverly used by Ranjith to bring out the issues in the lives of Dalits. The lyrics especially in Ulagam Oruvanukka is a testament to it…
“Mettukudiyin Kuppadu eni Naatukulla Kekadhu
Ina Mugavari Adhu eni Vizhi Thurandhudume”
“Vedhaiyai Vazhum Nammaku Kadhaigal Irruku
Naalai Namake Vidiyum Vizhithu Poraadu”
“Kalagam Seidhu Aaandaiyarin Kadhai Mudipaan”
“Unnai Veliyidu Thulir Vidu
Baliyaada Yennathe”
“Paarai Isai Adithu nee Paatu Katu”
Hoping the film will be filled with these undertones and happy that Rajni will be the voice in the movie and its a much needed voice.
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Madan
June 16, 2016
@ Rahul: Not connected to music as such but one of my good friends has his own progressive rock band. And yeah, very much into music, can sing to a half decent, though not professional, level. About Pyarelal, his arranging skills are well known in Bollywood and he handled the arrangements for the title track of Om Shanti Om (the version that comes in the climax).
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vittethi
June 17, 2016
Thanks @madan. Really informative.
To be fair to SaNa, he himself freely admits that he is a project manager of sorts and delegates the work to the right people. He even admits that his music and singing involves heavy use of technology so much so he is not comfortable performing outside his studio. I like this openness and humility.
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P
June 17, 2016
I think the time has come for rajini sir to become the Indian Clint Eastwood. And it looks like Kabali is his Unforgiven holding my ears in respect as I say this cause CE is amazeballs
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Sripriya
June 17, 2016
@Raj
And, one more in Veera Thurandhara: “Untouchable a.k.a. Kabali”
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sanjana
June 17, 2016
I am hearing, reading, discussing, fretting over only about Udta Punjab for the last few days. UP for short?
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Ramchander Krishna (@ramctheatheist)
June 17, 2016
I’m happy BR that you’ve written this. Cos after listening to the songs I badly wanted to know what others think, and what better way than to read through BR’s blog comments 🙂
When listening to the songs, I was curious about what hints can be gleaned about Kabali’s storyline. And I wrote this.
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sachita
June 17, 2016
I loved the album, Mayanadhi is indeed haunting. Santosh Narayanan has such a unique style so raw, rustic- have you written about him?
I was surprised to hear about the Australian connection. His tunes sound so rooted. I didnt realize till today that Pradeep kumar is just not a singer.
Anyway, Illayaraja could have used this sort of arranger/producer for something like cheeni kum. Could have helped there.
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brangan
June 17, 2016
So what’s the deal here? SN outsources which parts of his music exactly? Is this just hearsay or is there a link or something? Because his DNA seem to be all over his songs and I am surprised other composers have apparently had a hand.
And yes, sachita, Raja coule have used a good arranger not just for that film but from when he got into synth music in a big way and changed his sound.
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Ragenikanth
June 17, 2016
BR i read somewhere SANA does all this recording in AUS
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KP
June 17, 2016
http://www.sbs.com.au/yourlanguage/tamil/en/content/meet-meenakshi-santhosh-narayanan
-KP
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vittethi
June 17, 2016
BR …watch from the 2:00 minute mark.
Also this video
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Neena
June 17, 2016
@Ramctheatheist: I’ve been playing this guessing game for the whole week – can’t remember the last time a Tamil film music album gave rise to so much speculation on what the story or the characters are going to be. The specificity of the songs are certainly encouraging. Least of all, a thalaivar film album.
Yes, Radhika being killed would be such a cliche. But, as you say, the smile, the heavily pregnant look…things don’t look good for the character 😦 but, am hoping she gets to be more than just the village belle, or the agony-ridden hero’s support system. Another clue that Radhika might live after all: “nee irundhum, nee irundhum, oru thuravai naan adainthen”. Which has to mean she is certainly around – and they are just not together, right?
It certainly would be interesting to see if Rajini will be the one who can transcend caste lines; given that other mass heroes seem to have their own cliques of caste-based rasigar mandrams.
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Madan
June 17, 2016
@vittethi Thanks for the links. Agreed, I like that he is upfront about it. It’s not that collaboration didn’t happen before but it was little talked about. With that being said, I haven’t really come across a music director who also had/has a mellifluous voice (except Shankar Mahadevan in SEL and singer turner composers like Srinivas) and yet they are typically the last to shy away from singing so it is strange that he would not even hum a few lines for the cameras.
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pravieen sridhar
June 18, 2016
@Ramctheastheist: It certainly feels that it will played out like that. Just one thing though, I think Radhika Apte and Rajini will be separated for cast reasons and then he goes on to become a don.
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Abhishek (@abhi_sn)
June 21, 2016
@Ramctheastheist: Apte surely survives till Rajni becomes old in the movie for sure.
http://www.dnaindia.com/entertainment/report-take-a-look-at-radhika-apte-with-rajinikanth-in-kabali-2185253
These pics were released after the second poster was out IIRC.
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brangan
June 21, 2016
The latest Kalki, too, confirms the “reunion in old age” angle in an interview with the lyricist Uma Devi. (Ref. the song Maya nadhi…)
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Neena
June 21, 2016
Yaay! 🙂 but, my jubilation is already tempered by the line in that DNA link that Dhansika plays his daughter – this is beginning to feel like a Salangai Oli type situation – especially given that Dhansika is supposed to be playing a ‘Neelambari’ like character – the brash young kid opposes dad and finally learns the error of her ways 😦
But, I don’t know why I even want this film to be good! Maybe because Pa Ranjith is such a unique find for Tamil cinema? His very entertaining movies are also so laden with politics is such a sly way. I got to watch Attakathi only recently – and noted that the Aishwarya Rajesh character coyly invites a man by saying she would cook him ‘mattu kari’
Or maybe it’s because this might finally be the one chance to get a Rajini movie where one doesn’t have to reconcile a misogynist and generally a jerk of a character with one’s fandom for Rajini the persona!
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brangan
June 21, 2016
Neena: But, I don’t know why I even want this film to be good!
Because Ranjith is first and foremost a very good filmmaker. I am not talking about his content — the story or the hidden politics, which some see and some don’t. Even if he directed someone else’s story, he knows what it means to DIRECT. I am talking about his craft, his directorial abilities, his ability to manufacture mood and atmosphere, knowing how to stage and cut action scenes, where to place the camera in crowd scenes… The last time Rajini starred in a film by a genuine director was a quarter century ago, Thalapathi.
That is why I am looking forward to this film — because it may be the last time Rajini gets to be in a film by someone who knows that directing is a very specific job, one very different from writing. In Tamil cinema, unfortunately, most directors are merely scriptwriters.
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Aditya (Gradwolf)
June 21, 2016
We have reached quite a peak. Even Kamal films didn’t lend themselves to this much reading before release. 😀
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brangan
June 21, 2016
Aditya: LOL. I don’t think we’ve seen anything yet. Just wait until AFTER the movie 🙂
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Madhu
June 21, 2016
Sorry to go off topic, but the dnaindia link above says:
The 30-year-old actress, Apte, chooses her films based on the character and this is not the first time she has signed on a Tamil film. Her first Tamil film was actor Karthi’s All in All Azhagu Raja in 2013
Oh, the irony! 😀 Though, one has to give her credit – she didn’t choose Kajal Agarwal’s role in the movie.
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Neena
June 21, 2016
BR: I find the politics interesting and never seem to notice the direction part you talk about. But, maybe, it is that which I unconsciously appreciate…
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brangan
June 21, 2016
Neena: But that’s why discussing art is so rewarding, no? 🙂 We all see or like things that others don’t see or don’t like — and explaining WHY is the best part. It’s a very, very difficult thing to put into precise words one’s response to something and explain that reaction (i.e. converting an emotional response to a cold, rational statement) but many commenters here do it quite well 🙂
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Ravi
June 22, 2016
I am so happy that Rajni does not have a duet in an exotic locale/sets. It is high time that he plays more “grown up” roles. I am huge Rajni fan, but could not enjoy the duet songs in the movies for the last 20 years. Last it was tolerable was in Baasha, the key word is tolerable. Shivaji, Enthiram, Lingaa – close to unbearable.
I hope this is the turning point for Rajni and he takes powerful roles with age and character. When hollywood can make the highly entertaining Taken where the hero is 50 years old and also full of machismo and charisma, there is no reason that our new age directors and story writers can’t help take Rajni to new heights in new roles.
Just started watching Game of Thrones, SPOILER ALERT…
The main character in Season 1 is actually killed at the end of the season, but his character is so well written and well acted and I so wished how Rajni will look in such strong roles – hope we get to see him in such roles in his later years.
Directors, please please please stop trying to make him look like a 20/30/40 year old and worse yet, please please please stop having him run around trees in exotic locations with women 1/3rd his age – we true fans want to see him in strong age appropriate roles…
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blurb
June 22, 2016
brangan: How long do you give yourself to music before you write a review? An afternoon (some music reviews of yours start with “an afternoon of listening to..”)? I know for movies it’s after the first viewing.
I personally find that the variance (across time) in my response to music is somewhat higher (also volatile) than to movies.
I’ve read this review numerous times. LOVELY.
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brangan
June 22, 2016
blurb: In this case, the songs were out saturday night. Listened to them on sunday and had a first draft ready by sunday evening.
I find the variance thing with movies too. The opinion you have of a film after the first viewing is the “truest” opinion. The gut feel, so to speak. Subsequent viewings may reveal touches, things you missed, etc. But that’s a different kind of analysis. For reviews, I believe the gut feel is the most powerful thing.
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blurb
June 22, 2016
Maybe it’s somewhat of a period film? Look at the flashback of Rajini walking in slow motion in the title song. Say that is 25 years ago (which he mentices too). I’m a lot more than 25 😛 and I can’t seem to recall men wearing those kind of outfits in 1991. That outfit points to the 70s and early 80s, no? Which suggests Kabali set is in 00 to 05?
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venky
June 22, 2016
“The opinion you have of a film after the first viewing is the “truest” opinion. The gut feel, so to speak. ” – It’s interesting that you mention this, as I was having a conversation about the movie “Sairat” the other day with my friend. We were talking about the recent expose about the director’s abusive relationship with his ex-wife, and how he forced her to go for abortion, and also treat her in abominable ways which have no bearing with the kind of “feminist” world-view we saw in his film.
Now, when I watch this movie again, I don’t know how I will respond to it. I was gobsmacked by the movie in my first viewing. Now, with this knowledge, my memories of the experience has corrupted. I think it will be difficult for me to see it purely from artistic lens.
I know that you’ve talked earlier about “focusing on the story more than the storyteller”, but in reality, I believe it will be difficult to see the movie as a whole without this gnawing hypocrisy which the storyteller displayed.
One may say that we haven’t heard the director’s view about this expose, but through friends I got to know about the reporter who did this story about his ex-wife, and I have reasonable evidence to believe that what the lady told was true.
What do you think BR? Has your experience of a story on-screen changed post-facto after your interaction with a storyteller? Or do you try to build an imaginary wall between the two?
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Neena
June 22, 2016
blurb: That & Radhika working on a farm made me think ‘Keezhvenmani?’ But, that’s still older. 25 years from then – would only be 1993.
BR: Indeed; I mean that I notice writing, character arcs, screenplay etc – but the ‘direction’..well, I come to this blog to find out more about it :p
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Aditya (Gradwolf)
June 22, 2016
Ennadhu Keezhvenmani ah?! Now this is getting ridiculously close to Kamal reference territory. Okay just kidding. But I thought this is more about Malaysia based labour issues. It would still be a story of the oppressed but I wonder if it would have the specific Dalit undertones that Ranjit’s previous films had. Also the second trailer (Neruppu Da) gives a more Rajini film feel than a Ranjit film. The lyrics of course point to a different direction.
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Raj
June 22, 2016
@BR I always find to enjoy some movies in the subsequent viewings- the movie grows in me, I am able to appreciate the movie better once I get a feel as to what the creator is trying to convey. For example the movie Madras didn’t impress in the first viewing but understanding the Dalit angle made me view the movie in a different way and I was able to appreciate and enjoy the movie much better, it even had an impact on me.
Doesn’t the “truest” opinion change based on your experience, ideologies, state of mind and even the company you have while watching the movie?
Should the creator provide an idea as to what he is trying to communicate in a film before its release? Will it keep the viewers focused on what he wants to convey? Or does that take the whole movie interpretation experience away from the viewer. In this new age where the life span of a movie is only 2 weekends what are the chances of a viewer think through the movie and come back to verify? Even you missed the Dalit point of view in Madras- would your movie watching experience be different had you known about it up front?
Any thoughts on this is appreciated
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brangan
June 22, 2016
venky: I am not usually bothered by differences in-screen and off-screen personlities. I mean, I may be “aware” that there’s hypocrisy and I may mention it in my review, but if the film is well-made then this hypocrisy usually doesn’t affect me.
Raj: I was only talking about it from a review POV. Every time you see a film, something changes. You may be in a better mood. You may be older, with more life experience — so something you dismissed as a kid might affect you greatly now. So it’s a very fluid thing, and there’s no end to the number of times you can see a film before putting out a review. I say “once,” because it’s the “purest” reaction you have.
I am able to appreciate the movie better once I get a feel as to what the creator is trying to convey.
For me, this is not a very important factor. I mean, I am interested in this from an academic POV. Take Madras. The Dalit stuff is like footnotes and scribbles on the margins — Easter eggs, basically. Interesting and fascinating and instructive, no doubt, to someone like me unfamiliar with, say, Dalit literature. But for me it doesn’t change the essence of the film or alter its generic Sathya-like template. I am aware of these Easter eggs, but they don’t infuse the film enough (IMO) to make it a drastically new film. Now take Sairat (or Chauranga or even Kadhal) — these films are explicitly rooted in a Dalit context. You CANNOT see it any other way, and the films CANNOT be made any other way.
Nolan’s later films work the same way for me. After my first viewing, I read so many interesting angles/interpretations, and so far, I have never “changed” my basic opinion of the films — even though these angles/interpretations may make me view specific scenes in a new light.
The films where my viewing experience changed after reading “explanations” have mostly been art films. Or even something like 2001.
Should the creator provide an idea as to what he is trying to communicate in a film before its release?
That’s up to the creator, but I would be careful about taking this “viewing guide” to heart. Because filmmaking is a very complex process, with so many dilutions and compromises along the journey from script to final cut — there is no guarantee that what a director SAYS he wants to convey has actually been conveyed in the final cut. So it’s best to see a film with a blank slate and then discuss it with others who’ve viewed it differently.
As an aside, I am still surprised that no one else read Madras like a quasi horror film 🙂
Here’s what I wrote:
One way to read Madras is as a quasi horror film, with the wall the equivalent of, say, the Overlook Hotel in The Shining, a source of evil that turns everyone in its vicinity. It’s wild, I know – but hear me out. The film begins with what could be termed the “legend” of the wall. After a series of killings, a red stain appears on the wall and it keeps spreading. Thereon it is often filmed in perspective – it looms. The streetlight in front keeps flickering, casting ominous shadows on it. People refer to it as a malefic being: “Adhu bali pottudum.” Sure enough, accidents keep happening around it – also, a suicide. In one stretch, Kaali’s bike breaks down near the wall… and it’s night… and there’s the eerie feeling that he’s being followed… and he keeps getting blank calls… If the point is that this whole culture of worshipping personalities through their likenesses on walls is similar to a horror show, who will disagree?
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Honest Raj (formerly 'V'enkatesh)
June 22, 2016
The ‘Kilvenmani massacre’ was already retold in this little-known 1983 movie called Kann Sivanthaal Mann Sivakkum.
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blurb
June 23, 2016
Neena: I bore the same expression as Aditya (Gradwolf) 😀
brangan: Personally, even my gut feeling about a movie rarely changes.
But there are some outliers; the most prominent one being Rhythm. In that, they are so careful about preserving Meena’s character’s chastity. I didn’t pick up on that during my first viewing. Once I got that (I think the second time around, I think), it went from LOVE to complete resentment, bitterness, and.. oh, well.
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Raj
June 23, 2016
Thanks BR for the detailed reply. Yeah I have mixed viewing experience after understanding the creators feeling. For instance I viewed Dil Se as a movie about terrorism and one of my friends pointed out ” Why don’t you watch it just like a love story between a terrorist and a normal guy”- The viewing experience was way different and I could appreciate the nuances the creator has tried to incorporate.
I also felt it was little when in SJ Surya’s Anbe Aaruyire- he explains the concept of the movie upfront and then takes us through the movie. With or without the explanantion the movie wouldn’t have impressed me but I thought it was a different approach to story telling.
If we understand the aspirations of the creator we can end up appreciating the subtlety involved in the movie making process. For instance my take on the Kabali teaser where Rajni speaks about how this Kabali is different from the previous typecasting of Kabali’s. Replace Kabali with Dalits- we can see a different perspective of how the creator may be trying to say how the Dalits were viewed in society but who they actually are. What more the camera angle is set in such a way that you look upto Kabali a.k.a Dalits. The glasses of Rajni may also be inspired by Periyar. I may be completely overthinking but such perspective is possible only if I know the intentions of the creator. This in my mind makes the movie watching experience better.
Coming to your example about Madras being a quasi horror film. I once again see it as Ranjith’s way of showing how the Dalits are kept captivated in the name of superstition/ God/ Ghost/ whatever you would want to call it. In this case it was the Wall–Even the educated Karthi falls for it. Ranjith is appealing to the Dalits that these are just webs cast around by the so called powerful castes and we need to look for our freedom from within.
Though the film was made with the Satya template- I thought there were lot of nuances and layers fit into the movie which made me think and watch it again to get a better perspective.
My opinion of the movie changes if I understand why a character behaves a certain way, talks a certain way. However like you said at this point it becomes more of a dissection of the movie rather than having the purest opinion of the movie.
It was a wonderful discussion and hope to have many more.
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blurb
June 23, 2016
Speaking of responding to art, does anyone else think that video gamers (the really intense ones) don’t engage with movies like the rest of us? I think they are so used to being the “agent” and having so much control over whatever goes on on-screen that they can completely remain unaffected during a movie. Because, in a movie, they are not the agent. Someone else is. And they never are able to fully empathize with the characters. That connection that a lot of us feel toward the characters never happens.
My brother can remain totally unperturbed. And he’s a big time gamer.
I don’t know, thoughts?
If my hypothesis does not make sense, it’s time I took him to see a shrink 😀
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brangan
June 23, 2016
blurb: I don’t know about videogamers, but I know that many people just do not “engage” with films. There is no concentrated viewing. It’s a passive process, which includes chatting, commenting, checking messages on the phone, etc. When people keep asking me “how do you remember so much,” I always want to say them “Just watch the bloody movie with focus. You’ll remember a lot of it too” 🙂
I am not trying to become a school teacher and say “this is how one should view films,” but this is also why many people prefer to have a director say this is what the film is about. It makes it less work for them. They don’t have to do anything but go along those lines.
Not that I am saying Raj is like that 🙂 His was more a genuine question.
Raj: I thought there were lot of nuances and layers fit into the movie which made me think and watch it again to get a better perspective.
You said it beautifully. So all these discussions result in us getting different nuances and perspectives from our own, so when we watch a film like Madras or 2001 (or whatever) again, we watch it with a new understanding of THOSE particular nuances, THAT particular perspective.
But this may not necessarily alter your overall “gut feel” of the film. I mean, it may. It may not. It depends on how much these nuances infuse the story to the extent that they radically change it and subsequently change your opinion of it.
Enjoyed this discussion, thanks. In earlier days, I would have made all this a column 🙂
PS: When I say “earlier days,” just realised that this is my 14th year of film writing. Phew 🙂
PPS: And this also reminds me of the various commenters who come, stick around for a while and then leave, like graduating students. I should put up a “Class of BR” list down the years 🙂
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Neena
June 23, 2016
@Aditya, @Honest Raj, @blurb: I dismissed it right away coz I bought it was much older history. But then found out that the one who engineered the massacre was murdered in 1980. Doesn’t stop one from hoping that these little nuggets might be explored in detail in the film, does it? Yes it has been told in one film before. Read somewhere that ‘Citizen’ was based on the attack – less said about that film the better. And early migration to Malaysia was often by Dalit labourers, unsurprisingly
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Raj
June 23, 2016
@BR: Congrats BR on 14 years of film writing. I recently started following you and am a big fan of your writing. Sometimes more than the reviews the discussions that follow are very interesting. Thanks for allowing the discussions to happen.
Definitely am not a gamer!! However I have been guilty of not providing proper attention to the creator and later complaining about the movie..
I still believe from a creator’s perspective a well informed audience is a good asset.
That brings me to another aspect – TRAILERS in Tamil movies. I have never understood why the audience is never given a taste of what the movie is going to be about. In fact there is a conscious effort to mislead the audience about the movie… Is generating curiosity the only way to bring audience in? Compare it to the Hollywood trailers, the viewer gets an idea as to what the movie is all about at a high level, then they bring in the audience and the creator exhibits his skill within that space. For me it works out better that way as I don’t suffer from my curiosity and my expectations are not played with. This is where marketing affects the art form. How many movies have suffered from the immense expectation it has created? The movie might have been good but could not live up to the expectations it created. How many times I have heard ” Padam nalla dhan irrundhadhu aana naan vera mathiri irrukumnu edhir paarthein”. Its no fault of the creator but purely the impact of marketing on art. Even Ranjith has mentioned in one of his interviews that he is very nervous because of the expectation Kabali has created.
What is the best way to make your audience view a movie without any expectation? I think it is only at this state can we appreciate art better. Any thoughts?
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praneshp
June 23, 2016
@Raj: I disagree that Hollywood trailers are good. I hate going to movie theaters early in the US, because most play trailers for 25 minutes (so if the ticket says 8 PM, the movie actually starts at 8 25). Most trailers are terrible, and many reveal the story as well as the only good lines in the movie.
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Raj
June 23, 2016
@praneshp Am not saying Hollywood trailers are good or bad. Am just pointing out that the intent of Hollywood trailers is to provide an idea about the movie while there is a contrast in the approach to trailers in Tamil cinema. I was wondering why the difference and what works better- An informed audience going into the movie or an audience filled with curiosity and at instances with tangential expectation going into the movie? In other words what is the purpose of Trailers in Hollywood vs Tamil cinema..The Hollywood trailers work better for me as I would not want to be completely misled before watching the movie…
One of my favorite Tamil movie trailer was Aalavandan…
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Enna koduka sir pera
June 24, 2016
Would you be writing about the songs of Achcham Yenbadhu Madamaiyada? 😀 This is a Rahman treat again in Tamil after OK Kanmani (barring Mei Nigara in an otherwise disappointing/generic 24 album).
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RSN
June 24, 2016
24, I think, for an album not so ambitious, was not bad. They at least sounded good on screen
AYM: I loved Rasaali for sure, but I don’t find Thalli Pogathey all that great. Avalum Naanum felt like a lost cause, as it kinda tried to do the same thing as Malargal Kaettaen, albeit apparently in a slightly more crowd-pleasing manner
Yet to check out the other tracks
Sid Sriram has started to sound real boring. For me, he has become to singing what Rangan sir says Meryl Streep is to acting. All that huff and puff for nothing!
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brangan
June 24, 2016
RSM: Actually, it’s the opposite for me. I find Rasaali very contrived, with melody lines fitting awkwardly with lyrics and sounding stretched. And the touches (like the Ninnukori bit) do nothing for me. It all sounds like trying to be different for the sake of being different. Thalli pogaathey, though, is a beauty. Took me a couple of listens to follow the structure. Extraordinary synth use. Altogether lovely song.
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Ragenikanth
June 24, 2016
the best song by far in AYM is thalli pogaathey, other songs are just average
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blurb
June 29, 2016
brangan: “And what about the marvellous Maya nadhi, the closest Kabali comes to a duet? It sounds so grown-up, so mature, especially with the line “thooya narayilum kaadhal malarudhe.””
What a beautiful line, both in the song, and in your review! Maybe only after seeing the “thooya narai” in one’s hair can one truly appreciate this line! To me, the presence of this line alone gives it a dimension completely orthogonal to everything I have been hearing recently.
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