On the eve of the release of Kamal Haasan’s latest (and probably his last) directorial venture Vishwaroopam 2 and his move to politics, here is a look back on his first directorial venture Hey Ram. Perhaps his greatest masterpiece, that has completed 18 years. This is no way a comprehensive piece, as it would take a book to cover the full brilliance of this film. Just a few scattered thoughts and observations on the aspects of the film that appealed to me most
Maa Nishada Pratistham Tvamagamahsāsvati Samaa
Yat Kraunchamithunaadekam Avadhi Kaamamohitam
So begins Valmiki’s Ramayana. Valmiki’s outrage at the hunter, for killing the male bird engaged in the act of making love forms the triggering point of the epic. A similar tragedy triggers the plot of Kamal Haasan’s epic film Hey Ram. Aparna, the wife of the lead protagonist Saket Ram played by Kamal , is brutally raped and murdered by a group of religious fanatics. This happens right in front of Ram as he is rendered impotent by the attack of the same people. We have seen Ram and Aparna in the act of passionate love making just a few moments ago, setting of a parallel with Valmiki’s epic.
There has been a lot of big screen and small screen adaptations of Ramayana over the years, both as direct adaptation of the epic or the more metaphorical ones set during the contemporary times. But what is common about all those adaptations is the fact that there isn’t much change in Lord Rama’s character , to reflect the times in which the adaptations are made. A flawed Rama who has the imperfections and inconsistencies is unthinkable even for daring revisionists. Kamal’s directorial debut Hey ram – and it must be stressed his official directorial debut- is an attempt towards portraying Rama in the times of Kaliyuga with all its imperfections, violence and moral dilemmas. As that wasn’t challenging enough, Kamal wants to stage his contemporary Ramayana in the most tumultuous period of modern History. The period between 1946 and 48, when India was divided into two and a new independent India and Pakistan was born. Most importantly he wants to tackle the circumstances that lead to the assassination of the father of the nation, Mahatma Gandhi
Hey Ram is a bilingual made in both Tamil and Hindi. There have been a lot of films made in India and outside which chronicles events from the history particularly about assassinations of major political figures either from the perspective of the Assassin or the assassinated. Most of them follow the template of a thriller. There has not been many made in our country in Hindi or Tamil – mainly because of censorship issues or the fact that the genre of political thrillers are not so popular except in Malayalam cinema. Coming to Hey Ram, what I find really great about the film is that it’s a perfect fusion of western and indian movie sensibilities. Kamal takes the political thriller format followed by the likes of The Day of the Jackal or The Manchurian candidate and embellish them with our masala film tropes. There is the brutal murder of the wife that triggers the quest for revenge in the hero, the hero’s best (muslim) friend who sacrifices his life for him. The evil friend who leads him to a wrong path, the faithful loyal (second) wife who pines away for him, the main villain (from his perspective) that he should overcome to emerge victorious at the end, etc etc…. Kamal takes these elements and characters and fill them up with the kind of depth and that is rarely seen in a mainstream masala film. He gives context to everyone, including the muslim tailor who rapes and murders Saket’s wife and who is in turn murdered by Saket. In another film he would just have been an all black villain, this goes for almost every other character big or small. What emerges at the end is an epic melodrama, the likes of which you rarely get to see in either in indian cinema or western cinema. The film brims with freshness in every department. Fresh ideas, fresh visuals, fresh actors. The three pivotal actors of the film , Atul Kulkarni, Vasundhara Das and even Rani Mukherjee were new faces to the screen and definitely helps the audience in identifying with their characters as opposed to the case with more well known stars playing them.
This is a very ambitious structure for a film where you want to retell the most beloved epic of the country even as you are analyzing the character of the most influential and popular person in its history and his brutal assassination. Here is where the film earns its 200 min running time. Kamal uses every minute of it. Each and every moment every shot, dialogue and scene is used in the service of the film to put these themes across and keep the story moving forward. The film is a pure cinematic experience where scenes without dialogues convey a hundred ideas. Every shot is so dense in detail and layers that even a European art film will pale in comparison. Even when dialogues are used, its to deepen character and situations. In short, Kamal as writer and director does a tremendous job with the difficult subject material
Like the scene above, where the elephant in the frame stand for a lot of things. It symbolizes both Saket Ram who has lost this wife and is now on a violent spree. it also stands for India, this huge beast without a master, since the English are leaving and there isn’t another master in place yet. All the violence that is shown here is on account of that.
As the film follows Ramayana, each act of the film is structured on the lines of each Kandam of the epic. Sometimes 2 Kandams are squeezed together into a single act and not as linearly as the episodes in Ramayana. As I see it
Bala Kandam : Ram’s stint at Mohenjodaro ruins
Ayodhya Kandam : the entire portion set in Calcutta with Aparna’s death and the riots
Aranya Kandam : Ram’s exiled state as he cuts himself off from worldly pleasure and settle back in his hometown and marriage to Maithili
Kishkinda Kandam and Sundara Kandam :The entire Maharashtra portion
Yudha Kandam & Uttara Kandam: the entire last act of the film starting with Ram’s abandonment of his wife and family , becoming Brahmachari , events in Delhi where he confronts Gandhi (his Raavana) and his subsequent renouncing of violence
The characters in the film are also based on the epic. Apart from the ones already mentioned:
Sita is split into Aparna and Maithili. Maithili being another name of Sita
Bharatha is Amjad Khan, Ram even calls him Bharath in one of the scenes
Hanuman is Abhayankar. He is a Hanuman Bakth and a brahmachari. The person who takes Saket across the seas to meet Raavana
Sugreeva, the monkey king from Kishkinda Kandam is the Maharaja who plans the assassination of Gandhi. Sugreeva helps Rama by providing him with his Army to kill Ravana, just like the Maharaja does here.
Another inspiration for the film’s narrative structure and the treatment of Gandhi character is William Shakespeare’s Julius Ceaser. Here Saket is Brutus, Gandhi is Ceasar, Abhayankar is Cassius and Amjad is Mark Anthony. By Kamal’s own admission, he structured the portrayal of Gandhi based on Mark Antony’s speech, where he begins by calling Brutus a honorable man then goes on to demolish his honor to prove that he is the most dishonorable of men. Here, kamal does the reverse with Gandhi. First he positions Gandhi in the wrong light and slowly unravels his real character. The first time Saket sees Gandhi is him standing with the premier of Bengal who supported Jinnah’s call for Direct action which in turn lead to Aparna’s death.
The film is steeped in hindu religious rituals and traditions. Every frame is drenched in the colors of saffron and red. The themes that are explored throughout are mainly relating to hindu male sexuality detailed as the several ‘ashram’s in a man’s life. On the surface, Saket is on a journey to avenge his wife , but he is actually on a quest to repossess or re assert his masculinity. His first wife Aparna, with whom he has a very sexually intense and passionate relationship, is sexually violated and murdered right in front of him. As a husband, her being violated and killed in front of him poses a direct insult to his masculinity. he has failed in his duty as a husband in protecting his women as commanded by the shastras.
Its noticeable how he seems to have only a platonic relationship with his second wife in the initial days of his marriage. He repeatedly refers to her as a child and refuses to treat her as an equal. there is a scene where Maithili walks in to the bed room and Ram is seen to be zipping up his pants in away shutting out his sexual desire for her. Killing Gandhi becomes his solution for regaining his manhood. it could be noted that after he is recruited for the assassination of Gandhi, he becomes more virile and with the mixture of somarasam his sexual desire for his second wife is inflamed. He consummates the relationship with her more as as an act of violent aggression than an act of love
Another aspect is the Brahmin kshathriya ethos that permeates the whole film. Saketh who is a vaishnavite bramin by birth takes on the role of a warrior as the film progresses. He even becomes a Kali worshipper. Abhayankar, in his initial meeting with Saket symbolically quotes from Bhaghvat Geetha that killing in war is a soldier’s dharma and there is nothing to be ashamed of it
The plot to kill Gandhi is given a racial and caste angle. The participants are all either Brahmin or Kshathriya. The secret den where the conspirators meet have pictures of Hitler and Veer Savarkar on the walls. The ideology is made clear by the Maharaja, who is head of the conspirators, in his address, that if he have to keep the hindu soul alive, then this great soul (Mahatma) will have to die, because non violence is a feminine concept according to the ideals of the hindu culture and masculine valor based on violence has always been its hallmark .
As the first shloka of Ramayana indicated, the theme that figure prominently in the film is that of The hunter and the hunted. In the earlier scenes of rioting in Calcutta where Aparna is murdered, we see that muslims are the hunters. Once the riots progresses, you will see the roles reversed. Now Ram himself is a hunter hunting down his wife’s killers and in between a lot of innocents also get killed by him. soon enough Saket will see a group of Sikhs slaying a muslim. The most pivotal scenes regarding this theme would come in the Maharashtrian portions of the film. Ram arrives with his second wife Maithili where they are greeted by Abhayankar. As they get talking, subject shifts to hunting. Abhayankar relishes hunting animals and claims hunting to be a man’s right. Maithili disapproves saying that she doesn’t like the idea of killing innocent animals. What if it was reversed. what if a wolf comes and steals you child, Will that be proper? Abhayankar’s answer is yes it is, if you look at it from the Wolf’s point of view then it is proper. In a later scene, the maharaja calls Saket a shakahari shikari or the vegetarian Hunter, a Hunter who does not eat meat, but hunts only to proves his masculinity. Ram is also repeatedly called a ‘Tiger’ by Maithili.
Coming back to the narrative structure of the film, Kamal sets up the film with a series of brilliant echoes. To showcase the mindset of the Saket in two different stages of his life where he is alternatively the hunted and hunter. He has two wives and there are two love making scenes with each of them that bring out his mental state and the nature of relationship he shares with his spouse. In the case of Aparna it is she who takes the upper hand in the love making. He likes being subservient to her in everything. While in his relationship with Maithili, he is the dominant partner. He ignores her, becomes aggressively sexual towards her and then abandons her.
Two friends: Amjad Khan, the sane reasonable who symbolizes Ram’s conscience and humanity. the other friend, Abhayankar , the ultra violent firebrand religious leader, who brainwashes him in to being a killer.
Two scenes of riots, first one in which Ram loses his wife and thereby losing his humanity followed by his befriending by Abhayankar. then the second one near the end of the film where he meets up with Amjad again. Amjad coming back in to his life is a signifier of his conscious and reason returning to him.
Two deaths: First that of his wife Aparna. Watching her die turns him in to a blood thirsty religious fanatic. the second of his friend Amjad in a very similar manner to that of his wife, Only the religion of killers is different. Standing there by his bedside at the hospital, he can just helplessly watch as Amjad dies. But it helps to purge him of the poison of religious hatred and vengeance that afflicted him at his wife’s death. He renounces violence and withdraws from the mission to kill Gandhi. But the killing of the Mahatma cannot be stopped as Nathuram Godse, another Ram completes the task of killing Gandhi.
Hey Ram did not have an auspicious beginning. Kamal had started his magnum opus Marudunayagan. It was launched with great fanfare with queen Elizabeth being the VVIP guest. But soon enough the film ran in to financial troubles, after the foreign financiers backed out of the project. A devastated Kamal shelved the film after he had invested. some 10 crores of his own money in to the project. So to recover from the situation he immediately started his new project which turned out to be Hey Ram. Kamal should be commended that Instead of making a quickie commercial film to recover the money, he decided to embark on a project which was perhaps even more risky and artistically ambitious than marudunayagam. The film was very controversial for its time and he had to fight the censor board tooth and nail for protecting the integrity of the film. He also ran in to political opposition and finally when the film was released, it opened to mixed reviews and disastrous box office. Kamal who was already reeling from the shelving of marudunayagam suffered severe financial setbacks after Hey Ram, which was a very expensive film for its time. He had to fall back on doing safe commercial films for a while after that with mixed box office results until he would break the mold with the brilliant Virumandi, which happened to be his sophomore directorial venture.
But Hey Ram has endured over the years and today it is considered a classic. Its another example that time is on the side of the artist. Its neither the critics or the audience that determines the true value of a work of art , but its time, whether its Mozart’s music or Van Gogh’s paintings, time determines whether an artistic work is worthy or not something that should be very strongly reiterated in today’s times when the lifetime of a movie is perhaps just a weekend and we measure the worth of a movie by what it grosses on a weekend or its opening day.
Kamal is not as titanic a talent as Mozart or Van Gogh, nor does he live his life in abject penury or disillusionment. He has amassed wealth and fame living his life on his own terms. I always felt that he is more of a businessman than an artist or perfect mix of both . But there is nothing calculated or business like as far as Hey Ram is concerned. It is very much a work of great artistic integrity and one of the best films made in the county as far as mainstream commercial cinema is concerned. And like a great piece of music, or a great painting or a great novel that one can re read any number of times. I am sure that this film will continue to enrich and enthrall audiences for generations to come.
This post was written by Maneesh Krishnan A.K.A MANK
Siva
August 5, 2018
I don’t think VR2 would be his last directorial venture. In recent interviews, he has confirmed that 40% has already been filmed and that they will be progressing with the next schedule of
https://en.wikipedia.org/wiki/Sabaash_Naidu
soon 🙂
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MANK
August 5, 2018
This post is dedicated to Rahini 🙂
This was the first serious post i started writing for the readers write in after she instigated me to. But this fell apart as it became too big for me. But with time i found a way to shape this into a cohesive piece. i am still not fully happy with this.
Hopefully she will connect with this, much better than the other posts that i have written.
And thanks to Brangan for posting this here.
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Srinivas R
August 5, 2018
Very nice perspective with respect to Ramayana. IMO, if an Indian movie ever deserved to win an Oscar, this was it.
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Lokesh
August 5, 2018
Actor kamal and director kamal in perfect harmony. Wonderful Mank
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krrishsite
August 5, 2018
Please make video for this article. I want to show to my idiot friend.
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Vivek narain
August 5, 2018
The movie might be a classic at par with Gurudutt’s Pyasa, but i can’t believe that it will enthrall the audiences over the generations, as much as Junglee or Rajkumar or Farz or Johny mera naam.
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MANK
August 5, 2018
Thanks all
Vivek narain, i think it will. even though, its not an entertainer like JMN or Junglee, the way our socio political scene is changing, People will marvel at the fact that a film like this was ever made. its very difficult to make a film like this today because of all the socio political pressures and it will be impossible, say in 10 years. at least not as a motion picture. perhaps possible only as a web series
Srinivas, i agree, and so did Virumandi. These 2, are works of such density and depth. Both films had Kamal, the actor and Filmmaker in sync and at their peak. i cant believe that he doesn’t want to direct more. he is always looking for a dummy director to carry out his screenplays. directors like KSR or Ramesh Aravind who have no idea about the depth of his screenplays
And i feel that Tevar Magan, Hey Ram and Virumandi are 3 of the greatest screenplays ever written. If it was in Hollywood, Kamal would have got an oscar only for his screen writing. Kamal has benefited immensely from the workshops he attended in Hollywood. That Hollywodish technique, of moving the plot forward at any cost without being bogged down by any subplots or tangents even while keeping things dramatic is very much evident in his writing.
Even a film like Viswaroopam worked so well because he was directing. i dont think any other director could have pulled it off as well as he did. Makes me sad at his abandoned projects. one can only imagine the magic he would have created with Marudunayagam or Marmayogi
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Tambi Dude
August 5, 2018
Big time fan of Hey Ram here. Along with Satya, I consider HR as one of the very few mainstream movies which are good for repeat viewing. I have seen both theTamil and Hindi version multiple times and I think they both excelled at different parts of the movie.
Here are the portions of the movie where one was better than the other:
Hindi: Initial scenes in Pakistan and then Calcutta.
Tamil: All those Srirangam scenes. One has to be an Iyengar to appreciate the nuances.
Perhaps the only movie I found Hema Malini acting well. There is a scene where Vasundhra Das complains to her mom (HM) about a changed Saket who does not talk to her much. HM says “nee shande potturpe” (you must have fought). LOL. This is how every mom pre-judges their married daughter.
Hindi: Back to Delhi scenes when Saket goes to kill Gandhi.
The production quality of HR was very good. To recreate India of 1946-48 time-frame was not an easy task. Those Direct action days in Calcutta were particularly shot well. In another scene, even the right cover of Ananda Vikatan was shown (VD reading it in the plane).
There is one scene where the postman had to deliver a telegram to Kamal (the telegram brings in the news that Atul Kulkarni died and now as plan B he has to take care of Gandhi). Kamal sitting inside in the living room asks the postman to come inside and deliver. The postman hesitates to walk in until kamal tells “come inside, no one is around”. A telling tale of caste attitudes and practices in those days.
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Aman
August 5, 2018
Finally, finally, a post on one of the greatest films ever made in our country, brilliantly written and explained despite the fact no article can do possible justice to this gem of cinema. While the Ramayana aspect of the film is well evident, your reading of the film in terms of Julius Caesar is surprising and accurate as well.
Regarding the failure of the movie in the box office, I have a few points to add. There was a old article about Kamal Hassan written by Prem Panicker where he states that the movie, which was being made as a bilingual was being recorded with live sound, and some of the actors in the movie knew only one language like Shah Rukh Khan. Given the perfectionist that Kamal was, it was apparently a nightmare to shoot the movie due to the extraneous sounds popping up on the soundtrack, the wrong intonation by actors and so forth, One can only wonder how much these obsessions drove up the budget, especially for a movie of this unique nature, it was bound to fail. Later, Kamal too accepted that he should have made the movie at a lower budget
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shaviswa
August 5, 2018
I found Hey Ram tedious. While I enjoyed the Sriramgam scenes, the rest of the film was extremely tedious to watch. Raja’s music made life better however and was probably one of the reasons why I sat through the entire movie.
Again another movie where Kamal was I’m every single frame. 😦
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MANK
August 5, 2018
Tambi Dude, there is an interesting dichotomy in the different versions. overall the film works much much better in hindi. Because its truly a pan indian film and the majority of characters\actors and events are in north But Kamal’s performance works much better in tamil. He gets bogged down by his thick accent . his emotional timing and dialogue delivery is a little off in hindi when he has to struggle with some complex words. His performance in tamil is of course flawless. if i want anybody to enjoy the film to the fullest, then i would suggest the hindi version, because thats what i prefer.Even the Srirangam scenes do not look out of place in the hindi version. And the 2 best performances in the film – of Rani Mukherjee and Atul Kulkarni comes through fully in hindi version. Atul has some of the best dialogues in the film and a lot of the bite of those lines and his delivery is lost when he speaks in broken tamil and english
Thanks Aman, yes the film cost some 13 crs or so at the time which was more expensive than Indian But i dont know how he could have made the film on a lower budget. the epic scope of the film is one of the reasons why the film is so effective. the period details, the riot scenes,the special effects,.. you cant achieve that on a lowe budget
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brangan
August 5, 2018
MANK: I agree. I saw the Hindi version first (I was in the US then, and this is what was screened first in the Indian theatre). And it blew my mind, except for — as you say — Kamal’s accent. But one iffy accent is much better than many — and the Tamil version is horrendous in that respect. My ears almost fell off listening to the pained dialogue delivery. Even the lavani etc play very well in that mileu. The scenes with Atul, Rani, the Raja, even Vasundhara — all play better in Hindi. Only the hardcore TamBrahm portions play better in Tamil.
I always tell people, to see the movie as the masterpiece it was intended to be, someone should put together a multilingual cut — with the best portions from the Hindi and Tamil versions.
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Aman
August 5, 2018
Regarding Raja’s music, Kamal initially approached well known musician L Subramaniam for the score of Hey Ram!. It was said that this was done as Subramaniam had a international reputation which could help the film commercially. But then as the shooting was nearly done, Subramaniam suddenly dropped out of the project and Kamal turned to Raja, willing to reshoot. But Raja was unwilling to let the budget increase and composed the tunes for the already completed portions. But then, a person listening to the music of Hey Ram would hardly believe that it was a last minute replacement.
This, for me is an anecdote that perfectly summarizes the brilliance of Ilayaraja: the ability to come up with such brilliant tunes in such a short period and under pressure
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Sriram G
August 5, 2018
How I wished someone would write a piece on Hey Ram!
MANK you have rekindled my appetite on this classic. Thank you for that.
One of the most eloquent piece of writing on the film.
BR how about you writing one on this film?
Love you people.
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Venky
August 5, 2018
Beautiful piece. There is so much one can talk about the music of this film. i loved the way thirrupaavai was used so beautifully in the film. Also wanted to share a small slice of personal history. Many months before the movie got released, I was in my eighth grade, and learning Mridangam in Mylapore, where I was born.
And one fine day, while we were practising our lessons in Bharatiya Vidya Bhavan, one of the ADs of this film came to see my mridangam guru Shri. K. Rangarajan. He was looking for a young chap to play Mridangam to that song which Mythili sings during the “ponnnu paarthal” scene( the outside locales for that scene were shot near my place then, near Mundakanniamman temple). When the word spread in the class that one of us could act for a minor scene in Kamal, we were so excited. Ah, those days!
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Venky
August 5, 2018
Even though I may not agree with many of the points mentioned in this article, it makes an interesting reading of the context surrounding the movie.
https://swarajyamag.com/culture/the-false-symmetries-of-hey-ram
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Uma
August 5, 2018
I remember watching this movie in a theatre with hardly anyone and my friend and myself were the only females in the audience. I watched this movie in Madurai- probably regarded as B/C center by our movie makers. I don’t think any of the audience in the theatre I watched it, including myself understood the movie/nuances. Many of the scenes were also probably cut by the theatre to cut down the running time.
If this movie is released today in the online streaming/multiplex environment would probably be considered a stupendous commercial success.
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vogon
August 6, 2018
Atul Kulkarni was excellent in the film. But I do wonder how Mohan Gokhale (who sadly passed away during the making) would’ve done. He was such a good actor.
Terrific analysis, by the way. I thought the love-making scenes were over the top and unnecessary for the narrative, but reading this makes me want to reconsider it.
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Siva
August 6, 2018
Aman: ” But Raja was unwilling to let the budget increase and composed the tunes for the already completed portions. ”
This was a phenomenal feat. The arrogant genius that was Illaiyaraja did 2 chanceless things when it came to Hey Ram!’s composition.
1) He composed music for already filmed song sequences (which was rare in itself)
2) Not just that, the lyrics of these songs were already written and filmed for the music composed by the composer with whom Kamal had the fallout. Raja just didn’t overlay new composition over filmed songs, but new composition over filmed songs which already had lyrics! (this is mad genius)
Kamal Haasan did explain this feat in great detail in the written series he penned (for Thamizh weekly Ananda Vikatan) for several weeks until before he seriously ventured into politics earlier this year.
I will post excerpts from that portion of the series as a separate comment. It is in Thamizh though. For non-Thamizh speakers, if need be, may be someone could summarize briefly later.
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Siva
August 6, 2018
The story behind the music of Hey Ram!
(excerpts from the Ananda Vikatan series “Ennul Mayyam Konda Puyal”, written by Kamal Haasan)
Links to the 2 episodes from which I have pulled the text:
1) https://www.vikatan.com/anandavikatan/2017-dec-27/serials/137179-simmering-storm-within-me-kamalhaasan.html
2) https://www.vikatan.com/anandavikatan/2018-jan-03/serials/137319-simmering-storm-within-me-kamalhaasan.html
Part 1
அந்தப் படத்தை மிகப்பெரிய பொருட்செலவில் நானே சொந்தமாகத் தயாரித்து, இயக்குவதாக முடிவு செய்திருந்தேன். ‘இசையமைப்பாளர்’ என்று பேச்சு வந்தபோது, ‘`என்னங்க எப்பப் பாரு ராஜா, ராஜானு அவர் பின்னாடியே போயிட்டிருக்கீங்க. கொஞ்சம் வித்தியாசமாத்தான் பண்ணிப்பாருங்களேன். அவரைப் பாருங்க, அந்த மியூசிக் டைரக்டரோட போயிட்டார். இவர் அவரோட போயிட்டார்’’ என்று பலரையும் உதாரணங்களாகக் காட்டினார்கள். ‘ஆமாம், காலத்துக்கு ஏற்றாற்போல் மாறவேண்டும் இல்லையா’ என்று நினைத்துக்கொண்டு, நானும் வேறொரு இசையமைப்பாளரைத் தேடிப் போனேன்.
அவர் அறிமுகம்தான், ஆனால் பெரிய இசை மேதை. ஆரம்பத்தில் பேசும்போது, ‘
என்ன கொடுத்தாலும் வாங்கிக்கொள்கிறேன்’’ என்றார்.
அவர் அப்படிச் சொன்னதற்காக நாம் என்ன அவருக்கு ஆயிரங்களிலா கொடுத்துவிடப்போகிறோம், 15 லட்சம் தரலாம்’ என்று மனதில் நினைத்திருந்தேன். 20 ஆண்டுகளுக்கு முன்பு 15 லட்சம் என்பது பெரிய தொகை. பாடல்கள் கம்போஸ் செய்து ஷூட்டிங்குக்காக ரஃப் ரெக்கார்ட் கொடுத்தார். அதைவைத்துப் பாடல் காட்சிகள் உட்பட ஒட்டுமொத்தப் படத்துக்கான ஷூட்டிங்கையும் முடித்துவிட்டேன்.ஃபைனல் மிக்ஸிங்குக்காக ஒரிஜினல் ரெக்கார்டை அவரிடம் கேட்டபோது,
‘எனக்கு ஒரு கோடி ரூபாய் தரவேண்டும்’’ என்றார். அப்போதெல்லாம் யாருக்கும் அவ்வளவு சம்பளம் கொடுப்பது கிடையாது. என்னாலும் அவ்வளவு பணம் கொடுக்க முடியாது. என்ன செய்வது என்று தெரியவில்லை. ‘
பணத்தைத் தந்தால்தான் இசையைத் தருவேன்’’ என்றார். போகப்போக இழுபறியாகிவிட்டது. ஓரளவுக்குமேல், மரியாதை கெட்டுப்போய்விடும் என்று நினைத்து, ‘பரவாயில்லை, எனக்கு லாபம் என்று வைத்திருந்த தொகையை இழக்கிறேன். வேறு இசையமைப்பாளரிடம் போய்விடலாம். புதிதாகப் பாடல்களை ரெக்கார்ட் செய்து பிறகு அதைவைத்து ரீஷூட் செய்யலாம்’ என்றேன்.“யாரை வெச்சுப் பண்றது. ராஜாட்ட போக முடியாது. நீங்க அவரை விட்டுட்டு வேற ஆள்ட்ட போயிருக்கும்போது மறுபடியும் எப்படி அவர்ட்ட போக முடியும்’’ என்கிறார் சந்திரஹாசன். ‘`அதெல்லாம் ஒண்ணுமில்லை, நான் போவேன்’’ என்று சொல்லிவிட்டு, ராஜாவிடம் போய் அமர்ந்தேன். கூனிக்குறுகித்தான் உட்கார்ந்திருந்தேன். என் பிரச்னையைப் புரிந்து அவர் அன்று செய்தது, திரையிசை உலகில் மிகப்பெரிய சாதனை என்பேன். அந்தப்பட இசைக்கோப்பினையே பல்கலைக்கழகங்களில் தனிப் பாடமாக வைக்கவேண்டும் என்று பரிந்துரைப்பேன்.
அது என்ன படம், அதில் ராஜா அப்படி என்ன சாதனை செய்தார் என்பதை அடுத்த வாரம் சொல்கிறேன்.
Part 2
முழுப்படத்தையும் முடித்துவிட்டு ஃபைனல் மிக்ஸிங்குக்காக ஒரிஜினல் இசையைக் கேட்டால், ‘ஒரு கோடி ரூபாய் கொடுத்தால்தான் கொடுப் பேன்’ என்றார் அறிமுக இசையமைப்பாளரான அந்த இசைமேதை. ‘வேறு வழியில்லை, ராஜாவிடம் போவோம்’ என்றேன். ‘வேறு ஒருவரிடம் போய்விட்டு வந்ததால் அவர் பண்ணுவாரா என்பது சந்தேகம்’ என்றார்கள். ‘பண்ணுவார், நான் போவேன்’ என்று சொல்லிவிட்டுச் சென்றேன். ‘என்ன’ என்று கேட்டார் ராஜா. ‘தப்புப் பண்ணிட்டேன். இந்த மாதிரியெல்லாம் ஆகிப்போச்சு’ என்று என் குறைகளைச் சொன்னேன்.
வேறு நபராக இருந்திருந்தால், ‘செம மேட்டர் சிக்கிடுச்சு’ என்று நினைத்துக்கொண்டு, ‘எனக்குத் தெரியும்…’ என்று எதிராளியைப் பற்றிக் குறை சொல்லத் தொடங்குவார்கள். இல்லையென்றால், ‘இல்லல்ல… எனக்கு வேறு வேலைகள் இருக்கு’ என்று சொல்லித் தவிர்ப்பார்கள். ஆனால் ராஜாவோ, ‘
சரி, அதை விடுங்க. இப்ப என்ன பண்ணப்போறீங்க?’’ என்று நேராக பிரச்னைக்குள் வந்தார். ‘
பாட்டெல்லாம் ஷூட் பண்ணிட்டேன்’’ என்றேன். ‘அப்ப அந்தப் பாட்டை யெல்லாம் திரும்ப எடுக்க எவ்வளவு செலவாகும்?’’ என்றார். ‘
அதைப்பற்றி இப்ப பேசவேணாம். நாம அந்தப் பாடல்களைப் புதுசா கம்போஸ் பண்ணி ரெக்கார்ட் பண்ணுவோம். அதைவெச்சு நான் புதுசா ஷூட் பண்ணிக்கிறேன். எவ்வளவு குறைவான பட்ஜெட்டில் இதைப் பண்ண முடியும்னு நீங்க சொல்லுங்க’’ என்றேன்.‘
எனக்கு என்ன கொடுப்பீங்க?’’ என்றார். ‘
என்னங்க இந்த நேரத்துல இப்படிக் கேக்குறீங்க. தப்புப் பண்ணிட்டேன்னு சொல்லிட்டுதானே வந்திருக்கேன். தண்டனைக்கு இது நேரமில்லையே’’ என்றேன். ‘அதெல்லாம் பேசப்படாது. பாட்டைப்பூரா எடுத்தீங்கன்னா என்ன செலவாகுமோ அந்தச் செலவை எனக்குக் கொடுங்கன்னா கேக்குறேன்?’’ என்றார். ‘
என்னங்க, இப்ப பண்ண மாட்டேங்குறீங்களா, என்ன சொல்றீங்க?’’ என்றேன். ‘`மாட்டேன்னு எங்க சொன்னேன். உங்களுக்கு அந்தச் செலவே இல்லாம பண்றேன். எனக்கொரு ஐடியா வந்துடுச்சு’’ என்றார்.‘
என்ன?’’ என்று கேட்டேன். ‘
ஏற்கெனவே எழுதிய பாடல்கள், நீங்க எடுத்த வீடியோ காட்சிகள் எதையும் மாத்த வேணாம். அப்படியே இருக்கட்டும். அந்த வரிகளுக்கும் காட்சிகளுக்கும் பொருந்துறமாதிரியான இசையை நான் கம்போஸ் பண்ணித் தர்றேன். திரும்ப ஷூட் பண்ண வேணாம். எனக்கு என்ன கொடுக்குறீங்களோ கொடுங்க. அதைப்பற்றிக் கவலையில்லை. நான் செஞ்சுகாட்டுறேன்’’ என்றார் உறுதியுடன்.‘
என்னடா இது, கிணறுவெட்ட வேறு பூதம் கிளம்புதே, தப்பாயிடுமோ’’ என்ற பயம் எனக்கு. ஒருமாதிரி தயக்கத்துடன்,
‘அது பரவாயில்லைங்க. என்னைக் காப்பாத்துறேன்னு சொல்லிட்டு மியூசிக்கை நாம கம்மிபண்ணிடக்கூடாது. எல்லாம் ஹிட் சாங்கா வரணும். நீங்க போடுறபடி போடுங்க. செலவானா பரவாயில்லை. நான் ஷூட் பண்ணிக்கிறேன்’’ என்றேன். ‘அப்படின்னா என் மேல நம்பிக்கை இல்லைனு எடுத்துக்கலாமா’’ என்றார். ‘
ஐயய்யோ… அப்படியில்லைங்க’’ என்று அவசர அவசரமாக மறுத்தேன். ‘என்னமோ நடந்துடுச்சு. இனிமேலாவது நண்பர் சொல்வதைக் கேட்போம்’ என்று நினைத்துக்கொண்டு, ‘`நீங்க சொல்றதுமாதிரியே கம்போஸ் பண்ணுங்க’’ என்று சொல்லிவிட்டு வந்தேன்.பிறகு, என்னை அழைத்துக் காட்டினார். ‘இது உண்மைதானா, மேஜிக்கா, இசையில் இப்படியெல்லாம் நிகழ்த்த முடியுமா?’ என்று என்னால் நம்பவே முடியவில்லை. ஆம், ‘ஹேராம்’ படத்தில் அத்தனை ஹிட் பாடல்களும் ஏற்கெனவே எழுதி, ஷூட் பண்ணின காட்சிகளுக்குப் புதிதாக இசையமைக்கப் பட்டவை. அதே வரி, அதே சொற்கட்டு. ஆனால், இசையும் ராகமும் வேறு. ராஜா வழி வந்தவை.
அதில் ஒரு காட்சியில், இரண்டாம் தாரமாகத் திருமணம் செய்ய, பெண் பார்க்க ஹீரோ வந்திருப்பான். அவள், மிகவும் இளம் வயது பெண். ‘வைஷ்ணவ ஜன தோ…’ என்று காந்தியாருக்கு மிகவும் பிடித்த பாடலை அந்தப் பெண் பாடுவாள். அதில் ஓர் இடத்தில், ‘`ஸ்ருதியை ரொம்ப மேல எடுத்துட்டா பிசிறி நாறப்போகுது’’ என்று ஒரு விதவை ஐயங்கார் பாட்டி சொல்வார். அதனால் அவள் சரியாகப் பாடவேண்டுமே என்கிற பதற்றத்துடன் அனைவரும் கேட்டுக் கொண்டிருப் பார்கள். அவர் மேல் ஸ்தாயியில் பாடும் இடம் வரும். எல்லோரும் பதறி, பிறகு, ‘நல்லா பாடிட்டா’ என்று தங்களை ஆசுவாசப்படுத்திக்கொள்வார்கள். பின், அந்தப் பெண் பாடியபடியே தன் குடும்பத்தினரை கர்வமாகத் திரும்பிப் பார்ப்பாள். இதுதான் காட்சி. அந்தக் காட்சியையும் ஏற்கெனவே படமாக்கிவிட்டோம்.
அந்தக் காட்சியைக் காட்டி, ‘
இதுக்கு எப்படிப் பண்றது? சரியா உச்சஸ்தாயி போகவேண்டிய இடத்தில் உச்சஸ்தாயி போகணும். எப்படிப் பண்ணலாம்னு எனக்குப் புரியலை’’ என்றேன். ‘
என்ன வேணும் சொல்லுங்க’’ என்றார் ராஜா. ‘மொத்தக் கதையும் நார்த் இண்டியாவுல நடக்குது. ஆனால், இதுமட்டும் சென்னையில் நடக்கும் காட்சி. அதனால இதுமட்டும் தென்னிந்தியத் தன்மையோட இருக்கணும்’’ என்றேன். ‘
அவ்வளவுதானே’’ என்றவர் உச்சஸ்தாயி போவதுபோல் மூன்று டியூன்கள் போட்டார். அதற்கும் 30 நிமிடங்கள்தான். எனக்கு அந்த மூன்றுமே பிடித்திருந்தன. ‘`நானே சூஸ் பண்றேன்’’ என்று மூன்றில் அவர் தேர்ந்தெடுத்த பாடல்தான் படத்தில் வந்தது.இப்படி வேலைகள் போய்க்கொண்டிருந்த சமயத்தில், ‘
எல்லாம் சரி, உங்க வேலைகளை முடிச்சுக்கிட்டீங்க. எனக்கு ஒரு பாட்டுப் போட இடமில்லாம பண்ணிட்டீங்களே’’ என்றார். ‘
இதுவே பெரிய சாதனை. அதென்ன பெரிய விஷயம்’’ என்றேன்.‘இல்ல, எனக்கு ஒரு இடம் இருக்கு’’ என்றார்.
‘ஒரு இயக்குநரா பார்க்கும்போது, இதுல இன்னொரு பாட்டுக்கான இடம் இல்லையே. தவிர இன்னொரு பாட்டு ரொம்ப ஜாஸ்தியாயிடும், வேண்டாங்க’’ என்றேன்.‘ஐயா, இருக்கிற இடத்துல நான் போட்டுக்குறேன். நீங்க சும்மா இருங்களேன்’’ என்றார். ‘
எங்க?’’ என்றேன். ‘அவர் பாங்கு குடிச்சிட்டு வர்ற அந்த இடம். இயக்குநரா நீங்க அதை ரீரெக்கார்டிங்கா நினைச்சிருந்தீங்க. நானும் அது ரீரெக்கார்டிங்தான்னு சொல்றேன். ஆனா, அதையே பாட்டா போட்டுக்கொடுக்குறேன்’’ என்றார். ‘
நல்லாருக்குமானு பாருங்க’’ என்றேன் அரைமனதாக.அப்படி அவரே முடிவு செய்து, கம்போஸ் பண்ணி அவரே எழுதியதுதான், ‘`இசையில் தொடங்குதம்மா’’ என்ற பாடல். முன்பெல்லாம் பாட்டுப்போட்டிகளில் தன் திறமையைப் பார்வை யாளர்களுக்குக் கடத்த, ‘சிந்தனை செய் மனமே’, ‘ஒருநாள் போதுமா’ போன்ற பாடல்களைப் பாடிக்காட்டுவார்கள். நானே சிறுவனாக இருந்தபோது, ‘ஒருநாள் போதுமா’ பாடலை அதைப் பாடிய பாலமுரளி சாருக்கும் பெரிய வீணை வித்வான்களுக்கும் பாடிக்காட்டியிருக்கிறேன். அப்படி இன்று தனக்குப் பாட வரும் என்பதை நிரூபிப்பதற்காக, பாட்டுப் போட்டிகளில் இளைஞர்கள் பாடிக்காட்டும் ஒரு ஐக்கானிக் பாடலாக ‘இசையில் தொடங்குதம்மா’ பாடல் அமைந்திருக்கிறது. இதன்மூலம் பிரபல இந்துஸ்தானி பாடகர் அஜய் சக்கரவர்த்தி அவர்களின் நட்பையும் ராஜா எனக்கு ஏற்படுத்திக்கொடுத்தார்.
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பணம், உழைப்பு, நாள்கள்... என்று இந்தளவுக்கு மிச்சப்படுத்திக் கொடுத்திருக்கிறாரே’’ என்று சந்தோஷம். அவரை பதிலுக்கு சந்தோஷப்படுத்திப் பார்க்கவேண்டும் என்ற ஆசையில் ‘ஹேராம்’க்கான பின்னணி இசையை புதாபெஸ்ட் கொண்டுபோய் ஹார்மோனிக் ஆர்க்கெஸ்ட்ராவை வைத்து ரீரெக்கார்டிங் செய்வது என்று முடிவு செய்தேன். புதாபெஸ்ட் அழைத்துச் செல்லும்போது அவருடன் வந்தவர்கள் அனைவருக்குமே அந்த வடிவம், தொழில்முறை அனைத்தும் புதிதாகவும் வேறாகவும் இருந்தன. ஆனால், அவர்களை ஒன்று சேர்த்தது இசை மட்டுமே. அங்கேயும் வேட்டிகட்டிக் கொண்டு, குளிருக்குக் குல்லாவெல்லாம் போட்டுக்கொண்டு வந்து நின்ற ராஜாவை, அங்குள்ளவர்கள் ‘
இவரா கம்போஸர்?’’ என்பதுபோல் பார்த்தனர்.அவர்களின் முகத்தில், ‘
இந்தியாவுல இருந்து ஏதோ வந்திருக்காங்க. அவங்களுக்கும் பண்ணணுமே’’ என்ற சலிப்பு தெரிந்தது. ‘
இது சரியில்லை, அது சரியில்லை’’ என்றார்கள். ராஜாவை வைத்துக்கொண்டு அவர்கள் அப்படிப் பேசியது எனக்குக் கோபத்தை வரவழைத்தது. ‘`காசு கொடுத்து வந்திருக்கோம். எங்க ஆளுக்கு இது இது வேணும்னு கேட்கிறார். அதைச் செஞ்சுகொடுக்க வேண்டியது உங்க வேலை. ஏன் இவ்வளவு சலிப்பு’’ என்று அவர்களை அதட்டினேன்.ஆனால், அவர்கள் திறமையான இசைக்கலைஞர்கள். தியேட்டரை நம்புபவர்கள். ஒருவருக்கொருவர் பேப்பர் கொடுப்பதில் ஏதோ ஒரு பிசகு நடந்திருக்கிறது என்பது தெரிந்தது. நான் அதட்டியதால் முகத்தைத் தூக்கிவைத்துக் கொண்டு சற்று இறுக்கமாகவே வேலையை ஆரம்பித்தனர். பிறகு இவர் கொடுத்த பேப்பரை அங்கிருக்கும் இசைக்கலைஞர்களின் முன் வைத்ததும் அதை அவர்கள் 10 நிமிடங்கள் கவனித்தனர். பின், ஒருவருக்கொருவர் பேசிக்கொண்டார்கள். பிறகு அங்கிருக்கும் கண்டக்டர், பேட்டனைத் தட்டி, ‘ரிகர்சல் பார்க்கலாம்’ என்று உற்சாகத்துடன் அந்தக் குச்சியை ஆட்டியவுடன் இசைக்கலைஞர்கள் அனைவரும் அந்த இசையைப் புரிந்துகொண்டு ஒரே சமயத்தில் இசைத்தபோது எனக்குப் புல்லரித்துவிட்டது. `ராஜா என்ன பண்ணுகிறார்’ என்று திரும்பிப்பார்த்தால், அவரின் கண்களில் கண்ணீர்.
ஏனெனில், குழுவில் உள்ள எல்லோருக்கும் சொல்லிப் புரியவைத்து அந்த ஒலியை வரவழைக்க அவர் அவ்வளவு கஷ்டப்பட வேண்டும். அரைநாளாவது ஆகும். ஆனால் பத்தே நிமிடங்களில் புதாபெஸ்ட்டில் அவர்கள் அதை வாசித்ததும், ‘இது என்ன இசை’ என்று யாரோ போட்ட இசையைக் கேட்பதுபோல் நின்ற இளையராஜாவைப் பார்த்துச் சிரித்துக்கொண்டிருந்தேன். அப்போது அதை யாரோ ஒருவர் போட்டோ எடுத்ததாகவும் நினைவு. ‘
யாரோ போட்டமாதிரி நீங்க என்னங்க இப்படி ரசிக்கிறீங்க. உங்க மியூசிக்தாங்க’’ என்றேன். அதன்பிறகு அங்கிருந்த இசைக்கலைஞர்கள் ராஜாவிடம் நடந்துகொண்ட முறையே வேறாக இருந்தது. சென்னையில் அவர் வரும்போது எப்படிச் சுவரோடு ஒட்டிக்கொண்டு நின்று வணக்கம் சொல்லி வழிவிடுவார்களோ அப்படி புதாபெஸ்டிலும் அடுத்தநாள் ரெக்கார்டிங்குக்காக வந்தவரை, ‘மேஸ்ட்ரோ, மேஸ்ட்ரோ... மேஸ்ட்ரோ’ என்று அழைத்து ஒதுங்கி வழிவிட ஆரம்பித்தனர். இப்படி ‘ஹேராம்’ படம் மூலம் ராஜா, இசையில் வேறொரு அனுபவத்தைத் தந்தார். அதனால்தான், இசையமைப்பாளர்களாக ஆசைப்படுபவர்களுக்கு
ஹேராம்’ பட இசை ஒரு மிகப்பெரிய மியூசிக்கல் சிலபஸ் என்றேன்.“ ‘ஹேராம்’ படத்தில் நடந்த இந்த விஷயத்தை ஊர் ஃபுல்லா தண்டோரா போட்டுச் சொல்லணும்ங்க’’ என்று நான் சொன்னபோது, ‘`அதெல்லாம் பண்ணக்கூடாது. ரொம்பத் தற்பெருமையா இருக்கும்’’ என்றார் ராஜா. நானும் சில பேட்டிகளில் இதைச் சொல்ல முற்பட்டிருக்கிறேன். ஆனால், அவர் செய்த சாதனையை ஒவ்வொரு வரியாகப் போட்டுக் காட்டி, எது எதுவாக மாறியது என்று சொன்னால்தான் புரியும். அதாவது கிட்டத்தட்ட காளமேகம் புலவர் ஒரு பாட்டுக்கு இரண்டு அர்த்தம் வருவதுபோல் சிலேடைப் புலமையால் பாடுவார் என்பார்களே, அப்படி இசையில் பல்வேறு அர்த்தங்கள் கண்டறியும் இசைக் காளமேகம் இவர்.
இப்படி நிறைய சம்பவங்கள் உள்ளன. ‘விருமாண்டி’யில் நடந்த இரண்டு விஷயங்கள் சொல்கிறேன். பாடல்கள் தவிர, அந்தப் படக் காட்சிகள் அனைத்தையும் ஷூட் செய்துவிட்டு வந்து படத்தை அவருக்குப் போட்டுக்காட்டினேன். ‘
என்ன கமல், இப்படி வெட்டுக் குத்தா இருக்கு. ஓலமே கேக்குதே’’ என்றார். ‘
வெட்டுக்குத்தைப் பற்றிச் சொல்லும்போது ஓலம் தன்னால வரத்தானே செய்யும்’’ என்றேன்.‘உங்க மூடு அப்படி இருக்கிறதால இப்படியான படங்கள் எடுக்குறீங்களா’’ என்றவர், ‘
காமெடிப் படங்கள் எடுங்க’’ என்றார். ‘எடுக்கலாம். இது எனக்கு ஆசையா இருக்கு’’ என்றேன். ‘
சரி, முடிவு பண்ணிட்டா பண்ணிட வேண்டியதுதான். வாங்க’’ என்றபடி கம்போஸிங்குக்கு வந்தார்.ஒரு ட்யூன் வந்தது. ‘
பிரமாதமா இருக்குங்க. இதுக்கு ஒரு நல்ல கவிஞரை வெச்சு எழுத வைக்கணும்’’ என்றேன். ‘
அதெல்லாம் நீங்க சொல்லப்படாது’’ என்றார். எனக்கு என்னவென்று புரியவில்லை. அமைதியாக இருந்தேன். ‘சரி, இப்ப என்ன பண்றீங்க. இங்க உட்கார்ந்து இந்த ட்யூனுக்குப் பாட்டு எழுதிக்கொடுத்துட்டுப் போங்க’’ என்று ஒரு பேப்பரை என் கையில் திணித்துவிட்டு, தன் வேலைகளைப் பார்க்கத் தொடங்கினார். ‘
என்னங்க விளையாடுறீங்களா, நான் டைரக்ட் பண்ணிட்டிருக்கேன். எனக்கு நிறைய வேலைகள் இருக்கு. நான் போகணும்’’ என்றேன்.‘அதெல்லாம் தானா வரும். போங்க, எழுதுங்க’’ என்றார். ‘
எனக்கிருக்குற டென்ஷன்ல முதல்வரியே வராது. முதல் வரியையாவது சொல்லுங்க. அதுல இருந்து புடிச்சிக்கிட்டு எழுதுறேன்’’ என்றேன். ‘சொல்லட்டுமா’’ என்றவர், ‘
உன்னைவிட இந்த உலகத்தில் உசந்தது ஒண்ணுமில்ல… ஒண்ணுமில்ல…’ என்று பாடலாகவே பாடியவர், ‘போங்க, இப்ப எழுதிக்கொடுங்க’ என்றார். ஆமாம், அந்த முதல் வரி இளையராஜா அவர்களுடையது.பிறகு அந்தப் பாடல் ரெக்கார்டிங். ஸ்ரேயா கோஷல் தன் வசீகரிக்கும் குரலில் அழகாகப் பாடியிருந்தார். ‘உங்களுக்கு நீங்கதான் பாடுறீங்க’ என்றார் ராஜா. ‘
ஏங்க அவங்க நல்லா பாடியிருக்காங்க. விட்டுடலாமே’’ என்றேன். ‘
இல்ல, நீங்க பாடுங்க’’ என்றார். சமயத்தில் சிலர், அழகான பாட்டை பெரிய ஆர்க்கெஸ்ட்ரா போட்டு ‘ஜங்கர ஜங்கர’ என்று சத்தம் எழுப்பிக் கெடுத்துவிடுவார்கள். ஆனால் ராஜா, அந்தப் பாட்டுக்கு சத்தம் கூட்டாமல் வெறும் ஆறு இன்ஸ்ட்ருமென்ட்டுகள் மட்டுமே வைத்து ஒலி கோத்தார். அந்த ஆறுமே ஒன்றோடொன்று பிசிறில்லாமல் தனித்தனியாகக் கேட்கும். என் டீமில் உள்ளவர்களுக்கு என்ன பிடிக்கும் என்று என்னைப்போலவே ராஜாவுக்குத் தெரியும். எங்களுக்குப் பிடித்ததை, விருப்பமானதை அதில் கொண்டுவந்து சேர்த்துவிடுவார்.அப்போது சந்தானபாரதியின் தம்பி சிவாஜி சின்னமுத்து என்னுடன் இருந்தார். ‘
காட்டு வழி காளைகள்…’னு வர்ற இடத்துல காளைகளோட கழுத்துமணிச் சத்தம் சேர்த்தா நல்லா இருக்கும். அந்த பெல் சத்தங்கள் பதிவு பண்ணின வீடியோ ரெக்கார்டிங் என்கிட்ட இருக்கு. அதைக்கேக்குறீங்களா’’ என்றார் ராஜாவிடம். `சேர்த்தா கண்டிப்பா நல்லா இருக்கும். வாங்குய்யா அதை’ என்றார். வீடியோ கேமராவிலிருந்து வந்த சவுண்டை ட்ரீட் பண்ணி, அதைப் பாட்டுக்கு நடுவில் எடுத்துப் போட்டுக்கொண்டார். அது, அவ்வளவு பொருத்தமாக இருந்தது.
சின்னச்சின்ன விஷயங்களுக்கெல்லாம் சந்தோஷப்பட்டுக் கண்கலங்கக்கூடிய அந்த இளகிய மனதுதான் அவரின் இசையையே பெரிதாக்குவதாக எனக்குத் தோன்றும். ‘விருமாண்டி’யில் மற்ற பாடல்களை முத்துலிங்கம் சார் எழுதினார். அதில் ஒன்று, அப்பத்தாவைப் பற்றிப் பாடும் ஒப்பாரிப் பாடல். ‘மாடவிளக்கை யார் கொண்டுபோய் தெருவோரம் ஏற்றினா? மல்லிகைப்பூவை யார்கொண்டு முள்வேலியில் சூட்டினா?’ என்ற பாடல். அதில், ‘ஆறாக நீ ஓட, உதவாக்கரை நான்’ என்று ஒரு வரி எழுதியிருந்தார். அதைப் படித்துவிட்டு ராஜாவும் நானும் நேருக்குநேர் பார்த்து, ‘உதவாக்கரைனு வையிறதுக்கான அர்த்தத்தை இதுநாள்வரையிலும் நாம சரியா புரிஞ்சுக்கலையே’ என்று பேசிக்கொண்டிருந்தோம்.
அப்போது ராஜாவுக்குக் கண்கள் கலங்கிவிட்டன. முத்துலிங்கத்தின் கைகளைப்பிடித்தபடி பாராட்டினார். அந்த நெகிழ்வு எனக்கு ராஜாவிடம் மிகவும் பிடிக்கும். அந்த நெகிழ்வு இல்லாத எந்தக் கலைஞர்களும் பணி ஓய்வு பெற்றுவிடலாம். இந்தச் சின்னச்சின்ன விஷயங்களை ரசிக்க முடியாதபோது அவர்கள் எல்லோருமே ஒருமாதிரி வெறுத்து சக்கையாகிவிட்டார்கள் என்றே அர்த்தம். எங்களை எளிதாக அழவெச்சிடலாம். ‘உதவாக்கரை’னு ஒரு வார்த்தைக்காக இப்படியா கொண்டாடுவது’ என்றால், கொண்டாடத்தான் வேண்டும். அந்தமாதிரியான சின்னச்சின்னக் கொண்டாட்டங்களில்தான் இளையராஜாபோன்ற ஒருவரை நம்மால் தேர்ந்தெடுக்க முடிந்தது. இதேபோல எத்தனை சின்னச்சின்னக் கொண்டாட்டங்களுக்கு அவர் தன் இசையின் மூலம் காரணமாக இருந்திருப்பார்?
வாலி சாரின் கோபம் தமிழ்க்கோபம் என்றால், ராஜாவினுடையது இசைக்கோபம். அவரின் ரெக்கார்டிங் தியேட்டர் போகும்போது, ‘பட்டர் என்ன பண்றார்?’ என்று கேட்டுவிட்டுதான் உள்ளே போவேன். ஆமாம், ராஜா, அபிராமிபட்டர் மாதிரி. டக்கென ‘போடா’ என்று சொல்லிவிடுவார். அதைக்கேட்பதற்கே அவ்வளவு ஆனந்தமாக இருக்கும். காதலியாக இருந்தால் இன்னொரு முறை சொல்லக் கேட்டு ரசிக்கலாம். இவர் ராஜாவாயிற்றே, கேட்டுவிட்டு அப்படியே ஓடிவந்துவிட வேண்டும்.
ஆனால், அது செல்லக்கோபம்தான். வாலி சாருக்கெல்லாம் இவ்வளவு மரியாதை தருபவர் இல்லை என்பேன். நான்கூட சமயங்களில் வாலி சாரை எதிர்த்துப் பேசுவேன். வாதாடுவேன். ஆனால் இவர், ‘ஏங்க சும்மாயிருங்க. அவர்ட்ட அப்படியெல்லாம் பேசக்கூடாது. பெரிய மனுஷன் சொல்றார். கேட்டுட்டுப் போறதைவிட்டுட்டு, அவர்ட்டபோய் வாக்குவாதம் பண்றீங்க. நாமதான் பொறுமையா இருந்து வாங்கணும். இருங்க, நான் வாங்கித்தர்றேன்’ என்று என்னை சீனில் இருந்து ஓரங்கட்டிவிட்டு, எனக்காக அவர் வேலை செய்வார். ஒருமுறை பிரகாஷ்ராஜ், ‘உங்கப் பேச்சை எடுத்தால் அவருக்குக் கண் பளபளக்குதுங்க’ என்றார். உண்மைதான், இது இருவருக்குமான மியூச்சுவல் புரிந்துணர்வு.
எனக்கு அவரைத் தெரியும் என்பதையும் தாண்டி அவர் எனக்கு உறவாகவே மாறிவிட்டார் என்பதே எனக்குப்பெருமை. இளையராஜா என்கிற கலைஞனை நண்பராக்கி, பிறகு என் சகோதரராகவே ஏற்றுக்கொண்டவன். சந்திரஹாசன் அவர்களின் இழப்புக்குப் பிறகு, `அவரின் இடத்தை நாங்கள் நிரப்புகிறோம்’ என்று என்னுடன் நிற்பவர்கள் பலர் இருக்கிறார்கள். அவர்களில் ஒருவர் இளையராஜா. ஆம், சந்திரஹாசன் அவர்களின் இடத்தை நான் அவருக்குத் தந்திருக்கிறேன்.
இத்தனை ஆண்டுக் காலப் பயணத்தில்… எத்தனையோ பிசகுகள் நேர வாய்ப்புள்ள துறை. இருவருமே கோபக்காரர்கள். காசு, கருத்துவேறுபாடு… என்னென்னமோ இருக்கின்றன. நான் பகுத்தறிவு பேசுகிறவன். அவர் மிகத் தீவிர ஆன்மிகவாதி. ஆனாலும் அவரிடம் பேசும்போது என் கருத்தை அடக்கிவாசித்ததே கிடையாது. ஆனால், அதற்கு இருவருமே இடம்கொடுக்காத அளவுக்கான அன்பு எங்கோ அனைத்தையும் பூசிமெழுகிவிட்டது.
எப்படி பாலசந்தர் சார், சிவாஜி சார், கண்ணதாசன், வாலி, நாகேஷ், ஜெயகாந்தன்… பற்றிப் பேசும்போதெல்லாம் சந்தோஷத்தில் நெஞ்சு விம்முமோ, அப்படி இவரைப்பற்றி அழாமல் பேசுவது சிரமம். இவர்தான் இளையராஜா என்று தெரியாமல் ஆரம்பித்ததில் இருந்து, சின்ன கேசட் கடைகளில் இவரின் படத்தைப் போட்டு தமிழகமே கொண்டாடிக்கொண்டு இருப்பது கடந்து, அவருடனான என் 100 படங்கள், மொத்தமாக அவரின் ஆயிரம் படங்கள்… என்று அவரின் பயணத்தைப் பார்க்கையில் ஏதோ இவரை நானே கண்டறிந்ததுபோலவும் இசை கற்றுக்கொடுத்துக் கூட்டிவந்ததுபோலவும் எனக்கு அவ்வளவு பெருமை.
ஒரு விஷயம் சொல்லட்டுமா, 30 வருடம் முன்பு கேட்டு இருந்தாலும் இதையேதான் பேசியிருப்பேன். அன்று அப்படிப் பேசியிருந்தால், ‘இன்னும் படம் பண்ண வேண்டியிருக்கு. அதனால் காக்கா பிடிக்கிறான்யா’ என்றெல்லாம் நினைத்திருப்பார்கள். அதனால் 30 வருடங்கள் சொல்லாமல் வைத்திருந்ததை இப்போது சொல்கிறேன். ஆம், எங்கள் ராஜா நடந்து வந்தாலும், தவழ்ந்து வந்தாலும் இவரின் இசை யானை மீதுதான் வரும் என்பது எனக்கு அப்போதே புரிந்திருந்தது. அதைத்தான் எனக்கான பெருமையாக நினைக்கிறேன்.
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shaviswa
August 6, 2018
WOW Siva!! That was awesome…….what a write up on the brilliance of Raja. Very well written article. Kamal communicates much better in written form 🙂
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Madan
August 6, 2018
MANK: Brilliant write up. More an analysis than a review of the film, which makes sense as the need to review the film has long since ceased. I have unfortunately never been able to watch the film in full. Not because I don’t want to but because I always catch it somewhere in the middle and usually in the second half. I will have to rectify that soon. At the time of the release, the reviews were very discouraging. Was it somewhat also to do with Khalid talking up SRK films and putting down others? Maybe.
Siva: Exactly what I wanted to say. Further in Nee Partha Parvai, I believe Raja retained the opening chords originally composed by L Subramaniam and worked out a different song from there on in order to sync it with the piano playing in the sequence. By the by, Kamal was also less than charitable about L Subramaniam’s demands which led him to being dropped. I felt it was uncharacteristic of LS and maybe he had lost interest in the project and decided to self sabotage.
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bart
August 6, 2018
Very well written backed with a solid analysis, Mank. The movie was too dark / grim to gain strong commercial success – this was perhaps the issue in most of his strong outings (Guna, Mahanathi). This movie was lengthy and multi-lingual (normal tamil and vadakkiya tamil 🙂 ) as well with too much of history for mainstream. In Virumandi, I felt the last 40 mins spoilt the classic it could’ve been for me.
Though its the second time that I am reading that article on IR by Kamal, I welled up on reading the portion about “udhavakkarai”. Thanks..
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MANK
August 6, 2018
It was unnecessary for Kamal to take L.Subramaniam in the first place. he did it purely to get more international visibility for his film. i think they fell out over Subramaniam’s remuneration.He also tried to get Ben Kingsley for Gandhi’s role , but finally settled fro Naseer.
The fact that IR took over this film under such circumstances shows the special relationship he shares with Kamal. I dont think he would have done it for anyone else
At the time of the release, the reviews were very discouraging. Was it somewhat also to do with Khalid talking up SRK films and putting down others?
Oh man, Khalid mohammed had a fallout with Kamal (or so i hear) and after that he never gave a Kamal film a good review. He used to go ga ga over Kamal before, but after the spat, Govinda became a better actor than Kamal for him. he gave a nasty , malicious review for Hey Ram, calling it Kamal’s ultimate ego trip . of course, he had good words only for SRK in the review 🙂
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MANK
August 6, 2018
Thanks everybody again. I really appreciate it that a lot of people liked this piece. i never got so many likes and re tweets before. it feels really good as this one was very close to my heart. i never thought i could properly finish this
And thanks again to Brangan for giving me this platform
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shaviswa
August 6, 2018
I can still watch Guna. It was not that bad. Mahanathi I kept a safe distance after seeing a few scenes. Hey Ram – I did watch but found it very difficult to sit through. There were times when the movie was plain boring and you want to yell at him to get on with it and murder Gandhi. 🙂
Virumandi was horrible. I could not go beyond half an hour. Nauseating movie actually.
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Madan
August 6, 2018
@Siva: Thanks so much for posting this wonderful write up. As Kamal said, he has been mentioning IR’s rope tricks for Hey Ram before in interviews but this is the first time he has written about it in detail. Found it hard to believe the Hungarian musicians would have initially disdained IR because they had already worked with him on Guru. Maybe it was just Kamal reacting to perceived disrespect? And had no idea that Isaiyil Thodanguthamma was put in there at Raja’s insistence. Easily the best track of the film.
@MANK: Yeah, from the start, Kamal had decided he would have take this film to the festivals (box office turkey was a preordained fate) so that might be the reason he signed up LS. I too think it was a payment dispute but I don’t remember Kamal mentioning the 1 crore figure at all in the earlier Rediff interview (he has mentioned it in that Tamil write up Siva posted). Methinks he is embellishing a few things out of some bad blood with LS. Stark contrast with IR’s respectful silence about his colleague. IIRC in the Rediff interview, Kamal also said Bharat Shah, the producer, in any case had not been comfortable with the choice of LS and was relieved when Kamal went back to IR. As IR had remarked once, if Kamal or Rajni claim producers are not allowing them to sign up Raja, it’s a bit much.
I didn’t know Khalid had taken a specific dislike to Kamal. That explains it. Even he praised Raja’s score, though. Not that Raja left much choice in the matter. 😀
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Jayram
August 6, 2018
MANK, this is a well written piece. Your love for cinema can never be doubted. Even I’m not satisfied with my writings, but I move on to the next one and hope it’s better.
I have a couple of questions for you:
1) What was the spat between Kamal and Khalid all about?
2) Wasn’t L Subramaniam more afraid about the backlash he was going to get by doing this film rather than his remuneration?
3) Would it have been a huge distraction if Ben Kingsley reprised his role of Gandhi in Hey Ram? Do you think Kamal would have asked him to play Gandhi differently than what he did in the hagiography?
4) If you were directing Hey Ram instead of Kamal based off his screenplay, how would you stage it? Would you decrease the excessiveness? Would you have made Saketh Ram more of a tragic Shakespearean anti-hero? Would there be even more references to the Ramayana with some Mahabharata sprinkled in? Who would you cast in the supporting roles?
Looking forward to reading more of your write-ups.
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Tambi Dude
August 6, 2018
“2) Wasn’t L Subramaniam more afraid about the backlash he was going to get by doing this film rather than his remuneration?”
Yes this is what I read as to the reason why LS backed out. He did only after watching the final version of the movie and concluded that the movie is going to ruffle the feathers and is going to be very controversial. He was advised to not have any truck with that movie.
Note that when the movie was released, all traces of association of LS with that movie was removed. That I believe as insisted by LS. To date he does not talk about it.
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Tambi Dude
August 6, 2018
Also can anyone imagine if the movie was made today, what would have been the reaction:
1- SRK would have walked half way to disassociate himself with such an islamophobic movie.
2- The Direct Action Day shots would have been sanitized and the brutal rape/murder of Rani would have some Hindu characters too, using the logic, rapists have no religion.
Many of Atul K’s dialogues would have landed the film makers in big trouble with the censors.
Arnab Goswami would have a debate about the movie and the Lutyens media.
We are living in a political correct world where even fictions are taken as narratives.
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Arjun
August 6, 2018
Wonderful piece, Mank! I had not appreciated the Ramayana structure earlier. IMO one of the best period movies made, all times, all places. The tumultuous events of partition and direct action day are captured masterfully by Kamal. The nee partha paarvai theme and the orchestral score also lifted the movie in many places, such as the scene when Saketh returns to Calcutta.
@Madan: Ya, I too was surprised by Kamal’s narration that the Hungarian musicians initially reacted indifferently to IR. I have read the portions from IR’s own book (can’t really call it an autobiography) and he doesn’t describe anything of the sort. He mentions the conductor Lazlo Kovacs coming up to him and effusively praising “Nee partha paarvai”. Also he writes about how in one of the orchestral passages, there is a holding note for one row of violinists while the other two rows play ascending and descending sequences in turn (IIRC) and the musicians kept staring at each other in amazement.
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Purple Sky
August 7, 2018
Totally agree with you BR sir. Now that subtitling has become a norm, this must be something ventured for the DVD version. Also, now more than before, since people have become extremely mobile, there is more acceptance of bilingual movies. Especially Malayalam movies, it is not uncommon to have a mix of atleast 3 languages… And they r left as it is, with subtitles to help the people not familiar with the other languages.
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therag
August 7, 2018
Yeah, the Tamil Srirangam portion + Hindi Pakistan/Calcutta/Delhi portions will be amazing. They should do this and release this as “Hey Ram Ultimate Cut” or something. If Batman vs Superman can get one, and Blade Runner can get one, why not Hey Ram.
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Siva
August 7, 2018
Madan: ” Found it hard to believe the Hungarian musicians would have initially disdained IR because they had already worked with him on Guru. Maybe it was just Kamal reacting to perceived disrespect? ”
Well, that could be because of the 2 decade gap between the 2 movies. Guru was released in 1980 whereas Hey Ram! was released in 2000.
I looked up details of the Budapest Philharmonic Orchestra. According to Wikipedia, its current Chairman Conductor is the 10th conductor since the inception of the orchestra in 1853. There had been a couple of changes between 1980 and 2000 too.
So my guess, is that if there were changes to the conductors themselves in those 2 decades, then, there most certainly could have been multiple changes to the individuals in the orchestra as well. In other words, the musicians in the orchestra during 1999/2000 may have been a whole new set of people 🙂
https://en.wikipedia.org/wiki/Budapest_Philharmonic_Orchestra#Chairmen-conductors
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edwardssammy
August 7, 2018
Baddy Saar, I did create a multilingual cut during my vetti college days, with just the Chennai and srirangam scenes and scenes between Kamal and vasundhara in Tamil. I think I still have it somewhere.
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Madan
August 7, 2018
@Siva: I was talking about the Malayalam Guru (1997) which was the first film where Raja worked with the BSO. SPM’s Guru was full Prasad Studios product only. As Arjun said, I also don’t remember Raja mentioning that he encountered any disdain from the Hungarian musicians while working on Hey Ram and theirs has been a relationship of mutual respect. Maybe Kamal couldn’t resist playing to the gallery and feeding the brown man conquers white man narrative that we Indians love to hear.
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Arjun
August 7, 2018
“Maybe Kamal couldn’t resist playing to the gallery and feeding the brown man conquers white man narrative that we Indians love to hear.”
True. I remember even in the Nee thaane pon vasantham launch, Bharathiraja who was in the audience got up and gave a short speech. He said something like “Indiavai aandu pona veallaikaaranaye un isaikku vaasikka vechitta, You are truly great Raja” referring to the British orchestral musicians on stage (Translation: You have made the white people who once ruled us, perform to your music ). and IR simply looked away indifferently, probably pained. He is simply beyond such petty thinking.
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Naveen
August 7, 2018
I have never come across IR showing grudge against any individual. he expresses general discomfort with the current trend of sound byes passing off as music. he has only said positive things about any named individual.
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Madan
August 7, 2018
Arjun: I remember cringing at that Bharathiraja quip at the NEPV launch. What a contrast from IR saying at the Chennai show (2011) that he was learning jazz from Atilla & co!
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MANK
August 7, 2018
1) What was the spat between Kamal and Khalid all about?
Not sure man, just know that they had one. Khalid never had to try hard for a spat . look what happened between him and Bachchan, he was like a family member. he wrote a book on Bachchan called to be or not to be. then when Bachchan was hospitalised , he went and wrote about how and what Bachchan is doing in the hospital and all private stuff.. no wonder the Bachchan family was outraged by this invasion of privacy and cut off all ties with him. Khalid’s persona seems to be like his reviews, all style, style,style and wordplay, hardly any depth or substance.
2) Wasn’t L Subramaniam more afraid about the backlash he was going to get by doing this film rather than his remuneration?
We only know Kamal’s version. LS has never spoken about it (not to my knowledge), so we wouldn’t know. but i guess that could be one of the reasons. one another note, Kavita Krishnamurthy hooked up with LS while working on HR. so LS salvaged something out of that 🙂
3) Would it have been a huge distraction if Ben Kingsley reprised his role of Gandhi in Hey Ram? Do you think Kamal would have asked him to play Gandhi differently than what he did in the hagiography?
Yes it would have been. here again Kamal was going for the marketing of the movie more than anything. I dont think Sir Ben would have wanted to play Gandhi again, that too as a supporting part
4) If you were directing Hey Ram instead of Kamal based off his screenplay, how would you stage it? Would you decrease the excessiveness? Would you have made Saketh Ram more of a tragic Shakespearean anti-hero? Would there be even more references to the Ramayana with some Mahabharata sprinkled in? Who would you cast in the supporting roles?
Actually, i find the screenplay unconvincing at 2 points. first regarding his second marriage . For a man who has seen his wife die such a brutal death and being pushed into a psychotic state on account of that , there is no chance in hell that he would have agreed to a second marriage and never so quickly, no family pressure would have worked. but the problem here is that the entire film takes place within those 2 years , so everything has to happen within that period including the second marriage.so thats done more for the convenience of the screenplay
Secondly , Ram’s change of heart during the riots after he meets Amjad again.I think it happens a little too soon, since knowing how far he has gone in his religious hatred. the second riot scene was perhaps too long as well,with all that bickering between the friends .
the first sex scene was fine, it needed to show the passion that existed between Aparna and Ram, but the second one with Maithili is a little over the top, not to mention the in your face symbolism between sex and violence been displayed , Maithili morphing into a gun and all that. The violence in Ram’s actions was more than obvious. Perhaps a lot of the symbolism could have been toned down as well, like the special effects scenes where Gandhi is seen to be watering a plant that grows in to a giant green cactus
Also a few of the ‘Kamal speak’, which sounds like Kamal was giving an interview rather than characters in the film talking
eg: 1. I dont read autobiographies, i dont like semi fiction
2. If nature intended man to drink milk all his life , then women’s breast would be filled with
milk forever
3. If i say yes, you will say no, i deny you the opportunity to deny me
But since this is a serious political film , it can afford to take a lot of the kamalisms , regarding ruminations on ideology, religion etc etc…It didn’t distract the way it did in a lot of his other films
The cast was just fine. Kamal originally wanted Kajol for Rani’s role and Esha deol for Vasundhara’s role. Kajol was uncomfortable with the sex scenes , so she didn’t take it up. And Hema didnt think this film was the right launch vehicle for Esha. so that fell through. in the end Rani and Vasundhara were perfect.
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Naveen
August 7, 2018
the combo of KH and IR will stand out tall forever. i am hoping KH will complete Sabash Naidu and give more memorable album
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brangan
August 7, 2018
MANK: I think the second scene was absolutely necessary. This whole section is about Saket Ram being brainwashed by Hindus who think Gandhi is “emasculating” India with his ideas of non-violence. So the sex scene (with the woman as weapon) is about Saket Ram rediscovering (and asserting) his “masculinity”.
Also note how Aparna leads the lovemaking in the first scene, with Saket being a happy and willing “submissive.” Here, he’s the aggressor.
I feel the scene is completely warranted — though yes, the graphics and all make it a tad tacky, but I’m talking about just the content.
PS: Along with the reason for the Mani Ratnam-Raja split, this Hey Ram story may be one of the mysteries we never get to crack. There are so many odd details that make little sense here (the way the story plays out in the public domain). The only sure thing here is the magnificence of Raja’s end product — but what happened with LS and all are so odd-sounding.
For starters, a seasoned film guy like Kamal surely knows that there’s a difference between being a great musician and being a great film musician — especially a mainstream film musician. So his going to LS in the first place… everything just sounds so odd.
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Madan
August 7, 2018
Mani-IR split had something to do with creative control, is my theory. Just from Mani describing how he worked with Raja (if you blink, you miss the bus) vis a vis his working style with Rahman, I think Mani wanted to be able to have more input in music making. That is, I am not convinced it was ONLY about Kavithalaya. Mani himself has said it wasn’t and he need not have when the KB-IR spat offered a ready-made alibi to him to pretend he had nothing to do with it even if he did.
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shaviswa
August 7, 2018
Apparently, during the making of Thalapathy, Mani was not happy with the Chinna Thaayaval song. But Raja insisted that it will is best for the film and will be a hit. And then the Kavithalaya thing happened to his convenience.
Also once he worked with Rahman and Roja became the kind of hit it was, Mani was not going back to Raja for any reason.
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Tambi Dude
August 7, 2018
@madan: MR-IR split has a lot to do with their ego. I don’t like MR at all, I think he is a massively overrated film maker. However on this, I am inclined to believe that IR is to be blamed. MR was not the only person he ticked off. KB, BR, Varaimuthu. The list goes on.
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MANK
August 7, 2018
Brangan, I am not questioning the existence of the sex scene at all, of course I understand the purpose of it . What I am saying is that the literal symbolism displayed in the scene, of the wife turning into a gun was not required as it was obvious he was indulging in a violent act of asserting his masculinity ,merely by the manner in which he was making love. the background music and cinematography also heightens the emotion of the scene. The whole scene would have been equally effective without those VFX scenes.
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csimumbai
August 8, 2018
MANK, thanks for initiating a conversation. I’ll treat it as a conversation.
I don’t think the film can be be called a classic. For me, personally, it is a very eccentric account of India’s partition and Gandhi’s murder. To suspend disbelief in Hey Ram, one has to submit to the film’s contention of primarily Hindu trauma with the partition. Similarly, one has to accept the rationale for the emasculation of a Tam-Brahm archaeologist who now identifies as a Hindu nationalist (and not just as an Iyengar) and sets out to reclaim it by killing Gandhi (before eventually abandoning the mission). For an Iyengar to identify as a Hindu nationalist in the 1940s also assumes a disquiet with anti-caste/anti-Brahmin politics in Tamil Nadu. These are ideologically loaded contentions. Those who do not agree with this particular view of partition or the worldview that the film offers, will find it difficult to appreciate the film as a classic, IMO.
But, the film also offered a wonderful historical insight. That is, the plot to assassinate Gandhi had direct links with India’s princely states. If you see the ascendance of the current political dispensation in India, their so called political base is where many former influential princely states are – MP, Rajasthan, Gujarat, UP etc. I enjoyed this particular insight in Hey Ram, and also your reading of the Ramayana.
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Madan
August 8, 2018
” But Raja insisted that it will is best for the film and will be a hit. ” – Which it was, though. So that’s the thing. Raja’s judgment when it came to songs was usually right. But Mani maybe didn’t want it imposed on him anymore. That ‘nambikkai’ framework – which comes up in Kamal’s write up also – was broken.
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Thupparivaalan
August 8, 2018
One of the best films in Indian cinema complemented by a lovely write-up. Hope you continue writing such pieces MANK. A big fan of them.
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MANK
August 8, 2018
csimumbai, thanks. yes it is a conversation, this is in no way a definite piece on this film
Regarding Saket Ram’s militant nationalism, i have felt that there is more than religion, revenge and emasculation that is driving him here
There is a shot in the film, just before Kamal leaves his house for his mission to kill Gandhi .You find him in a pensive mood in his room. On the wall there is a picture of his deceased mother and the map of undivided india. he lovingly move his hand on his mothers photograph and it continues across the map of india . in that one movement, he unifies his love for his mother and motherland. He connects the loss of his motherland with the loss of his mother. so i think there are more deeper psychological issues here, that is inspiring his nationalism
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Naveen
August 8, 2018
I doubt any of MR’s films will top or be even near when it comes to contribution of the music to the film ( RR and songs ) when we consider Mouna Ragam and Dhalapathi. Vaali was a strong pillar for IR to bank on. even if he did not like the song, MR did shoot the Chinna Thai Aval song splendidly, would count as best of S Janaki as well of Rajini.
there are many stories where IR’s instinct and insistence on a song turned out be true.
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MANK
August 8, 2018
For starters, a seasoned film guy like Kamal surely knows that there’s a difference between being a great musician and being a great film musician — especially a mainstream film musician. So his going to LS in the first place… everything just sounds so odd.
But he does make mistakes. look what happened with his film Chachi 420, the hindi remake of Avvai shanmughi. he hired Shantanu shorey after watching his ads. the ads were very impressive and he felt that shorey can manage a full feature film on the basis of that . but that went terribly wrong and Kamal had to step in as director after the movie was half way through. he was honest about his mistake, that he was complacent enough to think that shorey could sustain for 2 hours what he managed in a 2 min ad film, even with a ready made remake.
Kamal is a guy who take chances with his films as well as his collaborators. Casting Pasupathi and abhirami in Virumandi was a risk, bit that worked out well. Using Sanu John Varghese who had only shot low budget malayalm films for a big film like Viswharoopam was also a risk , but that worked too. The LS and Shorey instances were it didnt work out
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MANK
August 8, 2018
Regarding the MR-IR split, i dont think it was acrimonious in any way. If there was any bitterness, then Mani would not have offered Iruvar to IR. its only after he turned it down that he went back to Rahman Mani just drifted apart from IR after he found ARR.
Mani has dropped hints about this in his interviews, like, for IR , Mani was just another filmmaker , or how he had a more subservient position in his creative relationship with IR as opposed to ARR. when the MR -IR creative partnership started out, Mani was just a debutante director while IR was already a legend. with each film, MR’s stature. rose in the industry. by the time Roja happened, MR had almost as much a stature as a director as IR as a music director , but i am sure IR continued to treat him just like as they started their relationship. In the case of MR-ARR, MR was the legend and ARR the debutante. Naturally MR would relish that. Once ARR proved his talent by scoring movies as diverse as Roja, Iruvar and Dil se, then there was no way he was going back to IR.
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MANK
August 8, 2018
I don’t like MR at all, I think he is a massively overrated film maker.
Tambi , Duuude, please not that again 🙂 . As Brangan said in his VR analysis about the concrete and abstract, from your abstraction , you dont like MR’s films and that is fully understood and accepted. but please analyse the concrete stuff in MR’s films and then say he is not a good filmmaker
Thupparivaalan, thanks . maybe next i will write about a Mani Rathnam film 🙂
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Venky
August 8, 2018
@csiumumbai:” For an Iyengar to identify as a Hindu nationalist in the 1940s also assumes a disquiet with anti-caste/anti-Brahmin politics in Tamil Nadu”. Now, wait. Didn’t anti-Brahmin politics start with the 60’s? In fact, all the brahmin bashing Kamal does seem a product of the circumstances which led the anti-brahmin political movement in south.
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Tambi Dude
August 8, 2018
MANK: Yes I am willing to discuss, but not in this thread as it is completely off topic. Plus do you see the point I am making. I am actually siding with MR despite being very low in the fan scale compared to IR. Don’t fans blindly side with their idol ?
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MANK
August 8, 2018
I am actually siding with MR despite being very low in the fan scale compared to IR
Oh! that i understood and appreciate. i was responding only about the specific comment you made about MR’s filmmaking skills.i have no issue with your overall comment. And will be happy to engage with you on MR’s film making on an appropriate thread.
Don’t fans blindly side with their idol ?
i agree that in today’s rabid fan culture thats what is happening, Ideally A true fan backs his idol for the good and criticises him for his bad
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Madan
August 8, 2018
@MANK: Hadn’t thought of it that way and that makes sense. Mani once mentioned about growing as a director, about changing and evolving. So maybe he was hinting at that.
About Mani, as a DIRECTOR, he is awesome. But many of his films suffer because of his insistence on also writing his directorial ventures. BR had drawn a parallel between Nayakan and Guru in the sense of Mani going too soft on the protagonists and, worse, giving them both a self serving monologue which appears to exonerate them. I think with a different scriptwriter, such issues could have been addressed. It’s not that these problems made them bad films. By no means was that the case, but they wound up less than what they could have been.
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csimumbai
August 8, 2018
@Venky, Anti-Brahmin/Anti-Caste politics is of a much older vintage. It dates back to the last quarter of the 19th century or early 20th century in different parts of India. In fact, some scholars have argued that a Hindu nationalist identity was strengthened as a response to lower caste assertions. One sees that political trend over the last 30 years too.
On the particularities of KH’s anti-Brahmin rhetoric, I know zilch. I’ll take your word for it. But seems like, if one is a politician in TN who wants to win elections, one will have to partake in this rhetoric because it part of along history of Tamil politics.
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Anu Warrier
August 9, 2018
Glad to see so many people who loved this film. I was always in a minority when we discussed this film. It was interesting to see the Ramayana analogy – hadn’t thought of it that way at all. What I liked about the film was the sheer attention to detail – and the casting. If no one likes Kamal or his films or his performance, perhaps they will admire him for giving us Atul Kulkarni. 🙂
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MANK
August 9, 2018
BR had drawn a parallel between Nayakan and Guru in the sense of Mani going too soft on the protagonists and, worse, giving them both a self serving monologue which appears to exonerate them.
True Madan, i think Guru was a very ordinary film compared to Nayagan. i was quite shocked after i saw the film , how conventional a movie it was, It was a well designed piece of mainstream entertainment, but coming from a filmmaker like Mani , it fell short
Anu chechi, long time no see, where were you ?. this place is less interesting without you around 🙂
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Thupparivaalan
August 9, 2018
MANK: Felt Mani’s stopped taking risks after what happened to iruvar. All his films after iruvar, even if they discuss strong issues, are vala vala kozha kozha. He used to be much gutsier filmmaker before iruvar.
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Tambi Dude
August 9, 2018
The difference between Guru and Nayagan was, while Nayagan was good to watch when it was released, Guru was boring even while watching it.
During 1987-88 I must have seen Nayagan at least 3 to 4 times and I thought I am watching a classic. Only years later, after watching Goodfellas, Satya did I realize how overrated Nayagan is. The movie was too MBA’ized [ lets not forget that MR is a Jamnalal Bajaj MBA , a fact rammed down my throat back in 1987-88 ] to be a realistic portrayal of mumbai underworld. Saw it around 2005 and found it be insipid. I also found the pace of the movie bit unsteady. The initial parts flowed well. Then suddenly it became like a serial, with each episode representing a block of years [ first a old Morris car going for Ganapati Bapa festival, then an Ambassador and finally a Maruti ].
Not one of MR’s movie can be called a classic, the closest which can come is Mouna Ragam.
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silverambrosia
August 10, 2018
I also think Ratnam’s ‘Nayagan’ was pretty insipid (only saw the first half)…but then I don’t even like the Godfather movies (except maybe just the first one). It’s not just a question of not being keen on the genre though. I would count ‘The Departed’ and ‘City of God’ (both very different movies which fall under the broad ambit of films dealing with the criminal underworld) amongst the best movies I have ever seen.
I really liked Ratnam’s ‘Iruvar’ though. Isn’t that considered a classic? When I saw the movie I thought its classic status was well deserved. It was wonderfully written (with so much poetry embedded in the script), had some great performances, and was beautifully shot (as can be said of many of Ratnam’s movies). It also served as my introduction to Mohanlal (who was amazing in it). Aishwariya Rai surprisingly also gave a really good performance (she was very shrill in the Hindi films she acted in around the same time). I think Brangan has written a piece about how Mani Ratnam brought out the best in her professionally. But she was loads better in this, than say, in ‘Guru’ (which IMO was a really lame movie and shouldn’t be mentioned in the same breath as ‘Iruvar’). Some of the songs were also great, especially ‘Narumugaiye’ which I have heard innumerable times since. I just realised that Karunanidhi is the same person as the character Prakash Raj was playing in the movie. Prior to seeing ‘Iruvar’ I had only seen ‘Nayagan’ and a couple of Ratnam’s Hindi movies. ‘Iruvar’ totally changed my perception of him as a film-maker. Have yet to see ‘Mouna Ragam’ and several other of his highly regarded Tamil films.
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Madan
August 10, 2018
“Only years later, after watching Goodfellas, Satya did I realize how overrated Nayagan is. ” – Yup. In fairness, Goodfellas and Satya happened later so Mani was following the then revered mafia movie template of Godfather. Even Sergio Leone’s Once Upon A Time In America is somewhat in the vein of Godfather. I have come to prefer Scorcese’s more visceral take on the genre and RGV was probably influenced by him too. Godfather itself is the Nayakan of Hollywood. It’s a great, great movie but its myth has been built up way out of proportion and even gets cited in business presentations.
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brangan
August 10, 2018
Goodfellas and Satya are gangster dramas. Nayakan and Godfather and gangster melodramas. The genres are different, even though the milieu is the same.
You can, of course, say you prefer one genre to the other, but inter-genre comparison is an iffy enterprise. In the sense that you can say Godfather > Nayakan or vice versa. That is a more apt comparison.
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Naveen
August 10, 2018
@silverambrosia, please watch Mouna Ragam ( Tamil ) and Pallavi AnuPallavi ( MR’s first movie and made in Kannda ). I would rate these two as my favs along with Kannathil Muthamittaal. Nayakan i felt was too heavy, love it more for the songs. never been a fan of Godfather and its inspirations.
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silverambrosia
August 10, 2018
Naveen: Yeah..I’ve being wanting to see ‘Mouna Ragam’ for some time now. I usually just end up watching what I can find with subtitles. Luckily the version of ‘Iruvar’ on Einthusan had subtitles, and very good ones at that. Perhaps I should seek out these films (inc the other movies u’ve recommended) from non-online avenues. Thanks for the recommendations 🙂
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shaviswa
August 10, 2018
My favourite Mani Ratnam films are listed below, in descending order of liking 🙂
Mouna Ragam
Nayagan
Agni Natchathiram
Iruvar
Alaipayuthae
Thiruda Thiruda
Dalapathy
Roja
Anjali
Idayathai Thirudathae
Bombay
Never liked his other films.
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Tambi Dude
August 10, 2018
Agni Nakshatram – Yen pondati najamave orruku paiyeta. Remember that Janakaraj side story humor.
Idayathai Thirudathae – Nambe Oodi polam – Heroine Girija telling Nags.
YUCK.
Those two are passed off as great films from the MBA director. I seriously hope he is not considered best every in tamil movies.
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Mank fan
August 10, 2018
Nicely analyzed Mank chetta, it is as if you are patronizing brangan’s favorite film. Waiting for ur take on vishwaroopam, hope to see it before brangan’s review.
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Honest Raj
August 15, 2018
I’ve been wanting to watch the film for ages (I was in my sixth standard when it got released) – for some reason, it’s never fascinated me. All the while, I’d thought the film was based on Noakhali riots and Kamal’s character was ‘loosely’ based upon Godse. And, I was not even aware that parts of the film were set in Srirangam. This article is really an eye-opener. 🙂
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Honest Raj
August 15, 2018
For starters, a seasoned film guy like Kamal surely knows that there’s a difference between being a great musician and being a great film musician — especially a mainstream film musician. So his going to LS in the first place… everything just sounds so odd.
Perhaps, he was “inspired” by Shaji N. Karun’s decision to sign up Zakir Hussain for Vanaprastham.
Kamal is a guy who take chances with his films as well as his collaborators. Casting Pasupathi and abhirami in Virumandi was a risk, bit that worked out well. Using Sanu John Varghese who had only shot low budget malayalm films for a big film like Viswharoopam was also a risk , but that worked too. The LS and Shorey instances were it didnt work out
Agree. Barun Mukherji (for Raja Paarvai), L. Vaidyanathan (for Pushpak), and Venu (for Guna) to name a few more.
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AgniK
August 15, 2018
Very well written @MANK Sir. On the similar Line
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MANK
August 16, 2018
Honest Raj, yes, there were others too. the guy who photographed mahandhi, prabhu i think, that was his debut movie . he was PC’s assistant. the same with Thiru also with Hey Ram
AgniK, thanks
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Anusha
August 24, 2018
Just watched the movie. Just wanted to know what you meant giving context to rapists and murderers. Would love to see ur review on iruvar. Lovely review btw
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Aakarsh
November 3, 2018
Well written piece. I never looked at this film with the Ramayana lens. Indeed, it all ties up. And interesting observations on masculinity portrayal there.
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samir sardana
January 31, 2020
In retrospect,there is 1 evidence of the genius of Jinnah, which is providentially proven by the Hindoo Nazis.
Jinnah – is the only sentient,ever,who sensed the evil of the Hindoo and the Indian vermin, and placed it on documentary record.This is inspite of the fact, that he was surrounded by Hindoo liberals and philosophers,and so called liberals.He saw through the mist, for 100 years into the future.
He saw that Nehru and Gandhi would die and be killed soon and the nation of the Hindoos,would be overrun by the Hindoo Nazis,as it was, in 2014.The Dialectics of History !
It is a simple deconstructed fact of history.The largest extermination in Human history was that of the Buddhists and Buddhism – by the Hindoos,and the philosophy of the Hindoo Pope – Adi Shankara and his litter of impotenticas .And Jinnah read history.
The dubious “Indian Muslims” who are basically the lower caste Hindoos,who converted,are numb nuts and dumb shits (still enslaved to upper caste Hindoos) – who believed the secular nation theory,and the bunk of the Ganga-Jamuna-Saraswati Culture ! There are 200 million of these dumb shits ! It is no wonder that these numb nuts did not create a new Pakistan or join Pakistan !
They are lower caste Hindus who tolerated Hindoo evil for 5000 years – with not a single record of insurrection !
Those who left India in 1947 – did not have the “Indian DNA” – they were not the lower caste hindoos who converted to Islam
Even the Prophet of Islam,did not sense the evil of the Hindoo vermin – although there were several Hindoo vermin, in Mecca,then.The Prophet is supposed to have made statements on the cool winds of Hind and the Prophet-hood of Krishna – which are dubious and meaningless Hadeeths.The Hindoo vermin say that Ramadan is Rama-adan and the “Indian Muslims” say that Rama is a Imam ! This is the Harry Potter tale !
Ghazwa-E-Hind is a prophecy of eventuality (like those of Nostradamus) – not a statement of evil !dindooohindoo
Do these “Indian Muslims” deserve doom ? After 80 years of cinderella and Harry Potter tales,the dubious “Indian Muslims” still do not get it ! These fools believe in the Hindoo Constitution and Judiciary !
https://www.thehindu.com/news/international/caa-nrc-may-affect-status-of-indias-muslim-minority-congressional-research-service/article30409109.ece
And Jinnah saw it in 1930-47 ! The man from London ! There was another genius from London – called – Churchill – who said “I hate Indians. They are a beastly people with a beastly religion.”
There is something about London – the air,weather,wine and women !
And Jinnah’s example,is w/o any peer in human history – wherein, a warrior,king or saint has made a nation by extricating itself from the pits of evil,sensing evil and documenting evil,and then,being proven right,in a span of 80 years.
Jinnah – the genius – the man’s trajectory from wine,pork,cigars,pipes and women to the Qaid !
This is E-V-O-L-U-T-I-O-N !
The 1 flaw in Jinnah – minutae of intellectual discrimination ! Never eat from the hands of a Kaffir or allow the human body to be touched by a kaffir ! He was poisoned by a Hindoo – just like the Prophet was poisoned by a Jew-ess ! dindooohindoo
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