Thoughts on Dangal

There is a scene in Dangal where Sakshi Tanwar’s Daya Phogat wonders aloud to her husband that she is unable to understand his methods to drive their daughters towards a career in the sport of wrestling. Aamir Khan’s Mahavir Phogat replies that he is in a situation where he can either be a Teacher (Guru) or a father, but not both. The line is intended towards the audience lest they end up thinking what a cruel father Phogat was. Towards the later part of the movie we get a brilliant scene where Phogat’s elder daughter Geeta calls home and asks to speak to her father. This scene is preceded by an ego-cum-wrestling clash between the teacher Phogat and the student Geeta. As Daya hands over the phone to her husband, we get to see the Teacher Phogat say a brusque ‘Haan’ intended to the student Geeta. But what he hears is sobbing at the other end, from the daughter Geeta. At that instant, the Teacher Phogat and the Father Phogat fight an internal battle and merge into one. Aamir Khan aces this scene in a way only he can and succeeds in making the audience buy this metamorphosis. I found this scene to be the most significant one in this brilliantly made sports drama.

 

While there have been many discussions as to whether Dangal is feminist or patriarchal, I personally found the cusp of the movie to be this metamorphosis of the Teacher and the Father. Of course, the movie had an engaging screenplay with some of the best casting one could see in a Hindi movie. Aamir Khan is easily the most assured star of Indian cinema. He doesn’t need all 161 minutes of screen time to enhance his stardom. He lets the new girls hog the limelight for most part of the movie while coming up with frequent scene-stealing performances. The Girls, be it Zaira and Suhani as the younger versions of the Phogat sisters or Fatima and Sana as the elder versions, are pitch perfect in casting as well as performance. It is hard to believe they are young actors and not actual wrestlers. While credit for this must go to the girls, a significant part of it must also go to the wrestling choreographer Kripa Shankar Bishnoi. The wrestling sequences were absolutely nail biting and never once felt staged. The second half is packed with so much of wrestling action that if there had been a slight misstep in the action choreography, it would have impacted the whole movie. But the sequences end up saving even the otherwise clichéd jingoistic climax.

As Geeta stands on the podium with her medal and the national anthem plays out, we see Phogat reacting like the true blue nationalist sportsman who has helped his country win an international gold medal. It is ironic that Phogat was played to perfection by the very same actor who was called out for being ‘anti-national’ and asked to leave the country if he found it ‘intolerant’. If Aamir Khan can give us a movie like Dangal every year, I personally wouldn’t give two hoots as to whether he is a chest-thumping patriot or not.

Iruvar - Cinema that flows

The enduring image I had of Iruvar before actually seeing the full movie in 2003 was Aishwarya Rai’s bottle-green dress backed by Harini’s sonorous voice singing “Hello Mr. Ethirkatchi”. I found this image captivating, not because of Aishwarya Rai but because it was a song from a Mani Ratnam movie. 

Like most of my wannabe-intellectual friends I became a Mani Ratnam fan long before I saw this gem of a movie. In fact most of us do not know why we became Mani Ratnam fans. Was it because his movies struck a chord with us? Was it because he chose to make movies that attempted to be more relatable and grounded? Or was it because he genuinely believed in the marriage of the commercial and the connoisseur aspects of cinema? It could have been any of these reasons, but if truth be told, we became Mani Ratnam fans because we wanted to project ourselves as intellectuals. I always had this notion that people believed that someone who loved Mani’s movies had to have a certain level of intelligence. This was the fodder for the fan in me, until I read Baradwaj Rangan’s ‘Conversations with Mani Ratnam’ and decided to revisit his movies. This myth of mine came unfounded and hence I decided to dig up my dormant blog to write about it. I could have written about Mouna Ragam’s poignant brilliance, Thiruda Thiruda’s extreme irreverence or Roja’s patriotic love but after watching Iruvar, there was no hesitation in my mind as to which movie to base this post upon.

Iruvar, in my humble opinion, is Mani Ratnam’s best work till date and not a single movie of his, save Kannathil Muthamittal to an extent, has even come close to the poetic flow that this movie has. Most of Mani’s other movies can be easily defined as a collection of brilliantly conceptualized scenes put together by masterful screenplay and strengthened by brilliant performances. Iruvar, on the other hand, consists of these sweeping sketches, each of which covers a phase of the protagonists’ life graph. The signature style of Mani ratnam – Shadow and lighting contrast – is limited in Iruvar. The film instead has a very different type of contrast. It has a highly detailed period setting as far as visuals are concerned and these visuals are contrasted by music that is stylized to give a modern feel to this setting. The song ‘Aayiratthil Naan Oruvan’ is a superb example of this. While Mohan Lal’s costume and the whole setting of the song are detailed in period, the music gives a periodic feel only with respect to lyrics and the voice. Otherwise the song is replete with electric guitar and pads. Another striking aspect of Iruvar is the manner in which Mani has written the two lead characters. Both the characters have a core and a periphery. A simplistic biopic could have easily imitated the periphery of these well-known stars – similar costumes, voice modulations, looks - thereby instantly invoking their memories in the audience mind. But Mani chose the more difficult route. He imitated the core. At the core of Anandan was a larger-than-life actor, a romantic and a charismatic do-gooder. The context was left to Mohan Lal and he came out with a performance that shouted out ‘MGR’s core while conceptualizing a periphery of his own. Similarly, at the core of Thamizhchelvan was a writer, a wizard with words and a fierce Dravidian. I don’t need to say anything further about Prakash Raj’s portrayal of this character.

After the protagonists and the ensemble cast, each of whom came up with such a stellar yet sedate performance, the backbone of the movie, I felt, were Vairamuthu’s poems. When Prakash Raj mouthed lines like “Unnoadu Naan Iruntha Ovvoru Mani Thuliyum Marana Padukkayilum Marakkaathu Kanmaniyae” or “Udal mannukku Uyir Thamizhukku Idhai urakka cholvom ulagukku” I was mesmerized by the beauty of my mother tongue and also surprised by how easily I was able to understand these lines. Vairamuthu’s poems actually added a commercial aspect to the film by taking the viewer back to the sixties – the era of cinematic influence. 

Iruvar was the first movie to be produced by Mani Ratnam’s home banner – Madras Talkies. When people conclude that Mani produced this movie because he wanted to do away with commercial pressures that tag along when other companies produce his films, they have missed seeing the movie for what it actually was – a movie aimed to entertain. Even the second or third viewing of Iruvar will have you in rapt attention. Mani attempts to captivate the viewer not by forcible induction of masala, but through beautiful visuals, brilliant performances and, above all, the trust he places on the viewer.

Mani Ratnam does not necessarily acknowledge the intelligence of his audience. He simply refuses to assume their gullibility. 

REMEMBERING THE 'MALAYSIAN' TIMES

There was a time in the 1970s to 80s when Ilayaraja was the only music director, S.P. Balasubramaniam, the only male playback and S. Janaki, the only female playback in Tamil Cinema. A young man, then in his thirties, was grabbing at opportunities to showcase his villainy acting skills and secretly nursing hopes of making it big as a singer. He used to imitate the legendary T.M. Soundarrajan and present Sivaji Ganesan’s songs for his troupe time and again. Then Pathinaru Vayathinile happened and a new singing sensation was born…a Malaysian born malayali who went on to carve a separate base for himself in the Tamil film music fraternity.

Aatukutti Mutta ittu from Pathinaru Vayathinile introduced ‘Malaysia’ Vasudevan as a singer to Tamil Cinema. The song went on to become a rage, not only for its foolishly funny lyrics, but also for the fresh baritone it introduced to Tamilians. Since that rousing start, ‘Vasu’, as he was fondly called in the music circle, had no looking back. With his majestic voice he enthralled cine-music followers and went on to make Superstar Rajnikanth’s singing voice his own.

 He has churned out more than 3500 songs in Tamil Cinema and in this post I am looking back at some of my indelible favourites

Vaa Vaa Vasanthame (Film: Pudhu Kavithai): At a time when Vasu was sidelined as a folk singer and flooded with fast numbers, this beautiful melody came as a breath of fresh air and showcased the nuances that he possessed in his voice to deliver soothing melodies as well. The comforting image of Rajnikanth singing to a little girl is still fresh in my mind when I listen to this song

Aasai Nooru vagai (Film: Adutha Vaarisu): A trendsetting fast number with extensive use of guitar and the brilliantly masculine voice of ‘Malaysia’ Vasudevan was a toast to Ilayaraja and Superstar fans alike. Vasu’s subtle variations during rendition are evident in this number, as well as the perfect modulation he brings to portray the playboy-like attribute of Superstar in this song.

Vethalaya Potendi (Film: Billa): If ever there was an advertisement to the betel leaf (Vethalai) then it has to be this song. The juicy savouriness of the Beeda and the irrepressible joy that a man, deprived of his beloved Beeda for a very long time, experiences when he finally gets a chance to fill his mouth with it is superbly brought out by Vasu in this number. Vasu also proved that he is adept at mastering any lingo (He would have sung this song in the madras Tamil lingo) and delivering a song in it quite effortlessly.

Ennamma Kannu (Film: Mr. Bharath): With this song Vasu put his singing prowess in line against the already famous S.P.B and matched the legend word for word. The bitter Rivalry between the screen stars Sathyaraj and Rajnikanth was brought alive even when one heard this song without seeing the visuals. It was only fair to say that Vasu passed this peer test with flying colours.

Kadhal Vandhuduchu (Film: Kalyanaraman): This has to be the most singular song ever sung by Vasu. The modulation he brings out to literally render the whole song through his nose rather than throat is simply amazing. Kamal haasan’s avatar as Kalyanaraman would not have been complete had it not been for this awe-inspiring rendition by Vasu.

Poove Ilaya Poove (Film: Kozhi Koovudhu): Another of ‘Malaysia’ Vasudevan’s unsung beauties. The calmness of his voice, the consummate ease with which it climbs up and down the scales in this song and the tranquility it brings to the listener makes this number almost my favourite ‘Malaysia’ Vasudevan Song…Almost.

Podhuvaaga En Manasu (Fim: Murattu Kaalai): There might be Vandhenda Paalkaaran from Annamalai; there might be Naa Autokkaaran from Baasha; there might even be Oruvan Oruvan from Muthu. But when it comes to the ultimate Thalaivar Intro Song, it has to be this one. With this song, Vasu made Thalaivar’s singing voice his own. The streak of brazen villainy that thalaivar used to portray even when he transformed into a mass hero during those days demanded a voice which can bring out the same sort of villainy. And who better than Vasu to bring about those nuances? The spell binding rendition with that touch of nonchalant arrogance was something only Vasu could have delivered. And he did so to the delirium of Crazy Thalaivar fans like me.

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February 20th, 2011 will go down in the annals of Tamil Music industry as a day when nature decided to silence one of the most influential voices of Tamil Cinema. ‘Malaysia’ Vasudevan was not given any sort of recognition he deserved during the years he lived. It is indeed sad to note that even after he has passed on, recognition has been hard to come by.

This post is my form of saying ‘Thank You’ to Thalaivar’s Eternal Singing Voice – You might have left us, but your voice will live on in our memories and keep ringing in our ears.

Rest in Peace

THE ROAD LESS TRAVELLED

I would like to start this post by declaring that I am ashamed of the Tamil film Distributors Association and Tamil film distributors as such. Most of the biggies in this industry have raked astronomical sums of money from commercial pot boilers which follow the ‘Song-fight-comedy-sentiment’ formula. But sadly, not one of them had an eye or, for that matter, a heart to accept Nandalala’s brilliance and release it through their banner. It had to be done by Ayngaran International – a relative toddler in the Kollywood distribution arena – while the Marans who seem to be releasing every other crap in Kollywood chose to overlook this gem.

Let’s move to Nandalala. Nandalala is a story about two people – an eight year old boy and a forty year old man – journeying with each other in search of their respective mothers. While the eight year old Akilesh is your average kid next door, forty year old Baskar Mani is a mentally retarded man with the thought process similar to that of an eight year old. On their way they meet a host of characters who end up helping them or harming them in some way. Finally when they do reach their destination, do they get to meet their mothers? Well, Yes and No. Confused? Well, watch the movie…

Nandalala is a movie straight from the heart. It is also directed straight at the heart. Mysskin is clear about his characters (Nasser appears for 3 seconds in the film, so better ‘watch out’ for him!) and his portrayal of the script. There are no scenes which go overboard with emotion. There are no scenes which exploit the sensitivity of the ‘mother-son’ relationship. Still, Nandalala manages to reach that particular place in your heart which has a direct link to your mind. Every frame of the movie talks to you. When the characters don’t talk the visuals do. Be it the scene where a surly lorry driver manages to discover the child in him as he prods at ‘touch me not’ plants along with two ‘8 year olds’ for company or the scene where a poor slum girl who sells herself to earn a living drenches the sorrows, filth and dirt in her life by standing in the rain, the visuals more than make up for the lack of dialogues. Coming to performances, it would be an understatement to say that Mysskin has lived the role of Baskar Mani. He has given us an unforgettable, indelible portrayal which could have been pulled off by very few in the industry. Ashwath Ram has essayed the role of Akilesh quite brilliantly and has emoted exceptionally well for an eight year old. Snigdha reveals that she is not a ‘yellow sareed’ item girl after all. With a single scene where she describes her stained life, Snigdha proves that she is an actress par excellence. Rohini comes in a cameo and literally disarms you with her looks and her performance.

There is one other person who, according to me, is the actual protagonist of the movie – Ilayaraja. There are certain sequences in the movie which could have come off as bland or even incomprehensible if it hadn’t been for the background score. The music hits your senses where it should. Ilayaraja proves that he is a master when it comes to the art of plucking strings in instruments which will have the direct effect of tugging at the strings of your heart. His orchestration speaks to the viewer on an emotional, primal and psychological level. There is very little need for dialogues when such magical music keeps you spell bound and satiated. After experiencing Ilayaraja in Nandalala I am convinced that all other music directors in India are light years behind him when it comes to background score. Not one of them can compose music that can speak to us. The maestro does it, and does it effortlessly.

Nandalala is an enriching musical experience. It’s an honest attempt at meaningful cinema by a gutsy director. It’s an emotional travelogue for all sons and mothers of this world. It’s a journey which happens almost exclusively on the road. On the road less travelled.

ENTHIRAN REVIEW

The Objective View:

Right from the moment the title starts rolling you get the sense of something grand in store. When the movie does run its full course you realize that grand is too less a word for the spectacle.

Enthiran takes Indian Cinema to heady levels in terms of visual effects, CG and animatronics. Stan Winston studios which did VFX and animatronics for Jurassic park, Avatar etc. have been roped in for Enthiran and their expertise indeed makes the difference. The way Shankar has used the VFX giant is also commendable. Right from the simulation of Rajni’s mannerisms into a robot to the breathtaking ‘Arima Arima’ song, the realness that animatronics brings to the movie is palpable. Shankar shows that he is a master when it comes to choosing the best and making sure they get roped in.

Coming to the script (I talked about the VFX and Anmatronics first because they get top priority without a shadow of a doubt), Shankar has managed to adapt Sujatha’s ‘En Iniya Iyanthira’ beautifully to the silver screen. Though the film was touted to be a ‘ten year Shankar dream’, the director himself will be the first to admit that he was inspired by the late writer’s brilliant mini-series which was published some two decades back. Shankar has astutely reworked the script in such a manner that it suits Rajni and at the same time doesn’t bog down Shankar’s vision of ‘Enthiran’. The script can be summarized in one line- What happens when a Humanoid Robot develops human emotions?

Treading this one-lined script is indeed a tight rope walk but Shankar has managed to pull it off quite stupendously. The first and foremost fact about the scripting that hits you on the face is it’s striving for logical plausibility. Shankar has made sure that the story is logically almost infallible. He has used the leeway that is generally given to sci-fi movies to a bare minimum level. Even the most farfetched of sequences in the movie have a loose thread of logic woven around them. Stunt sequences are a treat to watch (Peter Hein’s best ever work till date) and here again, Shankar has been shrewd enough to make full use of the fact that ‘Super star as a ROBOT has unrestricted license to perform death defying stunts’. Sabu Cyril’s designs and themes are mind boggling and add grandeur to the already present splendor. Dialogues play a minimum but effective role and Sujatha’s touch is clearly evident in many of them. Sample this:

Fellow Scientist: Kadavul Irukkara Illaya?

Chitti the ROBOT: Kadavul na enna?

Fellow Scientist: Kadavul dhaan enga ella manidhargalayum padaithavar.

Chitti the ROBOT: Enna padaithavar Vaseegaran (the Scientist Rajni). Amaam, Kadavul Irukaar…

If A.R.Rahman's album managed to give feelers to the movie, on-screen viewing justifies the aptness of the musical score to the movie. Kilimanjaro stands out for its brilliant music and scenic visuals and Arima Arima is simply too overwhelming to express in words. Other songs work to the expected levels.

There is not much to talk about in terms of characterization. This is not because it is inappropriate or inadequate but more so because the script demands very few characters. Aishwarya Rai Bacchan looks stunning and her lip sync is brilliant (other so called Kollywood heroines can do with a lesson or two from her). She is the usual Shankar movie heroine – glamorous but not substantial. Santhanam and Karunas are mere add-ons and evoke a few laughs in some scenes with Chitti. Danny Denzongpa doesn’t do much and dies a premature villain death.

Coming to the focal point of the movie- Superstar Rajnikanth- Well, what can you say! He literally carries the entire movie on his shoulders. Be it the underplay of Vaseegaran, the expressionless brilliance of Chitti or the unmatchable arrogance and gait of CHITTI (the bad one), Rajnikanth proves that he is an actor par excellence. The change in mannerisms when Chitti gets transformed to CHITTI is brought out in such a seamless way and showcases the bundle of talent that is mostly dormant inside our Superstar. Chitti is adorable, enjoyable and brings the roof down with his interactions with the general public. CHITTI is menacing, haughty and brilliantly evil. He simply steals the limelight from literally everyone, including Shankar, in the brief 40 minutes he appears on screen. Many people might talk mostly about CHITTI and to an extent about Chitti. But amidst those two portrayals, the brilliant underplay and helplessness of Dr. Vaseegaran goes unnoticed. The very fact that it goes unnoticed is a tribute to the ease with which Rajni has got into the skin of that character. Superstar lifts the movie, carries it forward single handedly and sets the screen on fire with his panache and persona. It was indeed a fortunate turn of events that Shankar roped in Rajni for his ambitious dream after contemplating with Kamal and ShahRukh Khan (Goodness knows where that might have lead!). With Enthiran, Rajnikanth reiterates the fact that he is the most bankable star in India and a force to reckon with internationally.

Go watch Enthiran, only in theaters, not because I am an aggressive activist against piracy, but because it will be utter futility to watch the pirated version, even if you have a home theatre. Some things in life are made to be experienced in a certain way and a certain way only. Enthiran is one of them…Go for it. Again, again and again!!

The Fanatic View:

THALAIVAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!!!!!!

THE 'REAL' BOSS

SCENARIO: You are on an official trip and check out of your hotel at 6:00 pm in order to avoid getting billed for an extra day. Your train leaves at 10:00 pm only. So how would you while away the time when you are in the ‘temple city’, Madurai, renowned for its numerous religious shrines, rich cultural history and of course the illustrious Meenakshi Temple…?

ANSWER: Of course!! You look around for the nearest theatre, get a balcony ticket without bothering about the movie being shown and proceed with bag and baggage to occupy a comfortable back row street, amidst suspicious stares from fellow cine goers (especially when you push one of your bags under the seat!).

So, like all sane people I did the same thing two days back. But I was pleasantly surprised with the fare that I subjected myself to. It was a movie called ‘Boss engira Bhaskaran’. Right from the outset I got this feeling of intimacy with the movie. Never for a moment did it take itself seriously. There was nothing noteworthy about the screenplay, nothing unique about the story (if it had one, as promised by the title slides) and not an ounce of effort seems to have gone into characterization. But these flaws notwithstanding, the movie provided full paisa vasool. The Reason? One man- Santhanam.

It is a fact that for some time now Santhanam has been choosing his movies carefully, making sure that he perfectly fits with the screenplay and the hero. But with Boss… he has transcended even the hero’s role. He hasn’t done anything different from his usual one-liners, intended puns and amazingly timed wisecracks. Still, it comes as a whiff of fresh air. Not a single comic punch of his passes on without evoking a healthy dose of laughter. Especially the repeated utterance of the famous ‘Annamalai’ dialogue- ‘Nanbenda’ has you in splits. The byplay between Santhanam and Rajendran (Remember the terrifying villain of ‘Naan Kadavul’?) is one of the highlights of the otherwise bland and stretched out movie. Though Arya’s Devil-may-care attitude and the breezy sequences involving his pursuit of Nayanthara (is she suffering from marasmus or is that intentional slimming? Because by god, she looks careworn and malnourished) evoke toothy smiles and, at times, gentle laughter, they are nowhere near Santhanam’s instantaneous jibes and hilarious innuendos. Frankly, the only reason I felt rather cheery after coming out of the theatre was because of him.

With his work in Boss… it is only fair to say that Santhanam has slightly grazed the armrest of the ‘timing’ throne, of which the undisputed occupant has always been King ‘Gounder’- the man who gave his all to ‘START MISIC!’

ENTHIRAN...PUTHIYA MANTHIRAN

Eros International had a temporary fling with it. Sony Entertainment travelled the first mile only to realize that their fuel can never provide the mileage required for this vehicle. Then entered SUN Pictures, armed with a string of bad movies which nevertheless raked money, they decided to go for the JACKPOT, doling out all their winnings towards the biggest movie in the history of Indian Cinema- ENTHIRAN- The Robot.

The past week saw the release of the much awaited music album of this Cinematic Landmark. What new magic has Rahman created with this album? Is it one step ahead of SIVAJI- the Runaway Blockbuster of 2007?

Chitti Dance Showcase: (Pradeep Vijay, Pravin Mani, Yogi B): South Indian ‘Mrithanga Jathi’ meets Western Rapping in this masterful fusion. The start by Yogi B sets you up for some intense rapping which is offered by Pravin Mani, but only as a camouflage for the brilliantly rendered ‘Jathi’ by Pradeep Vijay. A R Rahman even manages to bring in the classical western feel in between with a beautiful violin bit which is immediately followed by another bout of High Energy ‘Jathi’s backed up by some vigorous beats. All in all, the perfect composition to showcase some ‘Chitti Dance’!

Boom Boom Robot Da: (Swetha Mohan, Yogi B, Kirthi Sagathia, Tanvi): When Yogi B starts ‘Boom’ing with his voice your mind is already decided about what to expect from this one. Some high octane, racy Tamil rapping. You do get it, but only for a minute and a half. What follows is some absolutely exquisite singing by Swetha Mohan, proving that what her mother (Sujatha) can do, she can do better, that too effortlessly. She simply casts a spell onto our minds with her endearing voice and flawless rendition. Though the song might be branded as ‘Techno’ it clearly has a light, breezy feel to it when Swetha is singing. She even makes the high strung electric guitar and uproarious keyboard arrangements take a back seat. Clearly, her song all the way.

Kilimanjaro: (Chinmayi, Javed Ali): One and half minutes into the song, you would have heard one male voice and 4 female voices. That one male voice belongs to Javed Ali who is zealous and dedicated. Unfortunately for him, his co-singer (or shall we call ‘co-voices’?) simply pips him to the pole position with her incredible voice contours and casual rendition. To say that Chinmayi is in her elements in this song would be an understatement. She is somewhere beyond that, bringing unimaginable modulations with each and every line of the Song. The music is not far behind, be it the robust African beats that Rahman has become so fond of lately or the energetic chorus complementing the lead pair. The number might feel weird on first listen, but slowly grows on you and gradually gets you addicted to it.

Kaadhal Anukkul: (Vijay Prakash, Shreya Ghoshal): A Feel good Guitar strumming starts off this peppy duet. Though the start has a ‘Lukka Chuppi’ feel to it, the song takes a totally different course after it, courtesy an ebullient Vijay Prakash and a serene Shreya Ghoshal. The number is such an enjoyable listen and makes its pitch for the song of the album on the first listen itself. It only gets better on repeated listening and is a sure shot candidate for the so called tag of ‘Chartbuster’.

Irumbilae Or Idhayam: (A R Rahman, Kash ‘n’ Krissy): ‘Shankar Grandeur’ is plainly written all over this Techno blast with Rahman himself at the helm. After belting out the riveting ‘Adhiradikkaran’ in Sivaji, he once again chooses the perfect song and an even more perfect companion to sing it with. Kash ‘n’ Krissy sounds sassy and saucy with her playful rendition, especially when she sings, or rather says “Will you come and get it boy? Or are you just a Robot Toy?” Naughty! And Rahman with his usual Nasal twang adds flavor to some brilliantly inspired lyrics by Karki (Vairamuthu’s son)… ‘Ecchil illa Endhan Muttham Sarchai inri kolvaaya? Rattham illa Kaadhal enru otthi poga solvaaya?’ superb! Right from the start this number brings you the musical essence of the movie…techno…techno…more techno!!

Arima Arima: (Hari Haran, Sadhana Sargam): Finally we get to hear some orchestration from the legend, and how!! The beats complement the intermittent violin and Hari Haran simply captivates you with his intensity which escalates as the song moves forward and crescendos at the end with him thundering the word ‘Enthran!’ Naresh Iyer and Benny Dayal bring out the seamless nature of their voices once again, rendering the charged up chorus portion, which proves that when it’s for Superstar, nothing is beneath you (Benny Dayal did the additional vocals in SIVAJI’s ‘Balleilakka’ as well). Hari Haran’s intensity and Rahman’s brilliant orchestration makes this the best song of the album…well, Almost!

And Finally… PUTHIYA MANIDHA (SP BALASUBRAMANIAN, A R Rahman, Khatija Rahman): We are back to that combination…one legend composes, another legend sings and yet another legend sets the screen on fire. SP Balasubramaniam…Well, well what can I say! Is that a throat or, as I should be saying from now, ‘Enthiram’? SPB does it once again; this time transcending not only expectations but also pitches in singing. Breathless singing has become so mundane for this maestro that he needed a new challenge. Changing the pitch of your voice from extremely high to extremely low is never an easy task. At the same time, it’s not impossible as well. But what makes it so amazing in this case is the ease with which SPB does it. I don’t know about others, but I got the following feelings after listening to SPB’s rendition: Goosebumps, Parched throat, trembling fingers and of course, a serenading wave of ecstasy. Rahman, though following the tradition of giving SPB the intro song, throws in his own genius, which can be felt especially in places where SPB’s voice merges with the keyboard arrangements and gives it a kind of robotic feel. Last but not the least, Khatija Rahman has the genes, and is here to stay.

A NOTE FOR THE CRI(B)TICS: There has been cribbing from critics and fans alike about extensive techno and western influence in the album and Rahman’s completely inconsiderate composition for the Intro Song . Well, in a movie budgeted at 150+ crores where Superstar plays the role of a Robot, will someone in their sane mind expect a ‘Veshti’ clad Rajnikanth shaking a leg with some village belles and eating ‘kozha puttu’ out of plantain leaves? When you need an intro song for a ‘Robot’ how should it be?? Well, that is answered by ‘Puthiya Manitha’!

As for the western influence in the music, I would just ask the complainants to imagine seeing the movie ‘I-Robot’ with ‘Thaenisai Thenral’ in the background. Got it? If you still ‘take no’ for an answer, well, ‘Techno’ is the answer!!

BOTTOM LINE: The album acts as the perfect teaser for the Film, giving you all the hints but still managing to make the answer elusive till that magical date…September 3! On the compositional front, it’s one of Rahman’s most unique albums, simply for the fact that he has dared to defy the fare expected by fans, sorry- RAJNI Fans-, and delivered the fare requisite for the movie.

Come September, 'ENTHIRAN' will have you on the run!

RAAVANAN- Questions to the doubters

By the time I write this everything would have been said and done about Mani Ratnam’s modern epic. So before I start here goes. This is not a review by any means. People have done too much of that already; some of them justifiable, most of them done just for the sake of it. So let me try and answer a few complaints against Raavanan.

1. Lack of Storyline: This one is indeed an LOL. For those stalwarts who came out with such a complaint, I have only one advice. Before searching for a storyline in Raavanan why don’t you try and read a great Indian epic called ‘RAMAYANA’? You will be surprised!

2. Same old Cliché in the name of screenplay: Mani Ratnam is the man who gave us Alaipaayuthae. Remember? The film with such brilliant intertwining of the past and the present and the trend setter in non linear screen writing among Indian films! He is the man who gave us Aayitha Ezhuthu; Another trend setter simply for the use of a single scene from different perspectives to tell different, albeit, interconnected stories. Isn’t he allowed to tell a story using the well trodden present- flashback- present mode for once? As for the charges about the deadening pace of the screenplay, where was the promise of a racy one on the first hand?

3. Lack of depth in Ash-Prithvi Romance: What does the title ‘Raavanan’ suggest? Did it give any ideas that there will be a generous dose of romance between Ash and Prithvi? It screams out with clarity as to who the protagonist is. So why should there be depth and detail in the romance of Ash and Prithvi? Isn’t the fact that Ash is Prithvi’s wife reason enough for him to go in search of her? Why should there be proof of their love or romance in the form of a lengthy flashback replete with cheesy scenes?

4. Poor Characterization (Ranjitha, Vayyapuri, Karthik): How many of us have seen Vayyapuri in films these days? Is he a mainstream comedian who has been handed the ignominious role of a eunuch thereby bringing disrepute to his stature? Would there have been a complaint if a real eunuch had played the same role instead? Just because we know Vayyapuri we feel that his character lacks definition. Same goes in case of Ranjitha. The role essayed by Ranjitha could have been essayed by any amateur. The fact that it was a famous face led to this complaint. And we all know how Ranjitha became famous!! As for Karthik, he himself stated in a recent interview that the offer to act in Raavanan was like a lease of life for him to force himself away from his confused career path and drug inflicted past. And he did bring in a few laughs mind you!!

5. Mani’s Confusion about the good and the evil: Sorry people. Mani is very clear about who is good and who is evil. As a matter of fact he shows it in the film itself. The Tirunelveli tribes follow Veerayya as if he were a Messiah. For them he is a do gooder. The police are the evil. On the other hand, in the eyes of the police force, Veerayya is an accused and Dev, who is a dutiful police officer, is the divine incarnate. The simple concept behind this is that the definition of a person as good or evil depends upon an individual’s perspective. A person who is good in your eyes might be evil in someone else’s.

6. Mani Ratnam has failed to deliver: Well, when did he ever promise?

Watch Raavanan for what it is... An age old epic retold with never-before-seen splendiferous locales of India as its backdrop; A visual treat which takes your breath away, courtesy the magical lenses of Santosh Sivan; A Film boasting of a Million Dollar performance by the mercurial Vikram; A film that catches the rustic tunes of Indian Folk and brings it to your ears via the musical brilliance of A R Rahman.

Don't watch it for what you think it should have been.

FROM RIGHT ACROSS THE SKY...

VINNAI THAANDI VARUVAAYA...The interest that this music album has generated even before its release is phenomenal. The hype surrounding the ARR- GVM combination was given even more fuel by the composer himself when he openly stated that he felt at home and peaceful while composing for VTV. So, has the album lived up to the yearning of countless fans who took sarcastic digs at it with status messages such as “Vinnai Thaandi Varuvaaya… Nee Studio Thaandi Varuvaaya?”

Omana Pennae (Benny Dayal, Kalyani menon): The immediate attention catcher in this song is the mesmerizing use of Nadaswaram (has it been digitally modified?). Benny Dayal simply makes his voice flow with the instruments that at times there seems to be no distinguishing factors. Kalyani menon is another surprise package who renders the Malayalam classical bit in the song with awe inspiring beauty of voice. The last minute and a half of this number is sure to take you to your fantasy world where your “Omana” might be waiting for you.

Anbil Avan (Devan, Chinmayi): Chinmayi all the way in this one!! She is inimitable once again and simply eases away through the song. I think the song, at least in some parts like the chorus “Nee vaanavilaaga”, is influenced by Gautam Menon, in whose every movie there is inevitably such a fast, energetic number with a catchy chorus. Devan of ‘Smiyai’ fame makes a comeback with this song and makes full use of this “GOD” given opportunity. The clever use of the famous south Indian song “Aanandam Aanandam” in between suggests that the number is themed on a marriage ceremony.

Mannipaaya (A R Rahman, Shreya Ghoshal): Shreya haunts us with her lilting voice once again. The sadness in this song is easily felt, especially when Rahman starts singing. The number beautifully captures the pangs of guilt and sorrow between troubled lovers. The song will not top the charts for sure, but it might be the perfect foil to some intense visuals which can always be expected from Gautam.

Kannukkul(Naresh iyer): A potpourri of instruments (Violin, Guitar and brilliant percussions) coupled with an Energetic Naresh Iyer makes this number a worthwhile listen. But Rahman has nothing new to offer by way of this song, just plain enjoyable music.

Hosanna (Vijay prakash, Blaaze, Suzanne): The start of this one is a complete camouflage of what the song actually has in store. A slow start by Vijay prakash followed by some soulful humming by Suzanne gives the feel of a magical melody. But what follows is not exactly a melody, but indeed magical. Vijay gets into his usual verve to give a cracking start. Blaaze, of course, ‘hip-hops’ his way to steal the limelight of this sure shot chartbuster. The inspirational traces of Rahman’s Multi-lingual song ‘One Love’ is easily evident in this number, especially the female humming part.

Aaromalae (Alphonse): The innovative genius of a musical prodigy is written all over this number. What can be said except “Wow!!” Hard Rock Music meets Kerala Back Waters and is interspersed with mind stirring chants of Sanskrit Verses. When the chorus “Swasti Swasti Sumuhurtham” starts, just close your eyes, let the music fill your head and feel the hair on your hands raise in acknowledgement of a ‘once in a lifetime’ musician filling your earthly life with heavenly interruptions in the form of his albums. When the song ends you will be in that curious state of exhilaration coupled with disappointment; the former for having listened to a mind boggling number and the latter for the fact that it has come to an end.

VERDICT: When all you faithful Rahman fans listen to his latest offering for the first time, you are sure to have a puzzled expression on your face. There will be a hint of smile when you listen to it for the second time. But, trust me, when you will eventually attempt a third listen (which any faithful Rahman fan is sure to do) you will be ecstatic, for such music does indeed come from right across the sky…Vinnai Thaandi…

‘PAA’B RE…

When the wrinkled eyes of Auro finally close, the lopsided smile still pasted on his face, you are left wondering how many other actors could have carried out this role without even a trace of their inherent styles and screen presence. The ‘PAA’ of Indian Cinema leaves a deep impact on the audience, not as Amitabh Bachchan, but as AURO.

The film starts off with a model MP (You don’t find such MPs in India for sure), Amol Arte (Bachchan Jr.) visiting a school to give away a visionary award. The fact that Auro is a student in that very school is any idiot’s guess and if that idiot manages the guess then he would also be able to guess that Auro would be getting the Visionary award. Thus starts to blossom an unusual friendship between an MP and a 13 year old boy suffering from a rare disease called Progeria which accelerates ageing. But there are unanswered questions in Auro’s life that very much involve Amol. For finding out what those questions are, you have to hit the theatres.

The film is briskly paced with generous sprinkling of cheeky comedy and tongue sharp dialogues that make you sit up and take notice or squirm in your seat to avoid getting noticed. There are phases in the movie which you will absolutely adore and there are phases which you will wish come to an end soon. It’s a mixture of well delivered comedy, theatrical sentiments and confused disruptions in the name of songs.

Coming to the cast and crew, Abhishek and Vidya Balan have carried off their roles with élan. The supporting cast is apt, especially Auro’s friends. The background music is master class from the maestro himself-Ilayaraja. P C Sreeram needs to be lauded for some astoundingly deceptive camera work. His lenses show Auro just as a kid mixing with his own age group. The height factor of Amitabh is expertly disguised in almost all frames except here and there.

The film carries its fair share of glitches- ill placed songs, unwanted flashback, a very very predictable climax which fails to move you. But despite all that if there is a reason for you to watch the film it is surely Amitabh Bachchan’s spell binding portrayal of Auro. He has gone to unimaginable lengths of difficulties for the role, what with 3 hour prosthetic make ups and that ‘Parkinson’s’ style of walking he had to perform throughout the film. His dubbing is brilliant and acting unparalleled. Auro casts a spell on you, makes you love him with all your heart and creates that urge in you to befriend him. If it was not Amitabh, all this would not have happened.

Watch PAA…it’s the least homage you can pay to the PAA of Indian Cinema- Amitabh ‘Auro’ Bachchan.

LISTEN TO BLUE; FORGET YOUR BLUES!!!

Finally, its here…the Indian Oscar-hero’s first offering after the crowning- BLUE. Having set his foot firmly on the western soil after the stupendous success of Slumdog Millionaire, it is quite natural that Rahman has decided to give a full throttle to the smaller western influences we used to hear in his previous albums. BLUE has an extravagant techno feel to it; to this add a track with famous Australian Pop star Kylie minogue lending her voice and what you get is an Indian Album with a westernized USP.

BLUE Theme (Blaaze, Raqeeb Alam, Sonu kakkar, Jaspreet singh, Neha kakkar, Dilshad): A western-Punjabi fusion blast from Rahman. The most notable aspect of this theme is that Blaaze’s voice is almost unrecognizable in the midst of the pool of new voices. If it wasn’t for the energetic chant of “BLLUEE” we wouldn’t even know he is singing. The chant of “BLLUEE”, by the way reminds one of the chant “NEWW” in one of Rahman’s previous Tamil albums. But the similarity ends there. Of course, Neha kakkar seems to be the new Tanvi…she brings the singsong feel to her voice with ease. The song grows on you when you hear it more than once…and it ought to do full justice to the visuals.

FIQRAANA (Vijay Prakash, Shreya Ghoshal): you would be tempted to dust this song aside as a run of the mill type when you hear its start, but wait for the chorus blast of “fiqr hai, mitr hai”…its an instant attention catcher. And Vijay prakash simply walks away with all the accolades for this one, reaching high notes with ease and providing boundless energy to the number. Shreya’s voice is the perfect low note foil for Prakash. All in all a sure shot winner this one.

REHNUMA (Sonu Nigam, Shreya Ghoshal) : The start reminds you of “hey Goodbye nanba”, from “Aayitha Ezhuthu” but the track takes a different path after that. Guitar notes in between add to the western feel of the number and interestingly Shreya has sung in a totally unheard before dimension of her voice- a la Sunitha Sarathy…western feel in her voice is palpable. She carries it off beautifully with good support from Sonu Nigam. Another high point of the song is the way the Violin blends with the guitar after the Rehnuma chant.

AAJ DIL GUSTAKH (Sukhwinder, Shreya Ghoshal): Shreya rocks once again. Brilliant voice modulation and easy flow of rendition. Sukhwinder is not far behind, though the song must have been a cakewalk for him. The background guitar is easy on the ears and maintains the tempo of the song. The chorus “Ohyasa…Mayaasa…” perfectly blends with the number and gives it the ‘encore’ touch. How is it that when Rahman decides on some inscrutable words for chorus it sounds really catchy while the same when done by others (If you listen to Aadhavan you will see what I mean) fall flat like a PJ?

BHOOLA TUJHE (Rashid Ali): A mellow melody with the dreamy voice of Rashid Ali has become somewhat a constant in Rahman’s albums these days. This number is no different. The only melody in the album and Rashid does justice to it. Soothing to the ears and the mind.

YAAR MILA THAA SAYYA (Udit Narayan, Madhushree): Now this is something we haven’t heard from Rahman since the “Ah Aah” days. The number is full of mischievous masala music with the lead singers bringing a nice flirtatious feel to their voice. Watch out for Udit in the first stanza, he is simply awesome. Madhushree is at ease as she doesn’t have to bother with pronunciation unlike her Tamil renditions. And Rahman once again scores with the chorus chant…”dha ah teena teen teen teena…” which is sure to make you nod your head for it like a duck.

CHIGGY WIGGY (Kylie Minogue, Sonu Nigam): We have heard many Westernized Indian songs, but what about an Indianized Western song?? As the sensuous voice of Kylie Minogue goes “I wanna Chiggy Wiggy with you…Boy!!” you obviously sit back expecting a course of proper English meal. But believe me, all you get is the appetizer. When Sonu Nigam’s Full-throated voice takes over with “Kar Chiggy wiggy mere sang soniyae”, you know that you are in for a treat of Asli Punjabi Khaana!! Even Minogue is made to “Chiggy Wiggy” with some Earthy Bhangra Beats in the background…Jai Ho Rahman!!! The song personifies the freedom and spirit with which Rahman has composed this album.

Verdict: Rahman’s long standing belief that Music has no geographical boundaries is exemplified in this album. The album is Pure, Unrestricted Fun to listen to. Rahman has let himself loose transcending boundaries. The Album may not impress critics; it may even come in for their wrath. But one thing is sure from it, Rahman no longer cares about Critics. He now has only one Critic- Himself.

KANDHASAMY...KADAVULAE KAAPAATTHU!!!

Warning: Vikram Fans please don’t read.

A 9 minute trailer 2 years before the movie’s release date…continuous hype all through the shoot…hi-fi audio release and huge promos…simultaneous releases in multiple languages…and what do we get?? “Kandhasamy…idha paatha un kadha kandhal samy!!!”

After the 3 hour ordeal of watching the “horror” movie the first thought that came to my mind was ‘does Vikram have a mental disorder?’ This notion might be ridiculed by many fans of his but on close introspection it is quite evident that Vikram is a real weakling when it comes to choosing his scripts. Take Saamy for example. The film was a mass masala movie portraying a different vikram. And what did the actor come up with on its heels? A damp squib called “Arul” which was essentially the quickest ever remake of an older movie…it was Saamy all over again without the police get up. Even his “Gemini” was a lackluster affair but for the villain’s antics and the ‘o podu’ effect. Still the film was a grosser and Vikram once again spoiled his name with a closely followed atrocity called “Kaadhal sadugudu”. Anniyan was a thoroughly professional and stupendously glitzy work with Shankar at the helm and a fighting fit Vikram donning the greasepaint for 3 separate but composite roles. “Majaa” was a sordid affair outlining Vikram’s lack in ability for comic portrayal. “Bheema” was another disaster, but Vikram can be excused as it was no fault of his. But “Kandhasamy”?? Vikram must have either been out of his mind while listening to this script or the director(Susi Ganesan) must have hypnotized him. What makes it even more unpardonable on Vikram’s part is the amount of hype he gave to the movie and his role. Being an Ardent and, at times, a mindless Rajini Kanth fan I can still frankly accept that even if Superstar had acted for this script it would have bombed.

The movie can be summed up in a sentence: Take the age old Shankar film formulae, mix the student networking concept of Captain’s “Ramanaa” and add a generous dash of the screenplay of Vijay’s “Villu”…Voila!!! you have Kandhasamy!!!

I feel guilty for having wasted the hard earned money of my parents on this humongous pile of human shit. Having already witnessed Susi Ganesan’s unmanageable torture called “Thiruttu Payalae” I should have learnt a lesson. Sadly I didn’t…and neither did he.

MOVIES AND FRIENDSHIP

Indian movies which reach your heart are few and far between. From my personal experience so far, movies like Anbae Sivam, Taare Zameen par and Iruvar to name a few were real thought provokers. The share of entertainers is always there with our very own super star ruling the roost. What can you say about a film, not in the genre of classy thought provoking flicks, not in the entertainment band wagon as well but still leaves you with Goosebumps and emotion when you leave the theatre? I am talking about a film called Nadodigal, a tamil film that I saw recently. It doesn’t have the beautifully interwoven storyline of Anbae Sivam or the handling of a complex theme with astounding simplicity as was the case with TZP. Nadodigal’s USP is simple…Friendship. Very few films revolving around friendship leave you with such strong emotion. The film does not have the usual tear jerking sequences or flashy dialogues which epitomize friendship. It is simplistic, rustic, brazen and above all thoroughly enjoyable. Staggeringly brilliant acting by each and every character in the film leaves you overlooking the flaws in the screenplay. Crisp editing makes the movie all the more racier and characterization is par excellence. When the song Sambo Siva Sambo starts just before the interval with a gripping sequence of events your heart simply goes out to those friends and to friendship in general. There will be very few songs which have suited the situation in such a hand in glove way as this one. When the same song reappears with different lyrics towards the climax you have no choice but to take your hats off to the director for sheer brilliance.

I will not go to extent of saying that it is one of the best ever tamil movies made or a sure shot award winner and stuff like that. But one thing is sure…it is one of the most memorable movies I have seen. This maybe because I am missing all my friends; not even one of them is at a ‘dropping by’ distance to me. Whenever my heart was tugged by the strong emotion of friendship during the movie, I sat thinking about my friends, all of whom are too far away for comfort. Another thing is also sure… each and every person in this world who values friendship and friends should see the movie…and see it with their friends. I can assure them that it will be one occasion to remember and cherish forever. A joy ride with your friends need not be confined to the excitement in VGP or Queensland. Sitting and Watching Nadodigal with a group of friends will be better. I hope I get to see the movie with my friends…even if it means seeing it years later on a DVD.

Aayiratthil oruvan- Selvaraghavan's Magnum opus- Music out

The much hyped selvaraghavan film Aayiratthil oruvan’s music is out amidst huge expectations on his new partnership with G.V Prakash.

· Indha paadhai (G.V Prakash): Feel good number with interesting guitar interludes... G.V has lent his voice after a long time (remember the “chikku bukku” times???) and carried off the song quite well... very simple melody with minimum innovations.

· Celebration of Life: The Album’s theme music. G.V has used a new musical instrument (it might be “Yaazh”, an ancient sri lankan instrument) throughout the number and it gives a pleasant hearing when coupled with the rustic drum beats in the background... the piece grows on you once you hear it 2 or 3 times.

· Oh Eesa (Karthik, Andrea): A fusion of western classical and South Indian temple music. Karthik has given a peppy rendition with andrea taking over the western section and coming out with a show stealing performance, using her high octaves effectively. The song seems to be heavily inspired by the south Indian song chant “venkataramana govinda” which is very famous in tirupathi but it is a reasonable listen nevertheless.

· Un mela aasa (Dhanush, Mrs Dhanush, Andrea): Reminds you of the “pul paesum” number in “pudhupettai”. The song is right up dhanush’s alley as one does not need to be a trained singer in order to sing his portion; his diction and voice strength are added bonuses. Aishwarya and Andrea provide adequate support without much overdo.

· Maalai Neram ( Andrea): The Big let down of the album…except for Andrea’s exquisite vocals there is nothing above average in this song.

· Pennmaane (Bombay Jayashree, P.B. Srinivas): Jayashree’s haunting voice gives flair to this number. Again a unique instrument used at the start by G.V (something like a horn). To everyones’ surprise and a few peoples’ ecstasy, P.B.Srinivas- the famous yesteryear singer- makes a reappearance in the last part of this song…it’s a pleasure to hear his voice after a long time.

· Thaai Thindra manne (Cholan ecstasy, Classical version) (Nityashree, Vijay yesudas): clearly the pick of the album. Innovations in instruments, fusion, vocals and what not!! If nityashree takes us to the telugu classical world with her mesmerizing rendition, vijay yesudas is not far behind as he croons the tamil version with such emotion and class. Truly one of the best compositions of G.V.

· King Arrives (madras augustin choir): the start is very interesting. trumpets, drums and another ancient instrument blend to give a rouse, but once the guitar piece starts things go awry and the piece becomes very monotonous and predictable

The album has to be appreciated for its innovation and return to pure period classical form of music with appropriate vocal selection and exhilarating research into ancient musical instruments. But all said and done…something is missing in the album…maybe yuvan could have done the 4 modern numbers in the album and G.V could have carried out only the period portion, because that yuvan-selva combo’s flair seems to be a factor sorely missing from the tracks.