Categories
cinema:tamil

FRS: Eeswaran (2021)

So you all know what an FRS is right? Right? 

FRS: Eeswaran

+120: For the director for keeping the movie to a runtime of just 2 hours and that’s perfect, without the songs this would be the ideal Tamil movie length standard.

Let us explain, deep down there is a hole in the OTT watcher’s heart to watch these template big hero films, call it the comfort of the familiar or just Stockholm syndrome or Madras day celebrations, but while watching it rationality kicks in (irrespective of which stock we are from) and us FRS writers especially worry about the time that we spend on these things. 

2 hours is perfect. Let’s save this and give it to the next generation as heirloom. 

<Auto Pinnadi Ottalam Stuffs- segment sponsored Vivek & Co>

Any Big hero movie above 120 mins, must be miniseries. 

</Auto Pinnadi Ottalam Stuffs> 

-45: Narration, director begins by introducing the entire Periyasamy (Bharatiraja) clan,again and again we have told bhai, why make movies when you can make audiobook types. 

This syndrome comes from “basically all humans are storytellers” type romantix. Please. 

+11: inspired casting of Manoj Bharatiraja as the young version of the legendary directory

+22: Infact Manoj and senior B are few of the good things in Eeswaran.

-13: Hero has the tendency to slap someone inadvertently.

Hey watch your hand buddy

-70.9: No amount of justification will make you believe why a hero is so hyped in his village, in fact when you get to know the reason you question the hype even more. 

But we do agree, this is a slight improvement in writing from the other films in which hero is hyped in his village/town/city/nation/gated community just because he is hero. 

+101: Josier Ex Machina 

Raymond Chandler used to have a tip for writers which went like, “if you don’t know what to do next, have someone with a gun come in.” 

Suseendran replaces the man with the gun to the astrologer with the cowrie shells, who sets things in motion 

All this provides a good setup, but when the director does it again, it felt like this was the only idea in the film. 

-45: Movie uses Covid as a setup to get the main characters together but the pressing reality and need for social distancing and masks are reduced to comedy, it almost as though feels that the characters are not serious about the pandemic.

Josier has more influence than the doctors, that should tell us something about society bhais.  

Example: heroine believes that hero will not get covid because he is hero and in effect their kids wont too. 

Example 2: Family closely interacts with covid positive patients but miraculously, all of them, test negative

Yes, the movie was made after the first wave, and it is still a movie, but thought we should point it out. 

-101: Pandemic movie has no characters wearing masks

-67: Romance as character detail: Heroine has nothing to do in her character sketch, hence she falls in love with the hero.

+98: Movie is a callback of all movies which are callbacks of the times when all family members lived together, the times when cousins played yard games and the men drank their way to happiness and women toiled in kitchens to put up feasts. Those times, yes. 

-40.6: Eeswaran seems to have some kind of nervous issue, is it Tourette’s syndrome? He shakes his head and fingers with vigor before he says anything important like a punch dialogue, but mostly the negative points are for taking such medical conditions seriously. 

But we cannot help but ignore such things in a film which was shot during the pandemic and has a comedy sequence literally on the symptoms of covid 19

+33: It’s not an STR movie unless someone makes a reference to his coming late in films. 

+22: Hero and his friends think that speaking fast is comedy.

-92: Snakes are not going to like this film. 

-43: Nolan brothers are not going to like this film, we mean… they spend years to come up with ultra complicated plots and other visual elements to get us to the theatre, here’s Susi just saying a simple revenge is plot enough to make a film. 

Send a man to jail and he will come back to kill your family, all the rest is just STRisms and a Dsir bait scene in the trailer. 

Eeswaran help us all! 

Subam. 

Team FRS

Categories
cinema cinema:tamil

Sulthan (2021)

As the swivel chair spins #16

So someone in Kodambakkam finally took director Myskkin’s advice to heart and sought inspiration from Akira Kurosawa’s Seven Samurai. 

Just think of Sulthan as Seven Samurai written by Baahubali writer Vijayendra Prasad, which would mean that it would increase in scale (seven samurais become eighty loveable thugs) and that the focal point of the film will always rest on the hero (in spite of the eighty loveable thugs) . 

The set-up is also a fertile ground for Kollywood  to preach to the world about agriculture (pardon our pun). 

It’s the kind of movie you know will begin with the mythical birth of the hero (here in between a fight between two rival gangs) and how his arrival is supposed to change everything. 

It’s the kind of movie that makes you see the frame over which it operates, in a way it feels like the movie itself is smirking at you, this is what you asked right? 

Kollywood continues to, in my opinion, errantly glorify thugs, rowdies and gangsters and presents them as an alternate justice system, while I am not making a social comment on the presence or absence of such a system, I merely want to point out that this is a residual Godfather effect. Like since Hero belongs to a certain gang, it is seen as an affable gang of alternative justice seekers but not as violent killers, this by itself is not wrong; but the enemy (who shares the same characteristics) is the enemy just because the hero is not born into them. 

To give credit where it is due, Sulthan does go into the effects of living a violent lawless life and actually presents a way of life (agriculture) for the waywards. 

 The initial humor and general likeability of the Hero’s gang is established by the fact that they bring him up (teach him fighting and take him to school type of thing) but yet he grows up to become a Robotics engineer but his foster dads (?) continue to be knife wielding thugs for his real father. The montage of him growing up with the gang is interspersed with the gang doing unspeakable things including murder, but all this played with a joyful BGM, so that we recognize that these are the good guys. 

Or relatively, good guys. 

Loyalty too, as is often the case, an underlying pressure point, the fact that the 80+ rowdies listen and play-act in the presence of Sulthan because they pledged their allegiance to his father is even more backward than the dismal affairs of the village that this group wants to set right. The person who wants to break away from this loyalty prison is portrayed as a secondary villain. 

There are things that Sulthan does well, it too takes the video game format (done so well in KGF) and makes into the movie, each villain is a level, unfortunately there are only two levels in Sulthan. There is also an insistence that efforts take time to achieve (like agriculture) rather than resorting to the often followed immediate success template. 

But after a point it does not matter, if you do not really connect with ‘the gang’ or see through the frame, as I did. Movie creates and defeats the purpose of pitting one person against the other when I don’t know who to really root for. 

The director expects me to root for ‘this gang’ because Hero is part of it, but then I have seen a lot of movies and like how Velan says in Singaravelan, I have seen a lot of the same type of movies. 

Sulthan is now streaming on Disney+Hotstar

Categories
cinema cinema:tamil

On Vivek

(1961-2021)

1999’s Unnaruge Naan Irundhal was a marker of how Kollywood comedy would be shaped, at least for the next few years. Headlined by Parthiban, who was largehearted enough to take up roles which provided room for most supporting actors of the comedic variety as yes he could vibe well with them, being a humorist himself. Unnaruge Naan Irundhal had Vadivelu, as the village drunk who Parthiban’s character encounters, the scenes between them are indicative of their partnership which would reach peak in next year’s Vetri Kodi Kattu. 

Vivek joins the party much later, as is typical how this movie could have been made- a collection of random humorous sketches and a thin story to string it all together. As a frustrated actor-director who comes to the village to make a Rambha film (yes this is the Meena-Rambha movie ) , Vivek steals a movie really did require stealing, it was after a long time when the industry made fun of itself- he covers night schedules, late coming actors, sentiment scenes and Telugu style dance steps (Paniyaram Paniyaram Paniyaram anyone?). The short time he is on screen would earn him his first Tamil Nadu State Film Award for Best Comedian. 

Let’s come back to the indicative part, while Vadivelu was excelling in the comedy situations that left him feeling like fool or left him beaten black and blue; Vivek would take up an issue and deconstruct it, even within the framework of the sketch comedy that the films that was being offered to him, allowed. Unnaruge Naan Irundhal is like a fork in the road where Vadivelu and Vivek parted. 

In the new millennium, Vivek found an immediate place as the funny friend of then up and coming youth heroes, Vijay, Ajith, Vikram and Madhavan- but the frustration in his comedy remained (recollect the Shaeey! Kadhalukku silai vekkuranga, nee elai vekkure from Minnale ) and he elevated himself to the position where he could make fun of the heroes themselves (later Vivek gave up this position to Santhanam) but never would he miss out to include issues ( as in daily travails that the youth faced- ahem of the time) like mobile phone bill, petrol prices and even boring art films (Kadhal Jothi in Eyy Nee Romba Azhaga Irukke!). He strived to not reduce himself to a meme. 

A combination of factors including the multifold ‘image’ growth of the above mentioned heroes and the game changing Winner- well, we all know what happened after that. 

It is this short period between 2000 and 2003 that Vivek shone, he would talk about enrollment in caste societies (Dum Dum Dum), brahminism ( Saami) , ills of city life (Run), advertising ( Eyy Nee Romba Azhaga Irukke- Ullam Ketkume Beer) but it never seemed like he was making a statement for the sake of it, only all round good natured humor. 

Vivek couldn’t go full on into body language adi-dhadi comedy ( he tried that too for a while when we clearly see that Vivek was Vadivelu stand-in such films) , he couldn’t go into insult comedy of his predecessors, but he found his niche in the mix of pop-culture (Mission Impossible, Indecent Proposal all found a place)- harmless imitations (mostly Kamal, Sivaji, Kalaignar and Vairamuthu), social awareness and daily irritations. Sadly this golden period, like all golden periods, only lasted for a time. 

He would do them at a bigger scale (naturally) in later Shankar films which still had the smell of early 2000s in them. 

Like all good artistes,Vivek  reinvented himself by occasionally playing against type and because comedy is the most difficult of arts, he could do everything else, the most recent of which is Vellai Pookal, a well made thriller set in Seattle- an example of how he could carry a film with relatively unknown actors.

Of course, there are many Viveks (within the screen and outside) that are worth of public adulation, it could be his mission to plant one crore saplings or his quest to further the memory of APJ Abdul Kalam in the state or in general the goodness of his twitter account. 

Many will write about those facets and rightly should, but these are where my memories begin. 

No end card for you Vivek sir , this could be just another ‘Take Diversion’ and thank you for the humor.

Categories
TV

The Irregulars : An unkindness in London

Not your regular types

Stephen Fry in his introduction to the Hound of the Baskervilles (audible) observed that Conan Doyle did well to separate his preoccupations in the supernatural and the perceptive nature of his super-sleuth Sherlock Holmes. 

For Holmes, it was always logic and reason.

Eliminate all which is impossible, then what remains, however improbable, must be the truth. 

The new show, ‘The Irregulars’ aims to mix the supernatural with the super sleuth of whom we don’t see much of in the first episode. 

Just the legs, maybe the next episode might give away the hand, then a smile and then finally the eyes, much like a hero introduction from a Kodambakkam film.

But this series is not about Holmes, it’s about the struggling kids in his neighbourhood. The Irregulars be four : Bea, Jess, Billy and Spike living in a cellar, awaiting the winter and unable to pay rent. 

Bea, cool and confident, our lead is almost like a mother to the other three, but has just now turned 17. It’s the workhouses, they prepare you for anything, even being chased by an ‘unkindness’ of ravens. 

Then, there is Leo, he of royal blood (ahem) but whose blood or the non-clotting of it is why wishes to escape the stuffiness of his palace (?) and into the streets to breathe in the city air (pollution levels unknown). 

Naturally, he takes a liking to Bea, well, of course at the first instant. 

The first episode of the Netflix’s Irregulars, seems to have been written with a gun to the head of the writer, who in the lack of time uses elements from other films (Antman, Hitchcock’s The Birds) to move the story ahead. 

It isn’t much of a mystery, which is quite sad for a Sherlock based show, but there is room to explain the supernatural part. Speaking of that part, it’s when the series goes all Stephen King, a girl has the ‘gift’ and a guy who can summon ‘all the birds’ in England by thought. But I do fear that the show will take a teen love turn, it’s inevitable.

Hmm, so then it brings me back to the first Stephen Fry quote, maybe there was a reason why Conan Doyle didn’t mix the mystical with the mystery.

The Irregulars is now streaming on Netflix and it could very well be the name of our blog considering our posting schedule. 

Categories
cinema cinema:english

Can you ever forgive me? (2018)

As the swivel chair spins #15  

In a dusty, not often visited corner of Disney+ Hotstar, far away from Marvel and Star Wars is the 2018 film about a down on luck and life writer forging her way through the New York literary elite, only to pay her rent and feed her cat. 

Shitting on Tom Clancy

Lee Israel, 51 year old former New York Times best selling author walks with trepidation into a party, only to be schooled by Tom Clancy holding court and talking about writer’s block. 

“It’s something invented by writers to cover up their laziness”, he says, something to that effect. 

This hits Lee hard, she has not been able to come up with anything of worth in the recent past. But hey, she is going through one of the worst times in her life- fired from her job (for drinking), broke up on a long term relationship, her agent is not interested in what she submits and even cat doesn’t respond to her. 

How would the words come?

And here is this multi million dollar writer with a winning smirk talking about ‘writer’s block’ being an imaginary thing. 

Umm, it hit me hard too, this was a saturday evening, here I was settling down to watch a movie after surprisingly finding it on hotstar, after a guest casually mentioned it on a podcast and so on. 

The premise drew me in. It was about a struggling writer. ‘I’m sure I could learn something about the writing life’, I told myself and that’s when Tom Clancy (or a fictionalized version of him) delivered a good warm slap on my face about his theory about writer’s block. 

I should have been writing. So should have been Lee Israel. 

But it’s not my movie. Later on when Lee gets to know that this red scare flaming, right wing jingo bullshit writer (psst she meant Tom Clancy) is getting paid millions while she cannot even afford treatment for her cat, she flips out. 

Naturally. 

But the lesson was lost. 

The words will come, only if you sit. 

Finding a voice

“Can you ever forgive me?” is not about this moment, it is not even about the debate between what’s popular and what’s literary. 

It’s a sweet film about Lee Israel who along with her friend indulges in some literary deception by faking the words of Lillian Hellman, Noel Coward and most importantly Dorothy Parker to basically get by.  

Over the course of the movie, I came to realize that Lee Israel forged over 400 ‘literary’ letters to a select clientele and some of these even made it to the official biographies of the said authors. Such was her ability to replicate authentic voices. 

While there is little to doubt about Lee Israel’s ability or writing talent, it is lost behind either the voice of others. If Wikipedia is to be believed her bibliography consists of four compact line items, three of which are biographies and the fourth is ‘Can you ever forgive me’, arguably her most famous work. 

Clancy on the other hand wrote a novel a year till his death and has his own mini media universe (Rainbow Six, Splinter Cell & ofc Jack Ryan), so maybe Tom knew what he was talking about when he did say those lines while at the party. 

But then again, the movie is not about quality vs quantity creative debate, I make it to be so and I keep saying this because that is what I derived from the film. Apart from the fact that Mellisa McCarthy and Richard E Grant are absolutely marvellous and it sort of feels like a sin that they didn’t win more awards for the film, two barflies circling around each other when it seems that most of the world has given up on them.

Other people’s projected lives are not to be stood on podiums and to be judged upon, but a movie about lost potential is always the harbinger of doom in the lives of the viewer. 

Viewers are not doers and those who are not doers, and not doers are doomed to be left in the state of lost potential. 

This is not an indictment of what Lee Israel did, a brave soul who faced prosecution and even braver one when she overcame her fears and finding her own voice (and the one she is memorialized in celluloid for) by penning this memoir, this is just another wake up call to face the uncomfortable unknowns of our lives.

‘Can you ever forgive me?’ is streaming on Disney+Hotstar 

Image credit: The New York Times