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cinema:tamil FRS

FRS: Ponniyin Selvan I (2022)

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

-101: Narration, even if it is by Kamal Haasan. 

Gather around people, as Tamil Nadu’s most visionary director takes the narration route to set things up. For an entire length of film. 

So exciting. Yay!

The comet’s tail tells a deadly tale

At the beginning we are introduced to the Cholas before the glory days. The elder son is fighting in the north, the younger son is fighting in the south and the king is bedridden in Thanjavur and a comet appears bringing with it bad news and assassins. 

By the end of PS 1 the set -up still remains, the elder son is still fighting in the north, the younger son is still in the south and the king is still bedridden. 

Hi to all screenplay writers and arc trackers. Technically nothing happens in this movie, I mean technically. Should have just released part two after Kamal’s voice over.

-34: Repetition 

The two sons and one father situation gets repeated by every other character in the movie to make us care for them, which makes us feel that the Kamal Haasan voiced intro would have been an afterthought and something that they could have very well avoided. 

Vandiyathevan also keeps saying who he is to every character he meets.

+45: As the smoke clears, Vikram walks into the frame- one of the few dreamlike moments in PS, but nobody really told us that he was reprising his role from Ravanan. 

Should we reduce points for this? 

Honestly having Vikram enact middle age angst and longing is one of the better creative decisions in PS- hope he wins a National Award. 

-50: Unnecessary battle which is neither cinematic nor makes us care about our heroes is unnecessary. Battle also acts as an intro spot for two other characters. 

-21: Rashtrakootas are not going to like this film. 

-2PiR: When two people are engaged in conversation, the camera starts to move in a circular manner – as though Mani sir is done with shooting two people talking, giving new meaning to the phrase going in circles. 

This again repeats with other characters as well, by now some critic would have written a 3000 word article about the inner meanings of said circling. 

<overheard but unverified excerpts from PS1 sets> 

“No no, my fans will expect something cinematic, just go around them and don’t keep still Ravi. Go Ravi go!”

<overheard but unverified excerpts from PS1 sets>

-20: Poor judgment on the part of Aditha Karikalan as he hands an important task to Vandiyathevan, who himself says, he does not know the way around Chola country, in a time when Google maps did not exist. 

-51: JeMo, the dialogue writer tries to make a pun joke with the word Madhusudhanan, nobody in the audience caught it, but we did hence the negative. 

+201: Experience Happy Chola country in this song where every village along the way not only knows the songs composed by ARR but also the dance steps. 

Of course, there is a distinct lack of Tamil Nadu-ness in the proceedings, which Mani-philes would praise as not only intentional but also international. Needless to say that there is very little about the people of time and the customs.

Guess only the best among us become Mani-philes. We are just FRS writers, so no such pressure for us. 

204: Every dialogue a question-itis 

Who is that on that boat?

Where are you going? 

Won’t you carry my message? 

How great Tanjore looks? 

Umm that’s actually Jaipur, or Jodhpur or some such pur (loop back to the biggest movie about the biggest Tail empire has very little Tamilness in it)

Adapting a thousand page epic did not give the screen writers even one inspiration to write inspiring dialogue. Someone told us that this was a passion project. Considering this is Madras Talkies, maybe even the passion was subtle.

-61: Vandiyathevan abandons his horse Semba, apdiye after trying to sell us that it was his most prized relationship

That should tell us a lot about character development in Maniyin Selvan. 

< FRS will continue immediately after this short non commercial rant on character development>

FRS writers are no fools, they usually spend their weekends watching Glitz, Woods, and Galatta videos of the movie that they are asked to rate- this however comes at great cost to their normal lives- but it is only in these videos they discovered from a Jeyamohan interview that Ponniyin Selvan could be reduced to Vandiyathevan moving from one place to another. 

While yes technically yes, everything is technically correct but we must be able to feel something about the characters before we go along with them from one place to another. Shouldn’t we?

PS is like most epics filled with journeys , but then you have to love the hobbit and his fellowship for you to even reach Bree. 

But here, a result of superstar casting, none of the characters do come alive. And any impression we made were based on pre-existing notions about the ability of the artists themselves- Karthi is case in point. 

PS needed unknown casting where Vandiyathevan’s resourcefulness, Arulmozhi’s resoluteness and Nandini’s tempting nature comes to foreground. 

Here it’s just Karthi, Jayam Ravi and Aishwarya Rai who fill the screen leaving enough space for characters. 

<FRS continues>

-232: Pandians are not going to like this movie. 

They shouldn’t, their discreet assassins are shown here as tactless who attack in broad daylight. 

Success rate of Pandian assassins should be called into question, if this is how they plan to kill the princes then Pandians must recalibrate their strategy for the next movie- they should probably work with Accenture. 

Until then Pandian Abathudhavis sleeps with the fishes. (pun intended)

-100: To us for making a Pandian meen kodi fish bilingual pun. 

+85: Maniratnam decided to repurpose his own content from Nayakan – Nila Adhu Vanathy chi Vanathu mele feat. Poonkuzhali and just like that we are in Pattaya, chi, we mean Sri Lanka. 

-1917: Again needless war based introduction to another hero , we don’t know who Arunmozhi Varman is and immediately we are asked to partake in his sudden victory.

There was a brilliant intro to Arun (in the books) which is again there in the movie but by the team we know who Arun is and the scene loses its importance. 

Seems as though Mani had to forgo all his creative freedom to push two battle scenes, just for scale and for the intro of his leads. 

Again we spend our weekends watching glitz and woods videos where the director explicitly states that the idea was to keep things grounded and not blow up the scale. 

Realistic was the word, oh we love that word. 

We do appreciate closed chamber drama like the average next PVR popcorn popping person person, but the movie never makes up its mind whether it wants to be an epic or just a pic. 

The supposed big moments don’t hit the high notes and the small quieter moments are hardly your “savor-this-moment-so-that-it-ultimately-lives-on -as-whatsapp-love-status – at arms length from every teen in search of expression“.

Take a break as we reduce more points for the song and dance in this movie. 

72: All songs are unnecessary and are expertly placed at times when you can just close your eyes, take deep breaths and think about existence and stuff. 

Maybe you can also use the break time to think about the average Chola fighter who has not to not only fight for his blood thirsty emo teen now turning 40 Aditha, but also has to learn steps from Brinda master so that he can dance in some Rastrakuta fort to Chola Chola?

Man being a Cholan soldier, tough. 

300: When we imagined about the average Chola soldier, our imagination also leapt from the screen and went into the books and wondered what team Mani did with the 300 songs that Kalki had in the text?

Ah but never mind, you get a glimpse of acclaimed dancer Shobana’s dance drama here pushed as Ratchasa Mamane which no one expected. 

Since we all got things we never expected, the only way to acclaim this movie is to say that Team Mani has successfully subverted audience expectations. 

+101: Something something happens and everybody talks the plot so that we end up in a somewhat thrilling climatic sequence on a burning ship. 

Again, Pandian assassins are not going to like this film. They might not like the sequel too.

And now for our new segment called, readers write-in

Gentlereader2002 asks: Hey FRS writers, why are you so full of vanmam (hate), your vanmam spills from the screen onto my laptop keyboard and every time I need to get myself Colin’s cleaners to clean the system of vanmam.

Don’t you have anything good to say about the movie? Come on now, it grossed over 500 crores le? 

Thank you gentlereader2002, yes it is true that in the FRS writers room hate is not a bad word, it is what connects us. 

Funnily we try and convert this vanmam into posts – it is the only way we can cleanse vanmam from our systems. Maybe FRS is our internal Colin’s cleaners. 

To answer your second question, of course if you look hard enough, you can find goodness even in the most dullest things, like if Kollywood spends time in reading the FRS for a long time they might also have some point worth taking home. And like that we found that within the short time given, it was actually Sarath Kumar who brought a sense of majesty to the proceedings, we also liked Vikram’s portrayal – so like the rest is there for us to make fun.

Vanman can be a force for the good.

DonChera from Puliyoor writes: You write so disparagingly about the Cholas and you are so sentimental about Pandian abathudhavis, so you must be a secret Pandian, am I right? 

Us: We also rued the fact that Ponniyin Selvan’s big moments were not big like RRR or Baahubali, does that make us English speaking spies of the Vijayanagara empire? 

Guess we will know when Maniyin Selvan is back next year.

Team FRS

Subam.

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cinema:tamil FRS

FRS: Anbarivu (2022)

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

We would like to start by wishing all our readers a very Happy New Year, let’s just hope there are less movies with narration this year.

-10: Narration, there goes our new year wish, all the best to us. This is not a complex story, as in, this is just another village vs village story and there are at least 3000 ways to tell this without having to have narration.

Since we are blog that does not just raise questions but also provides solutions: makers can actually name the movies with the same premise so that audience can directly connect

-5: Narration by Vidarth, who is kind of like the principal antagonist, beginning with his narration almost feels right as the movie progresses, but then this narration comes to nothing and his narration is also not followed through.

I wish to start a new business by sending a daily whatsapp/text reminders to directors and writers on set, it would just read the following.

Daily Reminder: People are not dumb.

That seems like a good segue to our next point

-50: Twins

If you thought that the village vs village was a done to death in Tamil cinema then you are in store for another repetitive story jumping off point- separated twins.

It doesn’t bother us that Anbarivu picks up familiar themes, it only bothers us that the director is brazen with the- “yeah yeah, we know you have seen these movies before, but did it have Hip Hop in them?”

Yes Hip Hop is the differentiating factor in the film, but not always differentiating factors are good. And this time he comes in twos.

-300: Napoleon plays a quote-unquote majestic village headman, where people ‘respect’ him for what he is, his weekend hobby is to fight in riots with neighboring village folk.

There is undeniably a caste angle here and an intent to show that caste violence is a sickening thing and slip in a message about equality, but how does the director think that a two hour 45 min film which glorifies such violence for two hours and 20 mins expect us to believe that such a transformation can happen in the last 25 mins?

Hehe, it can, possibly with powerful filmmaking. Run time is not an indicator of impact, but here it seems almost like a casual turn the movie takes towards the end.

Also the Napoleon character is applauded in the end, because he ‘accepts’ that he was wrong etc. Boss he must also be in Jail, so must the Anbu character.

-120: Generic Maduraikarans: funny like one specific thing becomes relatively mainstream it completely loses its specificity, ever since Maduraikaranisms were taken up as major characters in tamil films, they have ever since been reduced to stereotypes who spout words like Sambavam, Rathabhoomi etc

Tiring.

-60: Ragging in Canada university

-23: Hero’s dad becomes president of IDFC or something in Canada and this is celebrated by Canadians on TVs and billboards etc

-101: Hero gets slow motion entry because he is hero and most of the village cheer him because he is hero, do educate us city types, do villages like these exist?

Also village celebrates hero’s birthday with Jallikattu, of course there was going to be Jallikattu in this movie

+45: Murattu Kaalai Ex Machina

If you know, you know

-25: Heroine thinks that all foreigners are in open relationships, hero thinks that all village love is true and pyoor etc, so he must marry a pucca tamil girl etc

+56: Irritation as a plot propulsion device

Somewhere I feel that the director is very perceptive, he understands that the material at hand can bring about much irritation to the audience, so much so that he incorporates this as a theme

Arivu irritates his thatha in the village

Anbu irritates his appa in Canada

So yeah, that’s about it.

-20.9: Delayed Thaai Paasam Gratification + with Amma song

-59: Movie is confused max, it believes that it needs to be a commercial film and hence needs to add commercial elements but also realized that these commercial elements are also regressive, so movie cannot make up it’s mind, so it makes one of the twins a woke reformer (something of the sort)

+30: But I would also like to come clean, that on a Saturday with an impending lockdown, the second half of this movie was quite calming even though the first half (my division not the movie’s) was quite aggravating.

The second half gives chance for all the characters that were introduced to come together and in their own ways complete their respective arc. It’s not the most organic of stories but somehow seemed “well-set”, Anbarivu also benefits from a good supporting cast who can sell this story and make up for whatever is lost by the casting of the leads.

And in this Vidarth really was interesting.

-87: It’s not a village movie unless there is a foreign corporate power trying to take over the lands of the people

Etc

Yeah I know.

Subam

Team FRS

Anbarivu is now streaming on Disney+Hotstar

Categories
cinema:tamil

Aranmanai 3: Into the Aranmanai-verse

Beyond Imagination

In Aranmanai 3, Yogi Babu plays a thief called Abhishek (lel), who thinks he has stolen 10 kg of gold and safeguards it in the titular Aranmanai.

But the audience knows that it is not 10 kg of gold but 10 kg of dosa batter.

How far can this joke be extended successfully?

Sundar C does it for almost 3 hours.

Actually, this is nothing for Sundar C, compared to how he has managed to extend the same-premise franchise for three whole movies and maybe into the future as well.

“Cash grab!” someone shouts.

Yes, but only in ways like how the MCU is a source of recurring revenue. It is a cash grab but certainly better in many ways than the immediately comparable Kanchana franchise.

“Okay, they are really serious about discussing the Aranmanai franchise” someone shouts.

Yes, as is the case, we are ahead of the curve in assessing pop-culture phenomenons, when all other review bodies can only see this as a cash grab. They will continue to see it as a cash grab till maybe the fifth or sixth installment (or till the point of ego-breakdown) and write think pieces about how “Aranmanai” is actually good.

This cycle happened for many franchises, including The Fast and the Furious, whenever review bodies see franchises, they see it is as a devious corporate attempt to extract more money from the same.

Maybe true.

But Aranmanai 3 is actually good. Very good.

And I am not saying this because of my inherent bias towards Raashi Khanna films. #FullDisclosure

Astrologer asks: What’s your Raashi, Khanna?

A good way to gauge interest while watching a movie is to pause it at any moment (thanks to OTT) and see if we are able to guess the rest of the way. Most of the movies would fail in this test, but the investment that I have in the characters alone would see me through.

For Aranmanai 3, I tried to do this multiple times and always Sundar C and team always won.

If Aranmanai can be seen as an extension of Chandramukhi and Aranmanai 2 an entry which was just finding it’s footing in mythological horror; Aranmanai 3 can be seen as Sundar C completely embracing the madness.

Chandramukiying!

Always crazy in thought and totally shocking in execution, you will see stone lions come to life, undying love and half dead bodies, scheming paintings, competing saamiyars, poison spewing paatis, piano playing ghosts, tik tok obsessed aunts, matted lock sadhu brigade and lots and lots more that you will forget to be shocked when singers Shankar Mahadevan and Hariharan appear as themselves leading a lord Murgan themed rock concert somewhere in the unreachable hills in this undefined film.

If the writing team had suggested 100 ideas during the discussion, all of them, repeat, all of them, made it into the film.

It’s great! It’s baroque! It’s nothing like anything!

It’s a movie where two ghosts come together to form a combined fighting unit!

What’s not to like?

Sundar C what you did there

Then there is director Sundar C himself recurs as Ravi, the great controller of all the strands of the plot. Each of these strands as dangerous as the snakes on Medusa’s head and only he can make sense of it all, and even that pressure is lifted off from our shoulders.

The satisfaction.

Also, this is the last appearance of Vivek sir, extending his sadboi comedian persona well into the beyond, he will be missed.

Aranmanai 4, yes over here, I’m interested; but can Sundar C ever top this?

Aranmanai 3 is now streaming on Zee 5.

Categories
cinema:tamil FRS

FRS: Annaatthe (2021)

So, everyone here knows what an FRS is right? Right?

At the outset, Team FRS would like to wish everyone a Happy Deepavali.

May this festival of lights…

Editor: Enough, I’m done with festival greetings

Writer group: we haven’t even started and also can we add the now popular phrase “from us to you or from ours to yours, chief?

Editor: No! (shouts)

Let’s just stick with the FRS, okay? Already our brand is too weak, we haven’t done an FRS in months.

Just begin.

-101: Annaatthe begins with a voice over. Always beware of narration boys! Funnily enough this narration is never followed through again the movie. It is only used as a lead in to take us six months back.

-45: People of Kolkata are eager to know who is Annaatthe, they are also using the hashtag #whoisannaatthe, but we know that Annaatthe beats up gangs who hold black money of the rich and famous, so pretty much an underground operation, why would the media be covering this and why would people on the street want to know who Annaatthe is?

Cut to Soorakottai.

+52: Obviously hero is village president, but he is also arbiter of local fights, deliverer of pearls of wisdom and doer of kurumbu, singer of songs and dancers of the (omkaara) koothu

No need to mention that everyone from 6 to 60 love him, because he is hero.

Do villagers really love this kurumbu doing hero or is this a Kollywood based reality?

Also also innocent and cheerful villagers are innocent and cheerful.

<Idea Moment>

How about a story where the villagers are actually irritated by the doings of the kurumbukaara hero types because their innocence and mischievousness always come in the way of you know, farming and they send him to Kolkata which is actually a place where the kurumbukara hero learns reality of life, work etc.

</Idea Moment >

+31: Rajni’s hair for being the representation of bounce, at times it seems like it is a separate organism with its own thoughts, wants, needs and ideas.

Did someone say idea?

<Idea Moment>

Rajni’s hair develops its own consciousness and starts to pick up radio signals whenever there are wrong doers around him, it’s mostly like a on the body travelling sidekick cum guide which helps him clean up crime.

</Idea Moment>

+155: Rajni himself for being the embodiment of enthusiasm, he does so much in this movie, more than all the rest of the cast, more than all the list of writers credited, more than what he is supposed to be doing.

It’s a pain to watch, but also at the same time painfully admirable that someone has so much spirit in trying to retain an audience.

But can he do it alone?

Umm

400: Paasakara Psychos

If you popped in (your mouth) popcorn every time someone says Paasam (affection?) in this movie, then you will run out of popcorn within the first few minutes, if you want to continue with eating popcorn and counting the word paasam be ready to break your FDs, because Popcorn is costly bhais.

Also, this family is full of Paasakara psychos that it is literally their affection which brings out the main conflict between Kaalaiyan (Rajni) and his sister Thanga Meenatchi (Keerthi Suresh).

Paasam is above everything and controls everything, it’s almost like Kaalaiyan and Thangam are possessed like in a horror film, also people around them are enablers, except the comedian who as usual sees the inanity of this situation?

Would you shower affection so much that they break themselves?

Disturbing to say the least.

Editor: please order more coffee, our writers need it.

Owner: no money, just publish and get done with it.

+19: But the ensuing drama for about five minutes is one of the best, Rajni also has a brilliant Siva conflict moment earlier in the movie where he needs to get his sister married but does not really want to.

As the saying goes, obstacles are good but conflict is always better.

Obstacle is when the hero needs to overcome something to accomplish something, conflict is when hero has to overcome something but doesn’t really feel like doing this.

Siva really does conflicts really well and Viswasam is one of the best mainstream movies which did this well in the last decade and we can keep typing away on the conflicts in Viswasam, but this is not that blogpost, that is a different one.

Here the conflict is small and it hardly registers. Siva has shown he could do it, but not always past experience leads to similar performance in the future.

<Cut back to Kolkata>

Editor: Wait a minute! Did you mention about how Meena ma’am and Khushboo ma’am brought in the nostalgia element and how people were transported to the 90s etc.

Writer group: were we?

Editor: get on with it.

<Cut again to Kolkata>

Kolkata the city where it is always Durga Puja.

-103: To reinstate that we are indeed in Kolata, Keerthy Suresh is asked to run on Howrah bridge and Victoria Memorial.

We mean…

-67: Something something happens and we find ourselves with our first major villain.

-50: something something happens and we find ourselves with the second major villain.

The something something here refers to the designed action sequences which technically should be fun to watch, but since we don’t have any real stakes here and since both the villains are no match for Rajni, there is no swarasyam left with us the audience.

Swarasyam, there’s a good title for the next Siva and Team movie.

Editor: Do put in a word about the villainous roles of Jagapathy Babu, the audience will like it.

Writer group (in unison): we write for ourselves, who cares what the audience like.

Editor: Waiddaminit! Something struck me, you guys were telling about the paasakara psychos right? Where affection itself becomes deadly to those involved?

Writer group (in unison): Yes!

Editor: So it could be like Siva’s reading of the Rajni phenomenon itself, so many people love him and the pressure just gets to him every time he makes the movie, the love they have for him could be a deterrent to what he could do on screen, it almost becomes a controlling force.

Maybe Siva and Team did experience this deadly affection pressure when they were writing the film and thus he put all that into the movie?

How is this interpretation?

What do you all think?

Writer group (in unison): We are not film companion, sir.

Subam

Team FRS

Categories
cinema:tamil

Likeable Wannabeism : Project Agni from Navarasa (2021)

Of all the films in the new Netflix anthology series that I’ve seen (yet to see them all), the only one that does some justice to it’s rasa theme is Karthick Naren’s Project Agni. 

It’s the rasa of wonder and it works for me because it is not an all encompassing wonder theme of something beautiful which is hard to dislike, but a specific wonder that only wannabes experience.

Technically everyone is a wannabe, so the wonder in Project Agni should work for all; but then even those genuinely experience wannabeism are chided for behaving like wannabes and then are forced to lose it to put on the garb of refined taste and culture. Cursed to consume pretentious content for the rest of their lives.

While I have lost my early wannabe animal to growing pains, that animal still lurks and takes more pains when I call out on other peoples wannabeism- like we did when we did the FRS of Mafia, Karthik Naren’s previous film. 

That’s how people drop their wannabe avatars, their curious instincts lost to ex-wannabes constantly telling them so, it is in a way a loss of innocence. 

I am not asking you to embrace wannabeism here, I am well aware of its pitfalls- like not growing an own voice and constantly in awe of any swaying ‘in-thing’. I’m just trying to say that there are levels of wannabeism which are tolerable, when it does not go along for long, when it is really not on the nose- it is likeable wannabeism. 

Likeable Wannabeism is a group of friends (not more than four) sitting in a restaurant talking about the opening scene from Reservoir Dogs (I mean), but of course not for hours but just the right length until one ex-wannabe can groan (predictably) on how Tarantino is overrated (yawn) and then switch on to Scorsese or Antonioni or some such etc. 

Likeable Wannabeism is the goldilocks of Wannabeism and in the realm of cinema, in recent times, it is usually spent in the discussions of films of Kubrick, Nolan, Tarantino. It’s talking about references to and inspirations from, it is looking at important concepts of life, universe and everything through the lens of movies. Obviously it cannot go on for long, because probably your peer group has only seen Inception and the more you go on talking about it, the more they are going to order the main course. 

All I’m saying is, just allow the wannabe their time, don’t call them out on it (always, only when on the nose) and with age and when life happens to them, they too will read the Russian classics, watch Kurosawa movies and listen to Mozart or Beethoven, the generally accepted boring trifecta of books, movies and music or in other words culture. 

But when it is short and snappy, there is nothing like Likeable Wannabeism, it could actually get you noticed, it might actually make the Wannabe an interesting person and not a self suffering movie nerd.

For example, in Project Agni, when Karthick Naren’s short-movie is how we shouldn’t totally chase our obsessions because going too far could lead to tragic consequences and then he name drops a thread from Room 237, the Shining documentary where people almost spend their entire life studying the Kubrick’s movie for meanings to their life and losing it completely: some hair stood on end. 

The connection. The goosebumps. The wonder. 

The wonder that Project Agni goes for is not the general perception of what beauty is or what wonder is, but just speaking to a small subset of movie nerds (not cineastes- urgh what a term) who watch movies not as entertainment or as dinner conversation fodder (although they do end up talking all about movies at dinner- I meant in a non transactional way) or as means to acquire high culture cred but simply as a channel to understand things. Movies as a means to higher purpose. 

It’s why they (movie nerds) go into the details, the set designs, screenplay structures and director interviews- they really want to know what all this is about. Please don’t confuse this with the thala-thalapathy first look poster trailer decoding that things are reduced to on youtube today, what I’m talking about is something in the lines of NerdWriter or Patrick Willems (whose long videos ofc becomes unlikeable Wannabeisms- exactly the point). 

An obsession becomes wonder- when something is figured out and that is the wonder I feel Karthick Naren is going for and he even does some flexes by making the right references and combining genres all within 30 mins while others in Navrasa are not even able to maintain one single mood for ten mins. 

Yes the acting really does help, Arvind Swamy was born to give to exposition dumps and most of the movie is just Arvind Swamy and Prasanna sitting down and talking about the stuff they are obsessed about (another movie nerd attribute of being meta comes to the fore, it’s something we like). And Prasanna is so good that you wonder how good he will be with twice the screen time. 

Also admirable that Karthik Naren chose to go with almost all english dialogue, which the story does demand- try translating ‘subconscious world’ in Tamil and inserting it 25 times in the script, then you’ll know. For some subjects english really works and kudos for Karthik Naren for being himself, it’s a brave thing to be oneself, especially in Kollywood. 

PS

Blue Sattai Maran refused to review the film because it was mostly an English film, maybe this is the solution that the industry has been waiting for to get Maran to stop talking about things he doesn’t understand- just make movies in english, he won’t review. But we would rob the world of much humor.

I know Project Agni won’t appeal to a lot of people, but that is the point of it. We have already killed culture by making it so that it will appeal to all folks. Let this one be.  

So instead of commissioning the usual FRS for Guitar Kambi Mele Nindru, I thought I’ll just write about the stuff I liked.