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cinema cinema:tamil FRS

FRS: Bhoomi (2021)

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

Even before the Big Bang, there was agriculture

+25: For #JR25. Nandri Vanakkam. 

+12: a long time ago in a galaxy far far away types opening for this movie which opens in one corner of the universe and zooms in on planet earth, because the movie title is Bhoomi (earth), of course while the credits play.

+101: from the very first we know that Jeyam Ravi has actually done two world (bhoomi)changing things

  1. Help humans live using carbon dioxide instead of oxygen by inventing one mathirai (tablet) 
  2. Recreate Mars’ climate on earth and use it to grow plants.
Space X Samudayam

-11: That the movie will not choose to focus on the exciting stories behind these breakthroughs, tells a lot about the movie. 

+33: Director Lakshman’s screen credit comes immediately after Jeyam Ravi says, ‘give me one seed and I shall create a new world’ (whistle moments for fans of the director) 

-21: Movie missed the opportunity to name itself ‘Seed-an’ because most of it is about Bhoomi’s search for potent seeds only. Yes, the hero’s name is also Bhoomi, movie name is also Bhoomi, planet name is also Bhoomi. 

FRS Trivia Thagaval sponsored by Wikipedia 

Keen watchers will remember that Vijay’s name in Kaavalan is also Bhoomi 

+12: When American media asks, the hero will say that his hero is not a scientist or an inventor but a humble farmer from his hometown. 

Annadata -1, America- 0

+1776: NASA salaries are so good that Bhoomi can buy villa which is miga miga arugil to the Statue Of Liberty (ofc)

+101: NASA employee policies are so good that suddenly Bhoomi gets one month leave, just before a potentially universe changing mission.

-40: Said humble farmer is played by Thambi Ramiah, his screen duration can be immediately guessed based on the paavam face that he is having and the number of paavam family members in his house. 

Oops spoilers. 

-35: Heroine is a bayandha subhavam types, although this initially used as comedy material, this character trait is lost as the movie progresses. Boss why you introduce characteristics and then forget it mid-way.

-323: As usual, as is typical of Kolly thinker movies, officials, police, IAS officers and politicians are all bad people and have no redeeming qualities. So, obviously, all 4 make up the nasama villain set vs our NASA hero. 

+90: Hero displays scientific temper, wow Kolly thinkers! 

-90: Hero displays scientific temper in all the wrong things, like taking the strand of hair from the heroine and analysing it to find what emotions she was going through 

-41.2: Over the course of the movie, the hero loses the scientific part and only has the temper. 

-17.8: Movie runs around a bit before becoming the usual corporate is bad and zero sum game template, usual diet of Kolly thinkers. 

+14: Seems director is also subscribing to all the conspiracy video channels that some of the FRS writers are too, movie suddenly makes a turn to reveal the main villain as Richard Child (possible play on the Rothschild family) and 13 others who control everything in the world

Child is the father of the (bad) man group

+69: Bhoomi is also a worthy addition to the drone camera pandemic that is plaguing the Kolly industry, most of movie is in bird’s eye view 

For five minutes, movie also is shot like “Life of Ram” from 96 when Bhoomi and his schoolmate go in search of potent seeds from the tribes who live in the forest. Of course, they are still doing untouched agriculture.

-75: Rest of the movie is just Bhoomi vs Richard Child speaking to one another in slow voices over the mobile phone which in Kollywood is dubbed casually as “cat and mouse game”, only this game is not interesting only. 

+36: Something something happens and Bhoomi decides that he will be starting his own ‘farming corporate’ and now movie is about homemade cola companies vs foreign cola companies

-36: but earlier it was against corporate itself, but now suddenly they are okay with Indian companies that exploit agri lands, such water and pollute environment

Decide Bhoomi, who are you fighting??? 

-100: Bhoomi and his new brand, imaginatively titled “Tamizhan” will accept capital from Indian corporate houses, but will not strike a deal with them to use their distribution networks, but why? 

Men of culture, agriculture

Also why would you launch your brand across the country on the same day so that villain can easily cut-off/buy-off all your produce?

Other notable Kolly viruses ( segment sponsored by Chitra & Co ) 

Short term virus- it originated in the “one song la millionaire” trope, now it is extended to represent one montage le systemic change. 

Bhoomi is an immediate montage success and now all farmers want to be like him, so he even goes on a talk show to convince his fellow farmers, who are immediately….wait for it…convinced. 

Same virus reappears when Bhoomi wants to launch all products of the Tamizhan brand across the state on the same day (pongal) ! But why ? Can start in a region and then scale right? Looking at how customers react to your product etc? 

Maybe the director thinks that selling products and releasing movies are the same thing, we don’t know, just guessing. 

Like…never mind.

That brings us to the next virus, which is the identity virus, every battle is ultimately a battle to bring down the Tamil Identity. 

In Bhoomi, this is planned by Richard Child on a global scale and to much of Bhoomi’s advantage it is this virus that ultimately helps his cause. 

People will buy products just to save their Identity, quality of product and all no one will check? If it is from the Tamizhan brand then people will buy, it seems.

What if corporate guy is actually giving a good product at a low price? Are you guys gonna shun them just because he doesn’t share your identity? 

So many questions, but no answer from Kolly Thinkers. 

So many viruses in Kollywood, let’s chronicle some more in the FRSs to come. Chitra & Co is in no way responsible for the content, that they run a pharma business should not be of anyone’s concern etc disclaimer. 

-43: If you have read till here, you will probably be tired, just like how we felt after hearing the “Tamizhan Endru…” BGM for every act (in slow motion) that the hero does in the movie

-27: All songs whenever, wherever.

As we sat to compile more points, the FRS writers realized that the movie sneaked in a brand promotion for one of the veshti brands that the hero endorses. But since that is Indian corporate, it’s all allowed. 

Yeah so. 

All data and statistics are incidental and non-serious except the ones provided by our data analytics team in Pune

Subam.

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cinema:tamil

Naval Oru Thodarkathai

What Bama Vijayam Can Teach Us About Resisting Modernity 

When someone asked Naval Ravikant what the biggest collective challenge for people over the next ten years, he replied with “resisting modernity”. 

Naval has regularly pointed out the ills of modernity which makes us live our lives a million times in our head before we live once in real, slowly eating away our lives, making us live as celebrities, perennially depressed. 

Turns out, like most truths, Naval’s words could be found in other sources too. Naval Oru Thodarkathai is hopefully a continuous exploration of such thoughts. 

I would like to clarify, modernity is not defined only in the view of adopting technology. Modernity also encomapsses growth, urbanness and competitive rat-race and celebrity culture.

Naval has regularly pointed out the ills of modernity which makes us live our lives a million times in our head before we live once in real, slowly eating away our lives, making us live as celebrities, perennially depressed. 

Resisting modernity cannot be achieved by reverting to an earlier state. It is human tendency to assume that opposites will solve problems, as though if we go back to an earlier time, adopt then prevalent methods, our current problems will move away, oh how life was simple and how happy we all were? (rhetoric)

Question: If modernity is our biggest challenge going forward, what is it the challenge to?

Answer: Happiness. 

Right, you do not agree with my definition of modernity? 

I agree, haven’t been quite clear, let me try again. 

Cut to 1967. 

In the black and white images of K Balachander’s Bama Vijayam, I rediscovered what Naval was trying to say (or my understanding of it). 

Bama Vijayam is a story of an entire family trying to resist modernity. Naval should watch it. 

And Bama, the actress, is the personification of modernity and celebrity culture(the 1960s equivalent of it), her arrival (Vijayam- good use of the word) brings with it a lot of changes to this simple family unit headed by Ethiraj(TS Balaiah).

This simple family unit, which has three caring daughter-in-laws who are content with their modest lives, with their modest working husbands and overall believable ‘cinematic simplicity’. 

They wash together, they cook together, they play together, they work together and they laugh together. Oh what fun. 

Kannadasan also sneaks in “oh what good does a pearl do to a happy woman?” 

It’s a great way to begin a movie about a family going downhill, show them at their idealistic best, show them in a way that their goodness shines through. 

“For what use are these riches being earned?” asks one of the trio, the other replies “some for our children, the rest for the whole wide world.”

So good they are! Even in their striving lower middle class setting,they have the exact goodness that some want to return to now in 2020. The comfort of the joint family, a benign patriarch, dutiful husbands, the good memories that children bring and the principles of living within one’s means. 

Cut to now.

So good right? Why did we lose all this?

Cut to 1967

But wait, they lose it too. 

When Bama comes in, first the family unit which now consisted of three couples slowly starts to break, suddenly being a neighbour to a cinema star brings on them-the need to progress socially, they borrow, they lie, they steal, they even betray. 

Since this is a comedy, all this is played for laughs.

What we are witnessing is the scene by scene destruction of a simple happy family unit that we so yearn to return to, while facing daily life in the present. 

In effect, the problem of resisting modernity is perennial, that is my extension to Naval’s quote and it does not depend on setting or status. 

When modernity tempts, few can resist, even the most simple and happy minded. 

Hey, we never said it was going to be easy, but there is way.

Resisting modernity might be our biggest problem, because it takes away our happiness, reducing us to playing never ending status games in our local celebrity cultures(which is what Bama Vijayam is also about). How prescient! 

But this modernity fellow is like devil and will surely crop up in other disguises like virtues and resisting it is not a complete solution but only an act of delaying. 

Focussed work is really the complete solution, and those who have seen Bama Vijayam will know. Work brings freedom from comparison, contentment and time and a calm mind to chose happiness over despair. 

A return to ideal state is possible in the movies as it is guided by the mind of the screenwriter.Not so easily attained in real life where the devil is more relentless and our real minds are much more fragile to temptations. 

In reality, there is no turning back, there is only moving ahead. 

Nandri. Vanakkam.

Stay tuned for more such nonsense explorations of twitter truths and pedestrian philosophy through the lens of non threatening and non current entertainment. 

Until then, listen to this amazing song in which Kannadasan-MSV are just hitting it out of the park. 

Kavignar Kannadasan would have made an interesting and insightful twitter account, hmpf, if only.

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cinema:tamil

Putham Pudhu Kaalai

As The Swivel Chair Spins #13

Anthologies are almost average at 3 out of 5. 

This three is not comparable to the three given to a novel. For the longer form of literature it could mean a “could have been better for all the effort”.

For a short story anthology , the three is a sign of the mixed bag, you never know what you are going to get, and you never know what you are going to like and when you are going to like. 

As days pass perhaps, a singular revisit might have me appreciating what was left behind and quietly accepting that segment for which I  once was over enthusiastic about, was just because of the age and frame of mind I read it in. 

Putham Pudhu Kaalai is also a three on five. 

But it safeguards itself in the sweetest way, so that there is nothing I could overtly dislike, but there was nothing which I was fond of too. Maybe it’s my age. 

Maybe it is about the fact that these stories are really not about anything, they are only placed together because they all revolve around the lockdown. 

I believe (and the Big Book of Jack The Ripper Stories sitting quietly in my Kindle would agree) that anthologies are not meant to be read at one go,they are after all mood pieces, so that’s there. 

A niggling three where you can never quite say what you didn’t like, but also cannot remember what the previous story was about. 

Which is exactly what happened when I was watching director Gautham Menon’s Avarum Naanum, Avalum Naanum (ANAN), the second segment, I forgot about Ilamai Idho Idho. 

Slightly zoned out I was, I guess, also maybe because there was a voice over in the first movie about ‘Kadhal” by R Madhavan, always a non starter. 

Also this is the one with Amazon Prime product placement with Alaipayuthey? Almost thought this was the GVM short, but it was not the Mani fanboi but in fact a Madras Talkies alumnus, Sudha Kongara about how love has no age and all that (insert yawn here) and love makes everyone look younger and all that (can we have another yawn here or is it too short?).

But when the scientist grandpa appeared in ANAN, I was awake, just earlier had slightly thought about sleeping again because the heroine character was doing classical GVM  by way of telling the story through voice over. 

No doubt, M S Bhaksar, is a spectacular artiste (notice how he says spectacular in the movie, haha got you there) and the short almost entirely rests on one of his monologues, but that’s about it, I didn’t get to know about the scientist more. 

While GVM only gave the skeletal frame to chew on, Suhasini Maniratnam’s next is the one with most characters and surprisingly we get to know a lot about them and even more surprisingly it was the one that spoke to me the most, I have my reasons. 

Coffee Anyone? 

I theorize this is the ladies of the Haasan family telling the stories of the brothers, it almost seems like it, I don’t know if Suhasini has spoken about this in any of the promotionals for the movie, but think about it, this short has three sisters Hasini, Anu and Shruti (as opposed to Charu, Chandra and Kamal) trying to grapple with the illness of their mother. The youngest daughter was born when the mother was almost 50, they say, another well documented Kamal family story and how he looked up to his brothers as parents. It’s a similar situation here along with the inversion, okay let’s just say I bought it because of the Kamal reason and some nonsense theory I was making in my head. 

I said reasons, so there is one more, because this is the one that feels almost like a horror film (and not another ‘kadhal’ short) and again with an inversion, which I would not like to spoil. 

There are things in Coffee Anyone which again doesn’t allow itself to punch its weight, like for example the dialogue till we will settle down with the characters and since it’s a short, well you know, it’s over. 

Reunion by Rajiv Menon has much in common with the two preceding shorts about the power of music to change lives (insert classical yawn) but it is also ‘of the moment’ because it deals with the problem of how difficult it is for celebrities to get drugs during the lockdown. 

I mean… 

Of course Oooo Lalala , music is the saviour. 

Even in the next one titled Miracle by Karthik Subbaraj, music (this time by Ilayaraaja) acts as a connector, it’s the most amusing one but falls into the category of ‘slice of life-fate’, you know the ones when you see it, A goes to B via C types. 

Types, I love using the types. I apparently also love typing, the document now indicates that I have written 800 words about Putham Pudhu Kaalai, I hope it means something to someone. 

<Read in Rajeev Masand voice> So I am going with 3 stars out of five for Putham Pudhu Kaalai, because…. Hmm… four of them looked like ad shoots for Bru (filter coffee? Idhu Bru Ma types) and one even had coffee in the title. 

Putham Pudhu Kaalai is now streaming on Amazon Prime.

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cinema:tamil

Kamalum Hashtagum

A sudden rush of excitement and then normalcy returned.

Today takes me back to some evening in 2006, when a two part poster joined together in the center with a cool cop like Kamal Haasan asking the onlooker (including me) “Chinnapasangala Yaar Kitta?” was stuck outside our wall. 

It was a line from his recently released film “Vettaiyaadu Vilayaadu”, it was also probably a poke at then other younger stars he was (is?) competing with. 

My mind rushed back to that very moment on seeing the hashtag on the latest announcement from Alwarpet; it said #KamalHaasan232. 

Loool I said to myself. 

The simple audacity of it, when even now Ajith and Vijay fans are creating a mindless riot over twitter expecting updates for their stars’ 60th something films. It is doubtful with their current productivity that they would reach two hundred films in total. Here was KH at 232.

Loooool I said again, he is still saying “Chinnapasangala Yaar Kitta?” 

A sudden rush of excitement, I shared the poster online and then normalcy returned. 

Meanwhile…

Media has successfully juvenilized Kamal too or current environment necessitates such hashtags. 

It was happening for sometime now, the definition of being a Kamal fan had changed this decade too, possibly it will change in the next. 

Being a Kamal fan meant that you would have to swallow the saliva in gulps when he released Guna with Thalapathy, being a Kamal fan meant honing individual tastes, being a Kamal fan meant that by default it was going against the crowd, being a Kamal fan meant you never know what you are going to get. 

It was not that KH did not command following or fandom, but the successive movies that he made where he did not fit himself in the hero template when faced with the onslaught of peak Rajnimania in the 90s.

This meant that the fans still retained in their head-individually and not as a group, why they loved him and for different people KH meant differently.

I’ll explain, for some when they say they like Kamal

  1. it was his film making (gumbal identifier for this is – Kamal is best screenplay writer/director, but Sivaji is best actor)
  2. It was his acting (gumbal identifier is – Kamal should stick to acting and let others to the directing) 
  3. It was his off screen views (gumbal identifier- KH has constantly inserted his politics as kuriyeedu in his films- xyz kuriyeedu) 
  4. It was his serious films (gumbal identifier- KH is the only true independent Tamil filmmaker we have)
  5. It was his comedy films (gumbal identifier- Why did he not do more films with Crazy Mohan?)
  6. It was his social service (gumbal identifier- do you know how many litres of blood Narpani has donated?”)

<Psst gumbal means group, I know I can use group, but using gumbal is more fun.>

These are just the six gumbals I wrote off the top of my head based on impressions on Kamal and that too only from the 90s.

80s gumbals will have their own qualifiers, because this man has been around for so long that not only different generations have hot takes on him, but within these generations there would be sub groups with hotter takes and more often these sub groups don’t see eye to eye.

There is also a growing generation of kids who might probably know him as BiggBoss tamil host. 

Which can mean only one thing. No single fandom. 

There is no combined KH fandom as it is for other template stars like MGR, Rajni, Vijay, Ajith and so on. Even if their stars go out of their grain and do a one-off film, their fans know that Rajni and Vijay have AR Murugadoss on speed dial to make the next total enmasse entertainer. 

To be a fan of the others, is to completely buy into the persona of the star, to see oneself in them. 

That never happens in a Kamal film, it is very difficult for a group to identify with the character that Kamal is playing on screen, also always it is a different Kamal and it is through the story or his acting or the other skills that he has that takes away our attention. 

So no singular fandom, but KH might be the biggest niche star in Indian film history. 

Allow me that one generalization now. 

Since Kamal was unique and he tried to make his unique movies, his fans too got unique bits of his persona which they clung on to, depending on how much they liked him over the years. 

Which brought me back to the hashtag. 

Lokesh Kanakaraj is a self confessed Kamal fan, he even speaks about Kamalism. 

Which takes me back to the launch of Kamal’s political party MNM, on the stage of which he said “isms dont work” 

Would Kamalism be another ism? Would it work? 

If so which gumbal would be able to fully appreciate the said Kamalism, is it his creative choices, is it his filmmaking, is it his insistence on doing quality stunt sequences (an underrated Kamal element even by gumbal), is it his offscreen comments or the newly adorned political character coat? 

I don’t know what Kamalism stands for at any point of time, guess it keeps changing like KH himself. 

Which was when the normalcy returned. 

Lokesh Kanakaraj has directed three films, two of them have seen the insides of a theatre, one is hoping it will pull us into one, post the pandemic.

Honestly, I liked both Maanagaram and Kaithi (hmm), but only till the movie run time and I have never since wanted to see it again and sometimes even worry about the fuss when I see the general acclaim. They are perfectly serviceable vehicles of entertainment, but neither moving to the mad cap extreme to develop a cult following nor pushing tamil cinema to the other side of art. 

Neutral films with an interesting premise. (Hmm)

When normalcy returned, I thought about the times when fans got to make their films with their idols, more recently Karthik Subbaraj with Petta, Atlee with his Vijay film trilogy and Prithviraj with Lucifer. 

Forget Lucifer, it is a great film, very rewatchable and Mohanlal can insert himself into any persona. I have seen Lucifer thrice in the lockdown alone, so forget Lucifer when I group it Petta etc. 

Sorry but my choice does help me illustrate the  contrast with the others viz. : if I don’t buy into the fanboy nature of the movie I won’t be able to appreciate it fully. 

Allow me one more speculation. 

Is Kamalism going to be like the 2021 version of “Rajnified” or will it be another Lucifer?

But why make another Lucifer? (hmm, lot of guns in the poster with a ghost like hero) 

This was when my normalcy dipped into sadness. 

Ok then I came back to a steady state and said to myself,”let’s wait for the movie, hobbitses”. 

And then I jotted all this down. 

The End.

PS

But I do know one gumbal who will be very pleased with today’s announcement: which is the “Kamal must submit himself to a young visionary filmmaker” gumbal. (single quotes over visionary)

Lool, I thought to myself, Kamal will never submit, go see the climax of Drishyam. 

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cinema:tamil

Ponmagal Vandhal

As The Swivel Chair Spins #9

It’s the sort of film that could prove to be a downer. It’s not something that is a pleasant Friday evening watch, heck it is not even a Tuesday afternoon watch.

Psst... more about Tuesday afternoon watch phenomenon later, maybe on brighter days. Days when I don’t have to think and write about films like Ponmagal Vandhal.

I know it’s me, not the film. I know the problem lies at my core and nothing with the film; I just switch off when I realize that item sold is empathy.

It’s a word thrown around so easily, this empathy that everyone speaks of, this act of truly being in the shoes of others to know what they ‘feel’. Smart people will realize that this empathy concept is only used in relation to pain and not happiness.

And so they say, I can only know someone’s pain if I empathize with them. But I do need to know myself first, to try and understand what the other person is feeling. If that is even remotely possible.

Empathy is media’s potent tool, but unlike using it like a Brahmastra, it is used like your regular everyday astra. Thousands of words are written about how the goal of everything that I did for fun, namely watch movies and read books, was to inculcate this latent empathy.

<Sighs>

I can identify with someone, I can aspire to be someone, I can be tolerant of some actions and I can even be considerate but is it even possible to grasp in its entirety at what goes on in another person’s mind?

There are levels of trying to understand other people, but all those gradations are lost when someone throws the empathy argument to counterbalance a logical point.

Often the case is such that empathy is the last resort of those without an argument. And the word “empathy” has been so fortified, that few raise voice against its easy use.

Ponmagal Vandhal doesn’t do much differently, it again places empathy as evidence in a court of law and it talks a lot about justice too. So that’s where I lost the film. It’s also a social message film and not very intelligent in conveying it.

Ooty lawyer Venba (Jyothika) has just reopened a 15 year old multiple homicide case, she raises doubt that there were things that were brushed under the carpet in the initial investigation.

Clues that were smudged by the act of power.

Power here is embodied by Varatharajan (Thyagarajan), naturally as this is a Tamil film, he is an industrialist and Venba plays the everywoman who still believes that real justice still exists in this world, the David to Varatharajan’s Goliath.

The problem here is that David seems to be unprepared for a case that she had been brought up literally her whole life to argue. Her questions are shot down and her witnesses vanish, while I sit and wait for a clever move from either side, all I am presented with is empathy.

Courtroom drama is an exciting genre, a battle of wits, half of which in this film is brought by Rajarathinam (R Parthiban) while the other half of wits goes missing even with a galaxy of supporting actors (Bhagyaraj, Pandiayarajan & Pratap Pothan) whose brief seemed to be “just show up in court”.

Maybe I should have waited and not jumped onto streaming it immediately but kudos to the producers for taking the over the top route to releasing a film. Bold move, really.

Like charity, empathy begins at home, ok that didn’t explain what I wanted to say.

I meant like the first step in to being considerate (empathy is still far away and comes with its own problems) to others is to know oneself better.

Clearly I didn’t know what I wanted on a tiring Friday evening. I should work on this more by watching Hellzapoppin’.

Hellzapoppin’ now that’s a Tuesday afternoon movie and a Friday evening movie.

Ponmagal Vandhal is now streaming on Amazon Prime