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 encompasses growth, urbanness and competitive rat-race and celebrity culture.
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?
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.
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.
On this past Tamil New Year’s Day, Vasanth TV had the good sense to play the greatest Tamil movie ever made, naturally I sat down to watch it.
Telling Thiruvilayadal is the greatest tamil movie EVER made to people who worship realistic social films and the like has been my go to entertainment option for some time now. Apart from being a very entertaining game that you can play with people who revel themselves in boring classical tastes, Thiruvilayadal is really the greatest Tamil movie ever made.
Normally I would add the words “I feel” to the previous sentence, but then this is after all my blog and what I write here is the truth, I feel.
Okay okay, let me stand on a soap box and throw (soap?) stones at boring movie fans later, but now I am here just talking about the last fourth of Thiruvilayadal. Yes, just the fourth from the quartet. So clutch your armchairs tightly as we dive deep into the AP Nagarajan Experience.
The AP Nagarajan Experience
Thiruvilayadal was the magnum of magnums, an instant greatest hits of Lord Siva based on a 16th century work captured in Eastmancolor by perhaps Tamil cinema’s greatest director AP Nagarajan. The movie features Sivaji Ganesan and Savithri as Lord Shiva and Parvathi. In short it is the cinematic equivalent of having participated in any of the Maha Kumbhs.
For once I would go as to use the word “experience” along with cinema, if ever there was one it was in the mythological power of Thiruvilayadal and some of the movies that APN made after that.
But I am not going to play the greatest hits- I am not going to talk about the first ten minutes that drum beat laden aural invocation of not just Lord Shiva but a recreation of Mount Kailash. APN goes against the grain and does not leave the best for the last, a true believer, he knows nothing is going to top the world waiting for the clouds clearing-cymbals banging reveal of Sivaji Ganesan fully in costume and meditation as Lord Shiva.
The first ten minutes also encapsulates what is going to happen through the course of film- multiple levels of buildup followed by a reveal.
Angry Kids Are Difficult To Deal With
If you divide the movie by running time, Thiruvilayadal is a stringing together two mini plays sandwiched between two almost one hour episodes.
The longer and the important ones (emphasis mine) are the stories concerning humans and how obstacles are hurled at them by the lord to test them and how he reveals himself to them(always at the end) much like the build up and reveal of the lord himself in the first few minutes.
The shorter ones are the stories of the Gods themselves. Don’t forget that there is the connecting tissue of the telling of the tale (the meta story) itself which begins with Parvati telling her husband’s tales to her indignant son, Kumara- who did not get the fruits of his labour.
Indian epics are literally stories within stories, a device that would pull the listener to the central point further and further into the story to illustrate the base point, in Thiruvilayadal the stories told to Muruga (same son, different name) reinstate that playing games is what Shiva does and tell Muruga that being angry at this is a waste of time.
But then angry kids are difficult to deal with and need more convincing. Here four episodes.
Parvati even at times shows some playful disdain at her husband’s activities, but these are not futile plays as we shall see.
Interestingly before Shiva and Parvathi could convince their son, there is the poet mystic Avvaiyar, as a personification of the language tamil itself trying to cool him down. Tamil as a personification is a recurring theme too.
Episode 1: Nakkeerar, Court Poet and Designated Grammar Nazi (genre: comedy drama)
God tests your resolve and commitment to your passion, even if it means to question God himself. Nakkeerar actually spoke truth to (fire) power.
The first of the quartet is more popular as the Dharumi episode, because Nagesh steals it from everyone’s feet , but is really about the skills (and passion) of Nakkeerar. Nagesh’s performance has contributed to the endurance of the film.
But I am not here to talk about Nakkeerar here, nor am I here to write about Sivaji, who played both the poet and the lord in an earlier film also written by APN called Naan Petra Selvam
How APN has updated the scene is for everyone to see.
Episode 2: Even The Gods Quarrel At Home (Genre: Family Drama)
The second and the third quartet can be seen as one unit, both as reasoned above deal with the stories of the Gods and there is no “devotional” element in it, but both differ in terms of the story they want to tell.
Parvathy wants to visit her father’s yagna, but Daksha is not just her father but also Sivan’s sworn enemy, so naturally he won’t allow it. What follows is the divine domestic battle which ends with the Rudra Thandavam, basically Shiva going berserk and giving his half to his better half.
It’s about ten minutes of Shivaji doing an earth shattering dance and I’m not even going to go in detail about how much of a visual treat it is.
Nor I am a going to talk about —-
Episode 3: When APN made Jaws before Spielberg (Genre: Romance, Horror)
So let’s just skip to episode 4 because otherwise we are going to need a bigger blog post.
Episode 4: The Ballad Of Banabathirar (Genre: Musical)
Now of course, this is what I really wanted to talk about, you might have guessed it too because there is no other episode after this.
Paraphrasing what philosopher-gangster Maanik Baasha said, “the lord gives everything to the bad except himself. Aana, the lord gives many troubles to his devotees, but never forsakes them”
Yes, the troubles that Shiva gives to those who follow him IS the movie (all episodes) and NO this is not about curbing the arrogance of Hemanatha Bhagavatar.
<Enter Hemanatha Bhagavathar in all pomp and splendour>
Hemanatha Bhagavathar: Hello people of Madurai, I am the greatest singer in the world, even God pays attention when I sing, from now on I own you!
You Don’t Mess With Madurai
Yes I can see the arrogance, but it is mentioned that this has been the practice of Hemanatha Bhagavathar, he goes to kingdom after kingdom with his troupe and talent and then wins them over. Shiva did not mind then. He was probably happy listening to the honey like voice of the Bhagavathar too (Dr. M Balamuralikrishna) and didn’t mind it at all.
Maybe he shouldn’t have challenged Madurai. Maybe he shouldn’t have so lowly judged his competition: Banabathirar.
The hero of this episode Banabathirar is introduced with one shot to establish his unshakeable faith- the bronze of Uma Maheswarar, he at the moment believes that from the grass to the skies, everything rests within Shiva.
“For those who praise you” he sings “you give nothing but ascent”
Hmm but Banabathirar doesn’t seem to be on the ascent in any material sense, he doesn’t have a long line of disciples and even the king doesn’t have him in his consideration set for possible competitors to Hemanathan.
What ascent is the content Bhanabathirar talking about? It’s definitely not riches. It’s probably the ascent to Mount Kailash where all wait to catch his glimpse.
Yes, it reminds me of the first sequence. Great work APN!
But as we all know, Shiva is going to test Bhanbathirar but never going to forsake him (but our poor singer doesn’t know that yet) with this competition, which he will never win. Everyone knows the talent of Bhagavathar.
Can He? He Cannot
The poor temple singer asks his wife, how can he? There is no way.
Add an extra layer of difficulty, the whole of Madurai will be shamed if he loses.
How can he?
Surely you cannot, says his wife.
Shocking right? This is usually the point where we expect the motivating female lead to motivate the male lead and how with self belief and confidence anything can be overcome.
APN calls bull (not to be confused with the Nandi) on all these usuals.
“Go at once to Sokka’s shrine and give yourself to him and don’t even think about running away.”
That’s what she says.
APN simply makes a classic by not following any of the conventions of screenplay, our Bhanabattar never really learns anything (just got reminded by his wife), he doesn’t overcome any obstacle ( heck he never even meets Hemanathan) and is not even a changed man by the end of the film.
Bye bye Joseph Campbell.
Also I forgot to mention that this episode alone consists of five songs and APN shoots mostly stationary men with simple pans, nothing very extraordinarily, but still makes it arresting.
APN still shoots Bhanabhatirar at a low angle when he is down and slowly trolleys up when he offers himself completely to Shiva to the god angle, all this before even decoding cinema was thought about in Kodambakkam youtube channels.
Techniques anyone can do, but conveying Hindu philosophy is difficult.
Each song in the movie is a gem, but Isai Tamil is my favourite. But why?
Some readers might be aware that there exists certain hacks to passing engineering exams, these come in the form of badly printed guide books which are just answer compilations of questions past.
If I didn’t know anything, I would go to the guide and just see instances from previous years and walk into the exam hall. If I had at least read the guide, I had a chance.
Isai Tamil is that. If at all there is something of a takeaway (there are many) that you quickly want to take away from Thiruvilayaadal, it would be this- just surrender to God.
That simply told, in so few minutes.
Sokkan himself comes posing as a wood cutter to remind Hemanatha Bhagavatar that great talents can be found in the most unlikely places. Thereby humbling him, but mainly protecting Bhanabhatirar, Madurai and Mother Tamil herself.
I promised earlier, that I would come back to how Tamil is personified in Thiruvilayadal and here I am now, first of course it is in the form of Avvaiyar who says that she (as tamil) has the right to correct a wrongdoing Murugan.
In the Ballad of Bhanabatirar, it stands for the state of Madurai itself and the failure of the Tamil poet represents the fall of the state itself.
Shiva is her son who must protect her.
Maybe we can look at the devotee Thiruvilayadal episodes itself as Shiva coming to save Mother Tamil in testing times.
Why is it great?
That’s a sign of greatness, to look at a movie at different points from different times and arrive at another strand of truth. Not general truths but great movies are personal lessons with personal truths.
The very mention of great movies would immediately take me back to Chinatown whose unfading truth that gleamed to me “do as little as possible” because all else done by humanity is in vain and would only cause more worry.
A personal truth, albeit one does that does offer nothing more than the bleak fall of western civilization. But by combining the nihilism of Chinatown with the eastman color of Thiruvilayadal I get: do as little as possible and leave everything to God.
Or any higher power.
What’s an indicator of a great film? Like a great quote, a great movie, comes to my rescue when I need it the most. It is a prism, but I am the seer. Good movies show me the colour, great ones show me the light.
Thiruvilayadal will live long even if people stop looking for philosophical undertones and bury themselves in secular interpretations, because with acting and music this good and stories this engaging, I could switch on to any episode of my choice- eternally rewatchable. I hope it was the same for those who caught the telecast on TV. The innate Tamilness and the unflinching rootedness to mythology plays no less a part in this movie’s endurance.
Thiruvilayadal-It does not offer me mindless entertainment, but it is entertaining. It makes me forget any of the problems, yet also awakes me with a solution. The light.
There are several movies that came after Thiruvilayadal that can claim technical mastery, ambitious scale, audience enjoyment and even to an extent wide acclaim, they are all great but how I differentiate between the great and the greatest is when I am able to catch on to one of these personal truths.
Hopefully I have been able to pass them on to you, if not I would try next time, in a different game.
It is only right that I saw Karnan inside the old world of AVM Rajeswari, the signage of which still displayed the stories of an era gone by, in a time where movie screens are more about six flavors popcorn and sofa seats for couples; this Vadapalani theatre still shows only one film and sells balcony tickets at the rate in which multiplexes sell steaming cups of European coffee.
Nostalgia is a dangerous thing, but a necessary danger. The statement seems like an often repeated school essay topic, Technology: a necessary evil or something to that effect. That brings us to technology which was used in the re-release, the constant buzz about it being digitally re-mastered to suit the audience of now.
But should a movie released in 1964 be processed so that a few scores of the t-shirt wearing dood speaking general public of 2012? Shouldn’t it be watched as it is supposed to be?
I do not believe that an advance in technology does directly correlate with the advancement of film, which belief holds good for ‘Karnan’ as well.
The film used to be showed on cable, not so frequently but on important weekends only to re-instate the fact that Karnan was no ordinary old film, in every Tamil movie watching family there would have been a discussion on the same, at least about the concise Gita or the ‘Ullathil Nalla Ullam’ song.
The screening last Saturday was not my first introduction to B.R.Panthulu’s pain driven epic; I use the four letter word only to signify the relation to Vyasa’s work rather than as a modern adjective used to describe the films of James Cameron.
The Mahabharatha is a known story, at least most Indians are familiar with the outline of what happens and how it all ends in battle and the complexities, numerous windings and characters make it ideal for any kind of performance art and naturally interpretations.
Karna, the first born, the one adorned with armour by default and owing to the Sun being his father, the quality of giving. For it is believed that the Sun gives all and takes none.
Left to drift in the waters, Karna falls in an age where being a Kshatriya was the greatest gift, the mystery of his birth plagues him till he falls by the wheel.
Karna was the hero who never was, the greatest warrior never to have achieved, his only known crime was his friendship with the otherwise fiendish Duryodhana, the main antagonist in the ensemble.
The whole story can be seen as a game of dice, played by opposing players in which Karnan appears to be the dice; rolled by both sides. Duryodhana who injects in him the hatred of Arjuna and by Krishna, who later plays with his emotions of unknown pedigree.
Sivaji Ganesan brings this character whose mind pencils from a supporting friend to a disillusioned warrior to life on the screen, but alas much of that is lost in the movie which tries to make a hero of him, cutting the story in the wrong place.
The character of Karna has no relevance if there are no Pandavas, the social life of the charioteer king seems to be as boring as the love stories of the recent times, and these are the most trying times for the movie watcher, saved only by the songs. Actress Devika portrays Suba, his wife while Asokan and Savithri fill in for Duryodhana and Bhanu in this socially insecure friendship quartet.
The movie only reaches the next stage when NTR comes blasting doors as the ever smiling and easy dharma quoting Lord Krishna, banking on his previous experience from the truly brilliant Maya Baazar(they should consider another re-release)is a joy to watch, the supporting characters: all big names(Muthuraman, VS Raghavan, ‘Javert’ Seetharaman, Jayanthi,Shanmugasundaram) are used adequately, but the point to be noted is the sincerity in the palace settings and outdoor locations( Saraswathi Mahal Palace and the real battlefield Kurukshetra). Many anecdotes are retold on how BR Panthulu made the mammoth of a film and it is fitting that Karnan was rereleased adjoining his centenary.
No work on Sivaji’s Karnan is complete without mentioning Viswanathan-Ramamurthy score and the wonder that is Kannadasan, whatever they did ‘digitally’ did not appeal to me, I liked it better when they played the film on Raj TV. My favorites would be ‘En Uyir Thozhi’ and ‘Iravum Nilavum’. Kannadasan is master, there is no word that could describe the happiness that he brings to songs, here he not only shortens the 18 chapter Bhagavad Gita to minutes but also provides a Tamil version of Adithya Hridayam and a final summing up in the all explaining, ”Ullathil nalla ullam” in which the dice finds its relevance.
Karnan is a classic, re-mastered or otherwise. I liked it because I have always liked it, but I cannot speak for the hundred or so school students who were brought in as an ‘educational’ trip.
It was a happy sight to see a morning show filled, for a movie released 45 years ago; one theatre man said that next show was also booked. Above him the painted face of Sivaji Ganesan looked down magnificently, just like old times.