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cinema:tamil reviews

WHAT THEY DO UNDER THE BLANKETS

CK AND MM AT THE MOVIES: O KADHAL KANMANI

Okay_Kanmani_film_poster

Moderate Manohar approached the end of the corridor with much hesitation, in his hands was an envelope, the fine-ness of it indicated its foreign nature. As the door creaked to an open, he could see Caustic head down on the table, the room only filled with the soft electronic buzz of an unsaved word document.

“CK, the appointment has come….” Began Mod quite loudly.

MM: CK, the appointment has come!

CK: huh…what?

MM: the appointment from Chicago Sun Times, it came in the mail just now.

CK< widens smile>: IS it? Wow when are we leaving?

MM: Not we.

CK: huh?

MM: It’s only me they want, as in…they can only accommodate me right now.

<A little background here, CK and MM quite fed up with their lives in Chennai had applied for the post of resident movie reviewers in Chicago, although CK was sceptical about working abroad, he finally realised its importance and was quite looking forward to it, now everything had just fallen flat for him>

CK took a moment, or maybe even shorter than that to recover and went ahead and patted MM on the shoulder.

CK: “Great, you are taking this up right?”

The room was again filled with MM’s hesitation and the soft electronic buzz.

Some higher power intervened in the form of the editor who barged in unannounced like he owned the place, in fact he did.

Aye Sinamika Tamil Lyrics – OK Kanmani

“CK!MM!, OKK review on my table, fifteen minutes, already every major media and everyone with a Facebook account has already written a lot about it. We shouldn’t miss out.” The editor walked out with the same pace.

MM: Let’s discuss the movie first, later perhaps…

CK: Nevermind…whenever it suits you.

MM: Should we start with the bit about how bold Mani Ratnam is, making a film on live-in relationships?

CK: No….this isn’t about that, I mean at least I feel so, it isn’t.

MM: Should I wait for you to tell what’s it about?

CK: It is about validation of love, this whole live in relationship thing is to keep it all contemporary and all that… you know like that skype call and the iPad song

MM: So contemporary that they have T.M Krishna’s latest book “A Southern Music” in the shelf somewhere in PrakashRaj’s house

CK: Understandable, considering the fact that Leela Samson plays an Alzheimer’s affected Carnatic singer, oh my god their walls are the same colour as the zari of the Kanchipuram sarees that these singers wear for concerts, so much richness. Also Thanjavur painting, it is the stuff upper middle class dreams are made of

MM: let’s come to the production design bits later, let us get back to the validation of love part, I think that this is a new concept, the exploration of live-ins

CK: No..no ..Mod, that’s what the director wants you to believe, to linger on the surface, the whole movie is about Tara and nobody else. Tara is the updated version of the Mouna Raagam Revathy.

MM: hmm..wild, willing to break rules and attracted to rash lover boy types and bored with domesticity etc…

CK: exactly, but she is also in a way the Agni Nakshatram Nirosha, not giving a damn because of a troubled past. Tara here hates marriage because her parent’s divorce affects her even now.

MM: But she falls for Aadi….they both fall for each other.

CK: Yes, but she never thinks much of him, atleast he is thankfully never full of himself, he just says “he will become rich like Gates etc”, she doesn’t think much of his game development career also when compared to her overtly passion filled love for architecture, she really doesn’t want anything serious.

MM: so when she really does realise she loves him anyway, he is about to go and he has already done something, but still she will only want him to say it. < “Marriage”>

CK: Yes enough instances to prove that this is a Tara fuelled relationship and not a flirty boy meets serious girl cute love story. First call back, first kiss even, all initiated by Tara.

MM: I see…where this is going, but what about Bhavani and Ganapathy, where do they actually fit in?

CK: they are clear examples for Tara to believe that a traditional relationship can work, she seems to be the one who is most affected by the happenings in their lives. Again a validation that she requires for secure love, in the end she isn’t clear about her career.

MM: So this is how is it going to be written? I mean this line of thought?

CK: What other is there? Isn’t this plain as daylight?

MM: No…no…what about the actors? The setting…the music and PC’s camera work, he seems to have let out this beast of a camera on this couple and the writing itself?

CK: Isn’t it what the others will also be saying? Mumbai trains and rains, mornings with pigeons flying, tastefully lighted blanket interiors and characters who alternate between sophistication and words of yore (“ummanamoonji! Kadavul”), the director’s insistence that friends of protagonists be as beautiful as them, etc, isn’t it what the others will also be writing or already written? OK we can write such stuff as well.

MM: Hmm..yes I think, I haven’t read any of them…in totality I liked the film, even from this love-validation-security angle you are coming from

CK: that’s the only angle I like the film from, and also Nitya Menen’s eyes.

MM: Surely we will throw in a bit about Nitya Menen’s eyes and what about Mani Ratnam’s comeback?

CK: What about it?

The editor walked in again, looked at the manuscript and said, “Throw in a few words about Nitya Menen’s eyes and about Mani Ratnam’s comeback, also meet-cute love story of our times etc”

MM: Yes sir, it’s there

Editor: Good, good Manohar, so this will be your final filing for my magazine…congrats on your appointment in Chicago. As for you CK, you are stuck with me for life.

CK: That, I am, sir.

CK went back to his table to file the final copy, but in the ruckus that the foreign appointment had created, he forgot to mention that the video game within the movie had a more interesting storyline than the movie itself and about The Shining reference he had caught in the film.

It was at this time MM said, “We need to talk”

Categories
cinema cinema:tamil

FROM NOW EVERYTHING LIKE THIS ONLY

25 YEARS OF NAYAKAN

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Twenty five years is a long time, especially when public memory is only limited to what you did the previous week, this is probably the reason why actors and filmmakers are so insecure on Fridays. Films that have broken this barrier of time come to stay with us not just as preferences during a dinner conversation but as important moments of everyday life.

For those who have grown and watched Tamil films in the last twenty five years; Nayakan would be one such movie.

The film begins silently on the shores of a southern town, a town which hints of some union trouble; nothing is shown though, just that the leader has gone underground and that the police are willing to do anything to get to him, here anything means even deceiving a young boy into showing his father’s hiding place, thereby messing up with his ability to distinguish between right and wrong.

What is right and what is wrong?

Sakthivel even asks his fugitive father this, he never gets a satisfactory reply, not through the entirety of the film; but Sakthivel convinces himself of an answer which he seems best, to do right for his people he will be willing to do anything that was wrong.

An answer he derives from an ageing pious Muslim who moonlights as a smuggler at night so that the dead in his slum can have a decent burial.

Nayakan is Mani Ratnam’s first great film, some might say his only; but it is a story told with much ambition and sadness that it can only be called a classic. It is also the most popular Kamal film among people who despise Kamal Haasan, a film that owes more to the city of Mumbai and Varadaraja Mudaliyar than to Mario Puzo and Francis Coppola.

It is the much told story of the outsider, the immigrant who stands for his people in an alien land, dispensing justice; his version of justice but nevertheless justice. In one of the scenes, Kamal rues over how the oppressed cannot truly get justice from the existing system and they shall have their own route until such a time when all differences are done with.

Hero among his people he might be, but his personal life falls like a badly stacked card castle; for he is in a profession where one does not differentiate between home and external affairs, to a point such that he is made to realize that his version of justice to some might be the perfect example of cruelty to others, but he never sways away from his people or his people from him. It is the story of how runaway Sakthivelu becomes Velu Nayakan

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Mani Ratnam employs P C Sreeram’s camera which fights its way through the populous streets of Dharavi, or between two pillars relentless in search of light, it does not mind even a jail keyhole or the mosquito net that adorns Nayakan’s bed; pausing knowledgeably and letting Ilayaraja’s  masterful and timely music take over creating that special place for Kamal Haasan to live in one his memorable roles. Nayakan is the first film that said a film can have foreign sensibilities, but still be Indian in its core; like there is a love track but it doesn’t take much of the time and hindering the path of the story, it just takes one song and the love makes more impact than films which take two acts to establish it. Every song finds a place, even the derided item number has much to tell.

It is not a perfect film, but it is a film that you remember fondly and come back to it, for years I have wondered how Velu Nayakan never speaks much of Hindi for all his years in Mumbai and requires a translator when he needs to communicate or how the sub-plot involving his son somehow seem forced. But these things do not mar the viewing of the film and only discussed when the pulp of the film has been enjoyed.

Debates can be held through the night to know if Nayakan is one the greatest Indian films, leave alone Tamil films; but one can never arrive at a conclusion in these matters, but the fact of the matter is that the movie rests alongside The Godfather, its inspiration in the TIME 100 list of great movies (again a very relative things these lists). One of the three Indian movies to make it to the list and the only one made after the sixties. Nayakan is after all the Enga Oor Godfather and it seems only right we celebrate this silver jubilee especially at a time when a person’s 25th (or lesser rounded numbers) film is being is heralded as artistic achievement itself.

Incidentally Nayakan was Ilayaraja’s 400th film as composer; it is indicated in a much smaller font and within brackets, so much so one might even miss it. Such were the times.

PS

Nayakan made way for Mani Ratnam to become one of the country’s most respected directors; his later works however are open to discussion.

Kamal Haasan went on to win one more National Award for acting after his nod for Nayakan.

Maestro Ilayaraja still composes although his work with Mani Ratnam came to end a few years after Nayakan. 

Nayakan was remade into Hindi as Dayavan, best remembered for a Madhuri Dixit kiss video which has more than 1 lakh hits on youtube.

Nayakan still remains my favorite Mani film.