No we didn’t make that up, It’s what Mason says while he tries in vain to put down a decent concluding statement. Maybe it was also said in the writer’s room.
We are all for revisionism, if it has a place in the story, if the ‘revisionism’ dawns on me when we later understand the workings of the story. But revisionism in place of definite endings is problematic.
Ever since the first episode we have been doggedly pursuing every clue that this show throws at us, every week we place it with what we already know, to see who killed baby Charlie Dodson? Will they be brought to book?
Okie yeah, we do know who killed the baby, whose horrific death on the tram car made this the most arresting case to follow on television.
But is there a sense of satisfaction in the end?
It’s not as neatly tied up as we would expect or as Perry would have wanted his first case to be. He’s really grown from being an investigator, but let’s call this the learning curve shall we?
We could also argue the that the writers did not give us a concrete finish to keep things open for the next season or we could also say that this is a Perry Mason for a different time, a time where there are no definites, it’s all very mixed and hence being inconclusive is not a choice but a characteristic.
Clue trails go cold, but the series spends much time of the finale in making a statement with the character of Della Street, she not only (and rightfully) bargains her next employment with Perry (not Mason & Associates, but Mason & Street, nice touch) but she also contributes to the case taking a more emotional turn. It’s the most questionable turn the case takes, but one that provides a verdict which doesn’t seem to be a victory for any party involved.
Our hero is really not arguing the case that he has built which we could say contributes to his inability to come up with solid concluding remarks, because it was Della’s idea to put Emily on the stand. To appeal to the sentiments and not facts.
Perry had the case, he had Innes- the main perpetrator in our eyes, he could have squeezed the slimy detective in court, hell we even get a glimpse of it in a mock trial, but hell no, apparently no one confesses on the stand. Or so they say. It’s a brilliantly conceived scene nevertheless brought back memories of the 1973 Sivaji Ganesan film Gauravam which too had a similar mock trial, albeit a fruitful one.
Not so neatly tied up parts linger, while the tied up parts including what happens to Emily Dodson and the trio of Drake, Street and Mason seem to stick out but promise some excitement for the future.
You can only seek justice when you find the truth, Perry says. But what we got was just parts of the truth, and so justice is not pronounced but hanging in the air, like a thread whose holder we know not.
We enjoyed watching & writing this TV series recap, and we trust you liked our coverage. Tune in back again, hopefully.
Perry Mason is streaming on Disney+Hotstar and has been renewed for a second season.
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.
Let me be honest, I underestimated what Kannum Kannum Kolaiyadhitaal was going to be. The first five minutes is just Dulquer Salman driving a car which says DQ on its license plate, there is also mention of his Kerala female fandom (yaawn), there was the genuinely irritating Vijay TV sidekick quota, it confirmed my fears that this was a generation film i.e not for me.
I sat through nevertheless and things got interesting.
After a song (or two, sorry didn’t notice) and usual love interlude, we really come to know what our heroes are up to: they are small cons who utilize the gaps in the ecommerce system to profit and they are of course not bound by any morals. But with them is that small niggling thought at the back that they would be caught.
If they have shown a thief, they will show police also- enter Gautham Menon as DCP Pratap Chakravarti (DCP PC?), how he will catch these small time crooks is the rest of the story.
Or so I thought.
Kannum Kannum Kollayadithal is that kind of movie that stacks up a bunch of carpets and pulls it one by one from under my feet.
But thankfully I was seated.
KKK is a very competent investigation thriller, the policemen use logic to get from one clue to another, it is also a competent heist film- be it in the objective, team assembly, planning and showing things when they don’t go according to plan.
Lessons from the screenplay has a great video comparing two mission impossible films and how they execute their best heists, I would say KKK too has some elements of them in it and kudos for getting elemental genres right, it’s rare in a tamil film.
But KKK is one of those rare things which try to show that they are about something, but is about something else and succeed in both- I am not getting into the morals portrayed but in a way a concept is presented.
If you have not seen Kannum Kannum Kollaiyadithaal then you should stop reading after this sentence. <SPOILERS>
<SPOILERS, there is no other way to explain without going into spoilers sorry>
The concept of no one is a yogiyan (sorry couldn’t find an immediate english equivalent) is worked into the story and comes full circle, everybody is in some way a criminal and in some way there is no big or small crime- the magnitude of that doesn’t matter.
But where the move falters is when it tries to become a hero and co winning just because they are hero and heroine types, but why, anyone could have won. It also falls into the Petta trap of suddenly making solid characters look weak so that the hero can win.
I can disagree with the concept and still like the film. So in a film full of bad guys, does the hero heroine looking types win just because they are hero heroine types?
Maybe DCP Pratap might ultimately catch up with them in the end? Maybe their money will dry out in Thailand and they will fully realize the folly in their lives? Maybe some natural tragedy will befall them.
I closed the TV thinking, yeah they are happy for now, but not for long.Just like that final shot in the Graduate. Things happen to people. That’s just my coded narrative watching habits.
In Moondru Deivangal, one of the finest Tamil movies ever made; Sivaji-Muthuraman-Nagesh play thieves who are out of jail and trying to con a very simple retailer, the goodness of their family ultimately changes the trio- but still they use their history tricks to protect this simpleton and ultimately go back to prison.
Bad guys winning is fine, but for me it is more rewarding when they end up turning into good people, it’s a movie, it gives closure, it gives purpose for them to have been crooked in the first place.
But closure as they say
It is unfair to compare two movies, even if they are similar, there are other movies in which the relatively good-bad guys win like for example the Ocean’s trilogy which is a lot more than heist films, but it clearly establishes the meanest of the mean, the annoyerest among the annoyers.
Meanwhile in KKK, even GVM is smart, the drug dealer is smart and powerful but the guys getting away with it are just because they are like hero and heroine of this generation. That didn’t sit well. No it didn’t and pulling Oceans and Moondru Deivangal into this was a bad idea.
Should have never done that. All I wanted to say is that you have introduced a concept very well- whatever be the morals, very convincingly but not going the full distance. Pch.
Or what I found when I kept Vettaiyaadu Vilayaadu and Thanga Pathakam side-by-side
Even the meanest of Gautam Menon critics (some of whom, write for this website-gulps) will agree that the “kanna nondi eduthaanga da” opening sequence is among his best.
It also presents a good template for us to study hero introductions.
Hmm, then I found something, from a 1974 film.
The Open Challenge
“Bring me the eye of DCP Raghavan!”
Vettaiyaadu Vilayaadu (VV) begins with Royapuram Mani, who would never appear again in the course of the movie – putting out an open challenge after being pushed to a corner by the police specifically Raghavan.
He wants to run his ‘business’, but of course he cannot do it with Raghavan giving him the heat around the corner. Mani needs Raghavan dead- no, he wants more, he wants his eyes.
Good setup, so now we know who our hero is and what his goals are without even showing him- and close.
As I said 25 mins of the film has already run its course, the usual familial introductions have been made- including the wayward son, the doting wife and the family friend around whom the movie would revolve.
Probably P Madhavan feels the present state does not give enough ‘weight’ to Sivaji’s character- so I hope he would have asked the writer Mahendran ( who would later make Mullum Malarum, yes that Mahendran) to come up with another introduction.
Here too there is a character who never appears again in the form of legendary villain actor RS Manohar-but the difference is he wants SP Chowdary’s head.
The Point Of Entry
Both Madhavan and Menon keep it simple here, just them heroes occupying the frame shot from below- memorable in each case. A point of detail is that Kamal kicks the gate open (which would again allow a nice cycle back to ‘gate a moodra’ later)
Let Them Talk
The impact is in the action, but the build-up is always in the words. Both our heroes are unarmed when introduced, while Chowdary mentions it, Raghavan hands over the only knife he brought to Royapuram Mani.
Normally one would expect Sivaji to win this hands down, he is after all the most gifted when it comes to dialogues, but sadly I believe as this could be a hastily written scene- it is more “Aeis and Deis”, which belong more in the cinema of today. But maybe SP Chowdary is more brute force than brain force.
There is a half hearted attempt at humor and then Manohar gives in immediately but the good thing is, Sivaji gets to slip in a “tholachuruven badava” before the final fight.
Raghavan on the other hand is shooting bullets like line starting from the just-like-that “en kannu venumnu kettiyam?” then easily evoking one accent from his many to give us “ romba thondru panraan” and pausing to make a lol worthy comment on Royapuram Mani’s arithmetic skills.
My personal favorite is of course to the other assembled goons, “neengellam vera vela paathukonga pa”
Kamal is in quipping best, the dialogues and the camera always on him, half the screen is Raghavan’s face only- really makes the movie worth watching, although his quipping reduces considerably.
The stuff we have been waiting for, one man against an entire set- in Thanga Pathakkam it becomes a silambam fight while Vetaiyaadu keeps it hand to hand in a contained location before going for an opening song and sets the ball rolling.
Same introduction template. But two completely different movies.
Often we see how new filmmakers take time and pay homage to an earlier film or filmmaker, entire podcast episodes are dedicated to this, but I wouldn’t know if Menon is paying homage to Madhavan. A director cannot cross a tamil cinema police movie list without Thanga Pathakkam- it may have come to his notice or suggested by an assistant with an encyclopedic mind- and there is the question of Kamal being in the movie itself.
But it is practically the same narrative structure for introducing a cop hero-maybe both Mahendran and Menon borrowed from a common source.
It doesn’t really matter, what matters is that these things strike out or should I say leap out from the screen and what I have left is this confidence of a slight bond. It is a difficult feeling to describe, something like discovering an entire new branch in a family tree.
Watching movies and seeing other movies in them is by itself a rewarding feeling-makes me feel like a small shareholder in the big scheme of things.
An enduring aspect of Indian mass movies owes a lot to NTR, the aspect where everyone sees their hero as a divine being.
Sample this: Asia Week’s posthumous story on MGR was titled pretty much the same, a song from Kuselan harps about how cinema was the first to ‘show’ God on screen, it persists even today in the eyes of the people of Mahismati when they see Mahendra Baahubali. (also see Maya Bazar climax)
While the others in the list crafted an image playing heroic characters, NTR played the Gods themselves.
NTR is still my favorite on-screen Krishna (sorry Nitish Bharadwaj), I can exactly pinpoint when the movie Karnan (sorry Sivaji fans) turns into the fun epic that it is, the moment NTR literally walks into the screen as Krishna (a similar scene is recreated in this movie) and of course Maya Bazar; arguably the greatest Indian film ever made (sorry Sholay fans and also looool sholay).
Sadly, NTR’s movies are not the focus points in this biopic.
The movies are just occurrences which pinpoint how great NTR the person was. Most of the dialogue is either a prophecy (which we now recognize as true) or a set-up for the sequel Mahanayakudu, which promises to trace the political life of the screen icon.
Knowing myself, I have already lost interest in the sequel. I am more interested in the man who played God and want to know more about the mythological movies, like how Daana Veera Soora Karna was shot in 43 days.
Balakrishna eases into the life of his father and the performance betters with surprising restraint as the character ages. In-a-only-in-the-cinema-of-India-kind there is a meta moment when baby Balakrishna is born to the real Balakrishna who is playing his father and ends up naming himself!
Vidya Balan makes her Telugu debut, in a nothing much to write about already over played pillar of a support wife that most bio pics have.
While Balakrishna gets to play his father, Sumanth gets to play his grandfather Akkineni Nageswara Rao (ANR); in some portions it does feel like it is a story of these two actors lighting cigarettes, exchanging notes, reworking their careers, and collecting relief together. These are the portions that have stayed with me.
Now that you are here, why not see NTR and ANR in Lahiri Lahiri and wonder along with me, why no one is making a movie about how Maya Bazar was made!
NTR and ANR featured themselves in a late career film called Chanakya Chandragupta, in which one actor called Sivaji Ganesan played Alexander the Great! I mean, yes!