Anniyan and the Chaos Theory

It’s interesting to read how Writer Sujatha relates Edward Lorenz‘s Chaos Theory to Anniyan‘s premise. Here’s a small example to Chaos Theory known as Butterfly Effect, huge volumes of literature is available on the net. This is the same as what Sujatha’s points out in his column.

The flapping of a single butterfly’s wing today produces a tiny change in the state of the atmosphere. Over a period of time, what the atmosphere actually does diverges from what it would have done. So, in a month’s time, a tornado that would have devastated the Indonesian coast doesn’t happen. Or maybe one that wasn’t going to happen, does. (Ian Stewart, Does God Play Dice? The Mathematics of Chaos, pg. 141). As given above, the chaos theory is also known as sensitive dependence on initial conditions. This small change in the initial conditions might/can lead to a drastic difference in the final outcome.

Sujatha gives a relatable example in Katrathum Petrathum and establishes the base fact of Chaos Theory. He also says the premise of Shankar’s Anniyan is based on this Chaos Theory and it says that such very minute carelessness also should never occur. There you go. That triggers my curiosity even more in Anniyan. Should it be probably because of this Chaos Theory, Anniyan is insured for 29 crores, trying to avoid even the smallest mishap in the box-office.

Aayitha Ezhuthu – One (in a) Hundred

Aayitha Ezhuthu
[Pic :]

This is a long biased post. I have unbiased reasons to write it. Aayitha Ezhuthu which scores a century with today, has been one of the most expected movies of this summer.

It’s unfortunate that since Aayitha Ezhuthu’s release, it hasn’t created any kind of serious criticisms or analysis. Seems like both the media and the public have ignored completely it by not having an opinion on it. Forget creating waves of criticism it hasn’t even created ripples at all. A fact that was even true for Mani Ratnam‘s Iruvar. With Iruvar’s release there was a political cloud and that might have kept the public away from the theatre. But Aayitha Ezhuthu, though politically inclined, has also had elements of Mani Ratnam’s commercial brilliance. We aren’t talking about the usual cinema review of the media. It is about an analysis on the social, political impact that they movie represents and above all the spectrum of today’s youth it portrays.

Movies like Virumandi, Kannathil Muthamittal have been seriously argued even in the most commercial magazines. Aayitha Ezhuthu, I personally feel, has been shunned completely except just one or two magazines which analyzed it. Now, if you might feel why should a movie be analyzed or discussed seriously. Aayitha Ezhuthu represents a cross-section of the society. It doesn’t advocate or preach a theory, rather, subtly wishes political awareness among the progressive youth. The movie has been experimented in a form that’s tough for a normal cine-goer to grasp. But it is the media that should have encouraged the movie and should have given it five stars for the excellence in cinema that it brought along. While all this is an earnest longing to happen for any good film, here are my silly/serious/semi-serious reasons in Aayitha Ezhuthu to get five stars.

These are some sparks of brilliance, though silly they may sound, they carry forward Aayitha Ezhuthu and it’s theme. As they say, a film is all about teamwork. These five stars are named straight to the particular person who excelled though they are actually awarded to Mani Ratnam and his complete crew of Aayitha Ezhuthu.

Sujatha / Mani Ratnam
– Maddy cribbing to Sriman in the truck, Oru 50 milli sarayathukkaga saaraya kadayaye vaanga kudathu.
– Enna Autographa, Madhavan responding to the policeman while he signs the release register in prison.
Vote for Inba Sekhar. The shot that subtly/obviously hints Inba Sekhar’s desire for power.
– Surya holding DNA responsible for even a headache.
– That amazing conversation of Bharathiraja – Surya in the university when b’raja tries to brainstorm Surya to rush away out of politics. Surya respoinding – Neenga mattum evalavu naal kashtapaduveenga, Naangalum varom.
– Glimpses of Michael Vasant’s genius in prison where he conveys universe isn’t made of infinetly dense matter. Though this is just a hint, it conveys the genius in him, helping the movie to move ahead. It’s a make-believe to make Surya’s character seen as a hipster. Yet another similar shot where he quickly talks about hormones and showing his disbelief towards the institution of marriage.
– Sidharth’s flirt dialogue with Trisha in the Coffee day. One of the most revealing dialogues of the SMS cultured modern day yuppie youth. Sidharth : Naappathi Rendra, Trisha : Ah !! Yaar Andha Arrai, Sidharth : Neenga Thaan, Trisha – Thoda and the following dialogue as to how Sidharth wants to make his life thereon.
– Sidharath saying Indha Pakkam Oru Vellakaari, Andha Pakkam Oru Karuppi, Naduvula Nala Venba Project. This is one is straight from Sujatha. It is his cute way of unleasing the mindset of the character.
– Surya talking amidst students in his house, Naama Poi Software ezhuthuvom, Coco-Cola vippom, aana inga endha poruppum eduthukka mattom, iIla.
– The amazing one-liner Surya tells the TV correspondent, Century Adikanumna Kooda Singlela irundhu thaan aarambikanum.
– Surya banging Madhavan’s head on the Napier Bridge, and telling him, Nee enga ethiri illa. Un Azhukku Arasiyal. Atha Naanga Maathaporom. Showing the clarity of Michael Vasant’s thinking which eliminates the sub-causes and going in for to rectify the root cause of the issue.

A R Rahman / Vairamuthu
– The theme of Aayitha Ezhuthu, though not a part of the album. That music that starts with a single bang and continues as a harmony.
– That fabulous techno music background during titles along with the sounds of buses and cars moving around
– The nice bit song, Nee Mazhai, when Sidharth and Trisha travel in pallavan bus, a variant of Hey Goodbye Nanba
Fanah. Completely classy. Great contribution of Vairamuthu.
Aayiram Elainargal Thunindhu Vittal, Aayutham ethuvum thevai illai. Lyrics by Vairamuthu.
– Nicely orchestrated Hey Goodbye Nanba, especially the jazz piano slowly playing at the back
– A classy re-recording throughout the movie, not to mention the final climax and techno feel music at the back, similar to the titles.

Mani Ratnam
– For the characterization of Surya as a progressive youth. Unaffected towards his goals by the elements that hinder. Even in the final scenes he carries himself while his friends dupe that they have lost in the elections.
– The characterization of Madhvan. Fabulously observed from the streets of chennai.
– The amazing sketch of modern day yuppies, the easy accessibility and the kind of escapist attitudes thats prevalent among them.
– The distinction he chose to make in the final scenes when a chudhidhar and a couple of jeans walk into the assembly.
– Surya, not uttering even a single word and just quietly, slowly pushing bharathiraja away and making his walk into the assembly, telling that he is unaffected. One shot for the entire movie that talks.
– For the amazing format, the movie was taken.

– Surya for getting into the skin of Michael Vasant. That very derisive smile he does to Bharathiraja when they meet.
– Madhavan’s hysterical dance for Dol Dol song in the boat.
– Trisha mimicking to her friends about Sidharth when he calls.
– Sidharth and Trish for the very cute Wow… long interlude in Hey Goodbye Nanba.
– The incredible co-ordination of everyone for Hey Goodbye Nanba.
– The well done climax scenes on Napier Bridge. Superb re-recording, editing, amazing steady cam shots and every other thing done to those shots.

These are just the positives of Aayitha Ezhuthu. The list of minuses are comfortably forgotten to meet the idea of the post. And if any of these points, provoke you in some way to like or dislike the movie, or even if it prompts you to watch the movie, the idea of the post is met. As Surya says in the movie, Century Adikanumna Kooda Singlela irundhu thaan aarambikanum. Aayitha Ezhuthu’s century today is one of such a single run towards good cinema. Yep, Aayitha Ezhuthu One (in a) hundred. Three Cheers, Aayitha Ezhuthu.

First title-less post after all

First title-less post after all hack to change URLs to be usable/hierarchical/understandable. Mark Pilgrim’s post on Cruft-free URLs in Movable Type was of biggest help. And the most lovable MTIfEmpty plugin of Brad Chaote (as mark mentions it, himself) did the job for me.

For all those who think, why am I bragging about so much for a title-less post, Movable Type loves titles for every blog posts. I don’t buy that argument, sometimes. I would love to title each of the posts but a title-less post at times, helps to start-off without disclosing what the post is all about.

Have a great weekend anyway.

How do you say “AR Rahman rocks!” in Chinese?

Guest Blog #33 – Anand C


As if being nothing short of a god for a billion people wasn’t enough, AR Rahman‘s Warriors of Heaven and Earth is a solid introduction of ARR to the Chinese people (and mainstream western movie audiences)!

The excellent lyrics of Mehboob (who has many a time been in the shadows of Vairamuthu while composing Rahman’s lyrics in Hindi) and BlaaZe for hindi and english versions of Warriors of Peace can’t be missed. The soulful rendering and theme (in Hindi by Sadhana Sargam and English by Sunitha Sarathy) reminds one of “Tu Jahan Jahan Chalega…mera saaya saath hoga…” of yesteryears by Lata Mangeshkar.

The mysticism around the pieces makes one wonder when a Quentin Tarantino will pick up Rahman’s soulful and east-inspired pieces as background for a Kill Bill like martial arts scene…

Sivamani is back with two excellent solo percussion pieces, including one war-march. He is a percussion lover’s delight!

I can’t wait for an occasion to see him perform the pieces live!

Machaan Peru Madura…

Vijay in/as Madura

Give it to Shankar Mahadevan and sleep tight. He is enough to carry the song through with his unique voice. Vidyasagar, having mastered the art of tuning for commercial movies, has done a neat job for Madura. This song Machaan Peru Madura is already on the charts and is selling the movie for itself. This also being a kolla kuthu song, has definitive shades of Pothuvaaga Enn Manasu Thangam from Rajini‘s Murattukaalai. Vidyasagar has been consistent since Dhool for such folk oriented ghaana songs.

This Vijay‘s latest flick, Madura, has created huge expectations because of his former hit Gilli. Gilli curently running at 130 days, is one of the biggest grossers of this year. Kamalhassan remarked in an interview that before all his experimental movies, he had more than 80-90 films which were just masala and usual love, sentiment stuff. Vijay might be also be buying this advice from Kamal, refuses to take risk with experimental stuff.

Opening today in theatres, Madura’s box-office success is yet to be decided. But with more than 200 prints, this movie is set to a massive opening in the box-office. I personally believe even acting in a similar commercial stuff is experimental stuff. You can never judge the kollywood audience. Everyone thesedays are aware of the masala formula. But only people like Dharani have got the knot of the formula. So should we say even Vijay is taking a huge risk.

Taking about commercial stuff and box office success, Vikram/Shankar‘s Anniyan has been insured for 29 crores with United India Insurance. Set to release on the pongal 2005, according to this sify report, I am sure that Anniyan would fill the void Shankar’s absence in the box-office after Mudhalvan.