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  • April 12, 2005

    Kamal/Gautam Vettayadu Vilayadu

    vettayaadu_Kamal.jpg
    [Pic : Galatta]

    Atleast Kamal was discussed fiercely in this blog recently. Gautam wasn’t even in the scene. Just when I started to write a blogpost on his Kakkha Kakkha DVD commentary, Nitin commented about Gautam’s new movie with Kamal named Vettayadu Vilayadu which was kicked off today in Chennai.

    The last time when I was in a seminar, Gautam Menon who was one of the key speakers of the seminar went on to ask the audience what kind of story did they wanted him to make for Kamal. Many of what they said had really wonderful themes and roles for Kamal. But they said in an unified voice that they didn’t want a police movie again from Gautam. Looks like he finally settled for a cop-in-racy-thriller.

    From what Sify’s article underlines this movie runs from New York to some village deep inside Tamil Nadu. Seems ver exciting for a tamil flick. I firmly believe Gautam can deliver it with Kamal Hassan on his league. Gautam can do better with Kamal like what Shankar did in Indian. He probably is one of the directors to watch out for. This is a very early break for him and looks like he wouldn’t be turning back anymore. Instead of settling down with Harris, Gautam could have pursued A R Rahman to key in the tunes.

    We already have Surya’s Gajini with a slick look and Vettayaadu Villayaadu will also join the list of slick films expected next year. BTW, Surya’s hair makeover for Gajini makes him look very tough and classy.

  • April 12, 2005

    Popular mis-quotes make a blogpost

    I contested that it was a popular mis-quote to say Dalapathi/Guna was the last Rajini/Kamal release – Correct that as Devar Mahan/Pandiyan – A dozen movie-lovers contest me saying that I was also ‘Popularly Mis-quoting’- Correct me that it was Muthu/Kurudhippunal – I wander around for facts – Thanks to IMDB I say – Add a P.S to the blog entry that the IMDB entries convey Muthu released during 1995 and Kurudhippunal on 1996 – Another dozen of fierce movie-lovers join hands with the existing lot to fight the my mis-quoting spree – Kick me up with facts and their nostalgic memoirs – I give up and accept – Stand Corrected – Write this entry – Thinking how stupid it was to believe IMDB – I eat my own humble pie.

  • April 9, 2005

    Last time together…

    rajini_kamal_05.jpg
    [Pic: rediff]

    This is an one-off situtation. I am not sure if we would get to encounter this situation again in Tamil cine history. It can happen, I’m not sure. Just like now when most of us had decided that the joy of having a Rajini and Kamal film released on the same day would never come again. And as popularly mis-quoted everywhere, it’s wasn’t Dalapathi and Guna which went head-on together for the last time. It was Devar Mahan and Paandiyan Kurudhi Punal and Muthu. I’ve had really good memories about that Diwali. To recollect, I and a group of friends went to Pandiyan in a suburb theatre at St. Thomas Mount. Came back truly upset. Took a ‘J’ bus to Tambaram to watch Devar Mahan immediately. Came out and went in again to watch it again. Devar Mahan rocked. Paandiyan fell flat to Devar Mahan.

    Dalapathi/Guna was another story, not-so-good to re-collect. It’s again a diwali day, when a few mad group of people set fire to Guna’s banner at the theatre complex. I had watched Dalapathi the day before on a premiere show, at EGA theatre. Wanted to see it again and took off to Udhayam. Guna and Dalapathi were poised on the same complex and the hell-broke-loose. That was the time when I thought, that’s it. There were rumors that Kamal/Rajini went on a arrangement not release their movies on the same day. It’s profitable for them this way.

    All these aren’t re-collected to sensationalize the whole issue of Chandramukhi and Mumbai Xpress releasing together. But just to be aware of the fact that this may not happen again. I am not writing it off but then I give this fact a benefit of the doubt. Last time during Devar Mahan-Pandiyan this fact didn’t even strike me. It happened that way and after close to a decade their movies are releasing together.

    Now, you could argue that they are just movies of two heroes and why hero worship them and make a blogpost as a prelude to the movies. Come on guys, let’s be free thinking. Growing up in India, you have to love cricket and movies. Everyone in India has a favorite cricketer and a fave actor/actress. Back in Tamil Nadu, there is a Kollywood that’s as popular and as dreamy as the Hollywood. If you grew up there, chances are you would definitely take sides with these two gentlemen, Kamal Hassan and Rajini, for they have a huge impact on the Tamil entertainment industry.

    For every Rajini film that releases, Kodambakkam decorates itself. Rajini’s movies may not be classy but it pays off commercially. People come in hundreds to watch Rajini send giggles through their spines. They love to watch his stunts, style and believe him to be a part of their family. Accepted that he is not. But what would you and me do. They love him. He is the Super Star and there is no compromises to it. He holds on this title for more than two decades. Period.

    For ever Kamal Hassan film releasing, Kodambakkam cleanses itself from the sins of silly movies produced. They expect him to raise the bars of Tamil films. Film Critics wake-up from their long sleep and roll-up the sleeves to checkout for the silly loopholes that they could harp on their so-called-reviews[mostly re-telling the stories]. People want to see what’s the difference in his movies. Which diguise he has on-screen, which costume he wears, which slang of tamil[Don’t put word in my mouths– PKS] he talks like real and what not. They expect Kamal to do the change. At the sametime they expect Rajini to do the same thing over and over. People power. And that’s the way entertainment life goes on, at Tamil Nadu.

    Sit for a first-day-first-show Rajini movie. But a highly priced ticket, Boo, make cat-calls, shout Thalaiva, throw lotteries, yell like mad, get you vocal chords screwed-up and enjoy completely. That’s Rajini for you.

    Sit for a Kamal movie, whichever show on the first day. Allow yourself to be shocked, be moved to the edge of tears, enjoy his new techniques of film-making, appreciate his smart-thinking, understand romancing a girl, chew gum, watch the movie in silence and come back home hoping that your thinking was elevated by 20%. That’s Kamal Hassan.

    These dudes have given bad and good movies from time to time. Having enjoyed both of them, this April 14th could be( I say ‘could be’) your last chance to witness posters of their movies on Chennai walls being pasted together. All those Chennaites, live through the time. Enjoy. Envy You.

    P.S:
    a) For those who wondered how a Kamal post followed a Rajini post un-intentionally, here is a post with them, together.

    b) BTW, What’s Vijay doing in this Gladiator battlefield inbetween Kamal/Rajini. I’m just keeping tight because who knows Sachin(Sachein) might become a winner. None can say.

    c) (Apr 10th) – There’s a little mis-quote issue going on, in the comments section. Someone said the last time when Rajini/Kamal movie released together was Muthu/Kurudhi Punal. Have a look Muthu entry and Kurudhi Punal entry on IMDB. Muthu was on 1995 diwali and Kurudhi Punal was on 1996[Summer, I suppose]. Gotcha !!

  • April 9, 2005

    Kodambakkam, here we come

    So the article on Cinema Weblogs, featuring this blog, is on Hindu’s chennai edition today. That’s comforting. Also they added a bunch of blogs to the tail piece. They missed Anand this time too. Anti, Vijay, Ram and our Madras Blogger Meet blog got a mention. Thanks to Anti for passing on the message.

    Is Kodambakkam reading ? Please do.

  • April 8, 2005

    Rashomon – Three men and some truth

    rashomon.jpg
    [Pic: sprout.org]

    The moment anything is reported or written, truth suffers. This is one of the most fundamental points in reporting news. The eye witness narrative is the most sought out at such times. At all possibility, the eye witness brings his perspective of the news. The moment a perspective is brought in, subjectivity creeps in. He selects which part of the news has to be told, which part of the news he remembers, which part he forgets and which part he compels himself to hide. Thus selection of the scene from eye witness becomes inevitable. Finally, the truth suffers. So what happens when truth suffers?

    I copy pasted the above paragraph from my Virumandi movie review without any changed. And that suits Akira Kurosawa‘s Rashomon. Rather it’s the other way. But blame it on me watching Rashomon only now. Rashomon can be celebrated as one of the best all-time movies. I would personally say it’s the most simplest movie ever taken. With the story, screenplay, camera, sets, costumes and all being so simple, the movie was terrific. It was a quaintly gripping. Rashomon is certainly a tour-de-france in it’s own way. For a B &W movie, it had elements of international cinema which could be referenced and debated even now.

    Rashmon, a place of workship which was once a building of faith is in shambles. Three men discuss on a extra-ordinary event which two of them witnessed. Eachone has a version of the story. Where the heck is truth. It’s said that the story of Rashomon was built from a shortstory called, In the Grove by Ryunosuke Akutagawa. But it was Kurosawa’s dealing with it made it a evergreen classic. Even in such a negative thread that runs throughout the movie it’s Kurosawa’s brilliance that made all them seem positive at the end. The last scene where the wood cutter walks with
    the newborn talks volumes about the gist of the movie. The woodcutter with his heads raised, walks away from Rashomon, carrying the kid in his hand and the sun shining behind him. Metaphorically, the promise for a better future lies only with such altruistic random acts of people, at times of emergency. Class act !!.

    I am not sure if the building Rashomon was an erected set or not but it was completely realistic and the rain was perfect. It brought in the required tension without any 360 degree panned jimmy-jip angles. The chasing scenes had some amazing shots with the camera rushing down a bushy slope. Something I got to see for the first time only in Mani Ratnam‘s Pagal Nilavu song. Akira Kurosawa must have been an expert even before he shot Rashomon to have such clarity in the scene sequencing techniques. The protagonist Toshirô Mifune as Tajomoru just walked with best actor award.

    For those who haven’t seen, watch it without expectations. You can be positive that you will be rewarded in the end.

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