Jus a small long post....

PASSION is a kind of double edged Knife. It leads to prejudices of both what you believe and what you don't. prejudicative belief or non belief isn't anyting uncanny at all. All are just as myopic as it can be. There is no degree to passion. Eihter you are or you ain't. Simple. And there is no wrong in not being passionate about something or anything at all. Life is a boon. So much so to enjoy in one life , that being lithy helps to derive more out of it. Deviousness is not daring all the times. All that takes is to desist trying to be intelligent everytime. No , you can't and why try so?. Well this is no philosophical rant. Philosophical, though debatable ain't rant for sure. I bet you relate to them. It all starts with every hyped up release. This time it was billa. If you had the faintest idea as to what to expect from the movie you are still welcome. Having to know what we might get out of a movie needs just a little intelligence. But getting in to see billa expecting a kurosowa or for that matter any of legend to unfold is being so preposterous. They are not the benchmarks and as a matter of fact there is no such benchamrk for the art of filmmaking. It is so much so personal and different as every individual on this earth. Accept that it as your mistake as to have unmatched expectations. And being the human you are no wonder that you chose to blame some one else. Here in you easily blame the film and the maker. These are the pundits who as much accept or discard any movie without a premise of their own. For them movies like Kallori and Evano Oruvan are good movies and billa, Sivaji kind of movies are damp squibs. What they fail to ever understand is any movie is only as good as it reaches peoples heart. Just a simple thing they fail to assimilate and keep cribbing that billas and Sivajis are detriment to cinema. It is something different to analyse a movie and wigh its pros and cons. It is stupidity and utter nonsense fromt hese half baked prejudictive peopel which are real detriment to cinema than the one who are ready to assimilate all kind of movies and digest their own kinds. More to come.......

Why IR is GOD....

Almost a decade now. Thats approximately 500 intoxicated weekends. 500 blissful weekends of IR's music and you still yearn. Music is God. Music is IR.

Kallori

"Saamurai" was a remarkable movie. It stood testimony to the directorial abilities of Balaji Sakthivel. The movie, part of the vigilante band movie of that time and the one that was quite sensible too, wasn't something unexpected of a shankar's protege. In Kaadhal, a genuine attempt to capture a real rural love, balaji found a new love towards realism. Also looks he has fallen in to a trap. Or rather S films has trapped him in to make such formulaic movies. You can draw parallel to each and every frame of his latest venture Kalloori with that of Kaadhal. A citation could be the characterization of ramesh (the guy with the native slang and the witty onliners) is just another sort of the mechanic kid from kaadhal. But comparisons apart, the director has genuinely yet again ventured to capture life from yet another rural milieu. CAPTURE , is the keyword. Its almost like a candid camera stuff with each characters being as natural as possible. But what is the point in just capturing. Its like seeing on screen what you knew. Everyone knows there is a muthu, ramesh,kayal in every arts college and not necessary together as friends as much like in the movie. Movies, definitely ought ot be reflectionsof realitties. But no viewer goes yet again to see what he sees in real on screen to. What he ponders is if the movie helps him read between those realities and find some entertainment or enlightenment amidst such happenings. And thats the role of a story in a movie. And balaji fumbles big time in not having a solid story. Like my friend rightly commented "it's like seeing kana kaanum kaalangal on a big screen". Cut. To give a snapshot of the story. A group of friends after schooling, also have opportunity to share friendship by opting fr the same course at the local arts college. Also , a city bred girl out of circumstantial constraints is fored to take up the course. The girl though initialy feeling lost, slowly gels with the gang of friends and becomes very much a part of them. There in it is all about the small happiness, small fights, small tragedies that happen for them and among them. And the natural process of friendship turning to affection and wanting to turn to love. However there is a vigil in the form of one of the ever ethical , ever being politicaly correct friend. And henceforth the trauma of wanting to be in love, but being unable on counts of, whatelse again reality. Cut. So the story is definitely the one of beaten to death kind. Though balaji breaks the all cult exaggerated notions of student gimmicks, lousy professor kindof colleges shown in cinema for ages still creates his own cult of exaggeration. Like the duo character, which do evoke laughter but aint anything real. So balaji do falters in being consistently real. And there is no necessity to be consistently real at all. Also the college culturals are just like those mansion scenes (the ramp show) from kaadhal, trying to show them as real as possible only to get the audince wrath, for by then the CAPTURING concept goes a bit overboard. By this time there is so much realism, that you are wanting for some cinema ism in the movie. And comes bang the bastardly contrived climax. That makes u forget the feat (to take real people and picture them in reality) that the director managed to pull about the whole movie and hate him. Balaji saktivel, still does not convince us of having given a near perfect picture as much he has convinced us of his directorial abilites. But is that too much an ask.

PS:But, if there is one reason u need to watch this movie then it is tamanna. She is fantabulous, fitting the character to tee.Given the fact she is the most expereinced of the cast, plays true to her character and emotes excellently. It was a kind of revelation to watch her in some scenes. Say the one at bus stop, stopping to pick up muthu and yet not trying to pick him up. Undoubtedly shes quite fabulous too.

What the hell does one do.......

Despairing is a jinx. Devout allegiance to heartfelt needs, not desires isn’t easy at all. Donning to deliver and ditch is detrimental, as one disdains self. What the hell does one do, but dwell and deal perdition.

ATM -Aaravaramatra Thoivaana Mettuhal....

ATM songs on a first hearing gives a damp feeling. Some graceful dance and grandeur picturization , which is almost guaranteed for any vijay movie these days might save the songs on screen. Kaetta A R Rahman paatu, kaetka kaetka thaan you can realise the layers of music embedded and appreciate it nu solranungha. appdi yellam onnum illai. paatu yellam maaaanga maaari irukku.

Vengsarkar warns senior cricketers to perform....

Remember Imran khan once commenting on the ongoing feud between Inzamam and late Bob woolmer. "At end of the day Inzamam is definitely a great cricketer than woolmer and he naturaly would not be at ease with all ideas from a less greater cricketer than him". So at the end of the day the trio to whom allegedly vengsarkar warned are definitely the greatest cricketers India have ever produced and i definitely want them to give a shit to less greater cricketer like vengsarkar. What an horrible sort of an administrator is he! He sucks.

Katrathu Tamizh (A) Tamizh M.A

In a recent interview to rediff the director ram of Tamizh M.A attributes the reason of cinema being a powerful medium as the reason for his transition to a filmmaker from being a literary personality. It is the very same reason i despise him and his film. Having acknowledged the efficacies of cinema the medium it would have been only sane for the director to be clinically precise in his deliberations, especially when handling a sensitive issue like economic inequalities. The movie is all about a first hand narration of vicissitudes of the protagonist who is supposedly a tamizh graduate. I, after all those out of blue sky rocketed pre release hype for this movie , still managed to not carried away by all those hypes, which is very difficult for the movie buff i am. Let us be clear that the movie has nothing to do with tamizh. It is a story about a psychotic protagonist. And tamizh cinema as such has seen many such characters. The most recent one being selvaraghavan's protagonist in kathal Kondein (Interestingly the psychotic protagonist in here is an engineering student). So again am emphasizing that this is a movie about a psychotic guy and nothing to do with tamizh. And that was one perfect reason that made to not like this movie. Why do they want to promote a movie on something which they have not done? Also the director who manages to capture the varying timeline across the whole movie fails miserably to capture the exact time line where in the protagonist pursues his M.A at all. What a lackadaisical effort for a movie whose original title was TAMIZH M.A? So is the movie all a bad one. No not at all. Many a things sans the pseudo tamizh affiliation is perfect in the movie. A top notch casting, a riveting performance delivered by the cast, aided to their best by other technicians like music director, cameraman, sound engineer all makes this nothing short of a brilliant technically sound movie. A heartful applause for jeeva to have submitted himself yet again to a director. That is how actors are born and groomed. To cut a real long story short, Jeeva who though not sufficient, doesn’t complain either and sails with life with his Rs.2000 salaried tamizh teacher job. A petty incident, which could happen to anyone on the street, leads him to kill a railway station clerk accidentally. It is from here he turns completely psychotic and runs amok, roaming around like a vagabond and finding solace among doping saints. Amidst all the squalor nomadic life he murders 22 people for no reason or rhyme. And it is not all about that accidental murder. The director, flashbacks a little to show the growing of this protagonist, jeeva. Right from his childhood the protagonist is suffering separations from his relations by all sorts. Be it his father who is a military man or a horrid accident which deprives of him his entire family. So in all those transitions of life he also gets separated from his childhood sweetheart anandhi (played aptly by Anjali) with whom he shares a different world and lives a entire different life. These scenes indulging a kerela border location and the children are pretty plain sans any amusement, which is a natural outcome of children acting. Then he proceeds to do some more killings, meets his childhood sweetheart in the most obvious of the cinematic situations and spends some boring time with her before they end their lives, as it would have been totaly unsatisfactory for the director to let them live having had killed almost anyone and everyone in the movie.
Although it is a movie about a psychedelic person, still the director goes overboard in many sequences. Especially the sequences where in the director thrusts his apathy for software, IT people whom he portrays as sinners who have done indelible betrayal to their mother tongue by having learned english. Such a myopic portrayal it is. There is this scene with the call centre employee, which is a shit load of nonsense. It was the most shameful depiction of a bharathiyar's poem on screen. The director cum music director fails here in the most miserable way. And about the other scene in software company the less said is better. The directors’ intention whatsoever it was for these scenes are not real. So why try spreading what you don't believe. And at the end in a hurry to pass on some message the director makes the hero to mouth some angry lecture on the economic inequalities. And he defines economic inequalities as the difference between people who can afford to be inside a Spencer or a sathyam Cineplex and those who couldn afford and are forced to stay outside them. Yet another myopic, non self-believing view of the director.

Dealing with economic inequalities is no new theme for tamizh cinema. People have gone to become stalwarts, superstars & chief ministers after depicting to have fighting all those inequalities. But here what we get to see is a colossally wry half hearted depiction of a issue and more also with a squalor premise, sauntering s & slipping screenplay and a somber feel all over it. Jus in case you thought this review is a mindless& meandering blame the movie, for it was one.