Interested in Paintings and music
Imsai Arasan 23am Pulikesi – Review
In an age when most of the filmmakers in this part of the country are enlarging time worn genres like the gangster, vigilante, patriotic and the boy-meets-girl, one filmmaker has done some lateral thinking and come out with a movie that breaks some myths built over the years about cinema in Tamil Nadu and in the process he is laughing all the way to the bank.
Simbudevan, the debut filmmaker, was fortunate to get a producer willing to back his idea and put in the money. With Rs. 3 crores investment, he put up 11 sets and produced a movie in 61 days. `Imsai Arasan 23aam Pulikesi' (King of Torture, the 23rd Pulikesi) is mesmerising Tamil audience.
For his first feature film, director Simbudevan has chosen a daring subject. The story is set in the backdrop of the Poligar wars — end of 18th and beginning of 19th century — with Kattabomman and Ettappan as off-screen characters. Pulikesi, an imaginary poligar, is a lackey of the British and curries favour with them until his long lost twin brother, with a koan-like name Ukkirabuddhan, surfaces and sorts things out.
To counter the criticism against mindless entertainers, many filmmakers here have been saying that the audience wants only such films. Another argument one often hears is that Indian films have their own grammar and so do not compare them to international cinema. This film disproves both these points of view. More over, the characters in the film are not the stereotypes to which Indian/Tamil film audiences are used.
The filmmaker reveals many influences that have worked on him. Asterix comics, Black Adder (remember the pigeon episode?), Mad Magazine and our own company drama. The film has echoes of the Fifties Tamil films `Malaikallan' (1954) `Nadodi Mannan' (1958) and `Uthamaputhiran' — of the two dominant stars. He spoofs some icons of the Tamils... Avvaiyar, MGR, Sivaji and so on. In fact quite a few actors of Black and White era feature in this film... Nagesh, Manorama and M.N.Rajam. But the concerns that get expressed are contemporary — conservation, child labour, globalisation, bureaucratic apathy and so on.
Simbudevan brings in unexpected twists. The minister tells the twin brothers that he all along knew that they will get together one day. How? He turns to the audience and in a direct address tells them `Otherwise how does one undo this knot in the screenplay?' Cheran opened his film `Autograph' (2005) with an effective instance of direct address, in the Egmore station sequence. It was under Cheran that Simbudevan had his apprenticeship, in three films.
A former comic strip illustrator, Simbudevan has applied this skill in filmmaking. He has used storyboard method, in which the filmmaker sketches each scene, developing a crisp visual style. You can see the influence in the way he frames and composes a scene.
Next to the director, it is the art director who dominates the film. P. Krishnamurthi, national award winner for art direction and also for costume design for `Oru Vadakande Veera Katha' (Malayalam, 1989) and Bharati (Tamil, 2000) lives up to his reputation. The film opens with an acknowledgement to Roja Muthaiah Research Library, Chennai, indicating the research that has gone into it. The sets, the costume and the properties all reflect the flavour of the period - 18th century. Very imaginatively Simbudevan has chosen the Salvador Dali moustache for Pulikesi. He knows that this growth on the upper lip can become an ideological symbol by itself, like Hitler's or Bharati's.
Cinematographer Arthur Wilson creates a series of arresting images and tells the story economically. He tells the story in steady, lengthy shots, a manner that is so easy on the eye and facilitates the entry of the viewer into the magical world he creates. The way he has handled colour is another pleasing factor about this film. He uses old movie devices... wipes and split-screen. The film is not without its problems. The repulsive spitting scenes for instance. The minor characters are not finely drawn except the memorable spy. At least two songs come as interruptions. And there is an anachronistic reference to Nalanda University which was active 2nd century AD. The allusions to Tamil history and life, insightful as though they are, can restrict the appeal of the film to Tamil audience. Even with the Tamil diaspora it may not strike a chord.
Comedian Vadivelu's Pulikesi is both the king and the jester and he gives a sterling performance. Each time he sits on the throne he does with great flourish and in a new posture. His acting is seemingly effortless, though richly stylised in many sequences. With dual roles, the script offers numerous opportunities to show his talent and Vadivelu seizes them eagerly.
Whenever the twins are together in one frame, he brings out the contrasts in character, though facial expression and body language. The compelling acting by Nasser as the scheming uncle adds to the strength of the film. The two heroines are delightful. Their roles however, are meant merely to lend a tone to the film.
This is not the first historical comedy in Tamil cinema. There may be others. But what sets apart Pulikesi is that it is a work in which the elements of cinema blossom. And it is not a mere historical. It is a parody with healthy concerns. Above all it is a thoroughly enjoyable, buoyant film comedy.
Anbe Sivam - Review
’’Anbe Sivam’’ revolves around the concept that God is in everyone, rather than in various forms,and it is hightime that each individual started exposing more of God in him,which would result in a peaceful and a pleasing planet.The theme really sounds interesting and innovative,like most of the films of today.
But Unlike many Tamil films of the day,’’Anbe Sivam’’ dosent stop with a promising theme.It moves on to a well designed plot,talented and committed cast and crew,and minute detailing throughout the film.It is films like ’’Anbe Sivam’’ that convince our onlookers that Indian Cinema is as good as any other tinsel town in the world.It is however painful that like all tremendous films Anbe Sivam also is eluded of the roaring recpetion of the fans and embraces only the classy claps of the critics.
We have seen stories that revolve around the friendship made during train travel.On a different note,this story revolves around the friendship of two persons Arasu and Sivam during their mission to reach their destinations after missing their flight.The story narrows in to its theme comparing and contrasting the attitudes.lifestyles,ethical values and approaches of these two diversely placed gentlemen,a hi-tech youth and a passionate middle ager.The plot is so perfect that you have to strive hard to find a a visible flaw. The most wonderful thing about Anbe Sivam is the value accredited by every member of the team to his/her performance.
And performance wise,who can dream of topping Kamal Hassan.Kamal stands a cut above the rest,and delivers one more praiseworthy role,with abundant ease.Kamal’s dedication,versatility and application are put into a great show.His amicable acting both as an active artist in the flashback and as a self motivating humble handicap in the main plot deserve several rounds of applause.No other actor could have dreamt of playing such a demanding character,and Kamal adds another feather in his feather-full cap.His unbelievable voice modulations turn out to be an added advantage,and speaking of his voice,we have to take our hats off for his rendering of three songs.His dignified singing of the title song with a helluva of modulations would put any playback singer to shame. To add more to the records,Kamal has penned the superceding story and screenplay too.Kamal is Kamal
Next to KamalHassan,Madhan scores off.The noted cartoonist and critic was an unexpected pleasure,both on and off the screen.As always,he presets himself very naturally in his short cameo where he plays the real Madhan himself.But Madhan was a revelation taking care of the dialogues which turn out to be one of the assets of this film.’’Why are you people talking about Communism after the Soviet Union debacle.?’’ ’’Well.If Taj Mahal is shattered,will you people stop loving?’’.Conversations like these turn out to be very interesting.Each and Every dialogue that comes in the film has its worth,be it humour,pathos or casual.Madhan easily strikes a balance between Crazy Mohan’s humour and Sujatha’s effectiveness,once again the normal man’s delight.
The surprise packet in the whole film is Madhavan,who seems to grow versatile film by film.Oversmartness,Suspicion,Inexperience,Bias,Faith,Sincerity,fear,immaturity,I
mproper Reasoning and many other tenets of his character are exposed from the first to the final frame,and Madhavan expresses all of them with great authority.Kudos to Maddy for such a potent potrayal.
All other actors fit in beautifully.Kiran Rathod makes her presentable without excessive make up.Uma Riaz Pownraj,the old lady who plays nurse are all impressive newcomers,despite their tiny roles.Nasser,Santhanabharathi,Seema and all others show their experience and effeciency.And YuhiSethu delivers yet another delightful cameo.
The crew are as good as the cast.Vairamuthus lyrics strike a great accord with the film,and he is an award due for the title song.Vidyasagars songs knit well with the film,but you would have expected a better performance given his present form.
Cinematography by Arthur Wilson throws light upon all our wonderful surroundings the same way,the director shows our ethical values.The picturisation is immaculate during ther train scens,and while capturing the rain-marred Orrisa streets.
The art direction is one of very high class too,and the art director Prabahakar garners much attention during the train and bus accidents.
Sundar.C is known for his humorous films,but his Anbe Sivam makes our moods very serious,the same way his previous films made us lighthearted.His pains to make this film a success are gains to his ability as a director. Only the little longer flashback and the inadequate expressions after the child’s death may be minor flaws.
Anbe Sivam is totally a worthwhile film.
