Hint: From a Hindi movie, which was a remake of a Tamil blockbuster movie. AR Rahman pretty much used all the tunes of his Tamil hits for the corresponding Hindi versions. The Hindi movie didn’t do well. And this was the only song, I believe that was not in the original Tamil version and was made exclusively for the Hindi version.
Hint: From a Tamil film. After this film, the director went on to make three films, “Kadhal” trilogy of sorts with AR Rahman, all with chartbuster songs. But this earthy film had some amazing but underrated music.
Hint: This is truly a tough one if you have not listened to this independent compilation album of AR Rahman. The collector’s edition of the album was released as a 2 disc album with original compositions meant for this album in Disc 1 and some instrumental versions and a few handpicked songs from his movies in Disc 2. This particular track is an instrumental track from Disc 1.
I was watching an interview with the main cast members of this movie. Most of them are regular citizens of Kancharapalem, a locality in Visakhapatnam, Andhra Pradesh, with no prior acing experience.
One of the cast members claimed that during the entire duration of the shoot, he never knew what was going through the director’s mind because 60% of the time, the director would apparently say “OK” after the first take. And he being a non-actor, a non-professional actor to be specific, always thought he pretty much sucked in that scene.
That gut instinct of Venkatesh Maha is what I loved in this movie – C/o Kancharapalem. His gut instinct to bring out the rawness of these everyday characters, not only highlighted the authenticity in them, but also took us to Kancharapalem itself.
This movie was featured in many “One of the best films to watch in 2018” lists put together by renowned film critics in India. But thankfully, I had not read a single review until I chanced upon the movie on Netflix recently.
Four love stories involving four couples of different age groups. That’s the backdrop. But you don’t realize that because of how these characters are brought about. You don’t realize till later in the movie how each couple is essentially exploring the depths of this emotion called “Love”.
Is that what makes Sundaram, a teenage boy run out of school to get a lyrics booklet (remember those days when you could buy lyrics booklet for 10p or 20p??) for Sunitha, his classmate, who enjoys singing but is too shy to sing in front of her school friends because she doesn’t know the lyrics of her favorite song?
Is that what makes Bhargavi, a rather bold and a straightforward college going brahmin girl, follow Joseph to a sermon in the middle of a street so that she could spend a Sunday with him, although it was the same Joseph, an odd job hitman, who angered her once because she caught him beating up a man on the street?
Is that what makes Gaddam, a liquor store employee, thrust a pack of condoms into the hands of Saleema, his sex-worker girlfriend, after she reveals to him that her mother died of AIDS?
Is that what makes Raju, a 49 year old unmarried man, carry a bottle of sugar water during a difficult hilly trek to a temple, for Radha, his diabetic co-worker and boss, a single mother from Odisha?
Maha keeps cutting between these four stories.
With Sundaram and Sunitha, you understand the age, how quickly mind flutters in that age, and what the real depth of love is during teem years. And on the other end of the age spectrum, you have Raju and Radha, two people who had gone through a lot in their lives. Falling in love is not merely the ability to impress the other person in their case, but it’s a gradual process and it starts with understanding each other by being kind to each other.
And somewhere in between, there is a stunning revolutionary relationship between Gaddam and Saleema. Gaddam proposes to Saleema after finding out that she is a sex-worker. He says he is not bothered. But she doesn’t just fall at his feet or cry out loud because of his open heartedness. Instead she asks him to take her to his friends and profess his love for her in front of them, some of whom had slept with her in the past. This way, she says, her past will never be brought up in future as a relationship killer. This is such a swipe at so many societal taboos at the same time.
Meanwhile it is also in the same Kancharapalem where you get to see some homophobia in the form of how the residents conclude that Raju must be gay for remaining single at the age of 49 and how that is a no-no for a gay like him to live amongst them.
Every non-actor, played his or her character with a certain awkward rawness that it all came across in such an endearing way to me. There were occasions when some of these characters render their lines overlapping with the other person’s lines, just like what happens in real life, instead of the perfectly synchronized dialogue edits we see in most movies.
And then the twist.
I won’t reveal it here. But full credits to Maha’s writing. If the director meticulously took pains to shoot the whole movie as a serious of undramatic and low key moments, then he was aided ably by the writer who made sure that there was enough in each of those undramatic and low key moments.
Love does transcend and amaze all notions of time.
And these love stories in Kancharapalem are proof of that.
Where do I begin? Do I begin at the where?
Do I begin at the “Vaer (வேர்)”?
You know what I mean.
There was an audio cassette at home in the early 80s. It was titled “Crazy Thieves in Palavakkam”. And the only thing I remember from the audio recording of that stage play was the lead actor S.Ve.Shekher. It took a few years for me to learn more about the person behind the story of that stage play.
Rangachari Mohan, who went onto become “Crazy” Mohan.
Even though S. Ve. Shekher introduced me to Mr. Crazy Mohan, I moved onto Mr. Mohan for my Tamil humor soon after.
Many seeds of my humor were sown by Crazy Mohan. Even before I learned that there are specific terms called “wordplay” and “pun” for the kind of humor that came naturally to him, I was digging his humor, both knowingly and unknowingly. Crazy Mohan was original, authentic, and there was something childishly naughty about his humor, like he was always exploring. His humor was sometimes silly and sometimes profound. But always exploring. That made his humor work instantly as well as in a repetitive manner.
It was 1989, when Apoorva Sagodharargal was about to be released and I may have gone out for a game of cricket with my local friends. On our way back home, we walked past the theater where the movie was going to be screened in the next few days. A friend in our group, stopped us in front of a ‘wall poster’ of the movie and started talking about the crew behind this movie. Not actors or actresses. But the crew. He said how much he, an ardent Kamal Haasan fan was looking forward to his screenplay in this movie, how great a director Singeetam Srinvasa Rao was and why it was a big deal that he was part of the project. Then, he went onto talk about “Crazy” Mohan, and how this could be an interesting combination as he was new to the film industry (he had worked briefly on a K Balachander movie before that — “Poikkaal Kudhirai”). I certainly was familiar with Mohan through his plays, but had no idea what to expect from him through this movie. Somehow, this friend eloquently waxing about the crew of Apoorva Sagodharargal that day made a huge and a lasting impact on me.
So, right from that first big “Kamal Haasan – Crazy Mohan” combination, I was drawn to his style of writing, his genius wordplays, and his amazing chemistry with Kamal.
I do not intend to go on and on to talk about all the rib-tickling one-liners, and the mad rides he took us through in each film he did with Kamal Haasan in this post, but as I process the tragic news of his passing away today, I can’t but think of how much I owe him for all my laughter.
The only way one can pay tribute to the legend of a comedy genius like Crazy Mohan is by celebrating the abundance of humor that he has gifted us with.
So, I decided to start the day with the “Munnadi-Pinnadi” scene from Panchathanthiram and I probably will end the day with the “Mean/Fish (மீன்)” comedy from MMKR.
I mean..Is there a better way?
There has been no one who effortlessly made me laugh harder and louder through movies like Mr. Crazy Mohan did and for that I will always be grateful.
So long, and thanks for all the fish, Mr. ‘Crazy’ Mohan!!
A bumpy road to Freedom - From Nova Scotia to Sierra Leone
It’s all but a forgotten chapter in the North American history.
It’s yet another story of colonial manipulation.
It’s also a story of a few thousand black slaves, who had a chance for freedom, and an opportunity to exact revenge on their merciless masters.
But mostly, it’s a sad story of broken promises, the amount of sufferings one would voluntarily endure in order to find a better life, and the resulting racial discord that would resonate across 3 continents in various forms.
Have you heard of the Black Loyalists?
They were those black slaves who were promised freedom and free land, if they signed up to join the British army to fight against the American rebels during the revolutionary war. Not because of compassion but because the British needed manpower. But after the British lost the war and were forced to leave the American colonies, these loyalists got neither freedom nor land. They had to fight for it and go to extreme lengths to get freedom and the promised land eventually.
Here is what happened:
(If the above images are hard to read, please follow the timeline using the presentation mode available in this link.)
That’s how some of these loyalists ended up in Nova Scotia, while some in England and the rest in Sierra Leone.
Many American historians have tried to erase, rewrite, or revise their history. The myth of the black loyalists has to be burst open and their history needs to be understood for they certainly were not ‘fugitive slaves’ as claimed by Thomas Jefferson.
Today is the last day of Black History month in 2019.
A good day to reflect upon how far the country has come in terms of racial prejudices & injustices and also think about how little some things have changed.
Let me start with the music. Long before I knew anything about the movie or who the director was, or even who the lead actors were, I came across the first single of Gully Boy.
Asli Hip Hop.
And I listened to it on a steaming platform, which meant I didn’t have any video reference the first time around. I was instantly drawn to the energy of the song. I’ll admit, I am not the most proficient Hindi speaker and in general, unlike many music listeners, when I listen to the song for the first few times, I don’t instantly process the lyrics, even in languages that I am most comfortable with (English and Tamil). So, languages of songs have rarely been barriers for me in appreciating the music or the vibe that specific songs aim for.
Asli Hip Hop did something to me.
As soon as I had access to a computer, I searched for the YouTube version of the song and within a few minutes I learned as much as I could about the movie and knew right then that Gully Boy was going to be the first Hindi movie in 2019 that I was going to look forward to. Soon, Apna Time Aayega was released and I fell in love with the whole album even without listening to the rest of the songs.
Zoya Akhtar’s Gully Boy aims to deliver an underdog success story that would resonate with every moviegoer, irrespective of their natural liking for “rap music” or not. And therein lies those layers of deft decisions that Zoya had to make to keep the movie away from being like Eight Mile and steer to it being more like (albeit rather ambitiously), Million Dollar Baby or Rocky. As a filmmaker, if you could pull that off, given the premise of your story is “Hindi Rap or Hindi Hip-Hop counterculture”, a world not many people know much about, I mean, that’s not just a success, but a phenomenal one.
Listen to Gully Boy music here:
Take this scene as an example. A bridge on top of a “nala” (sewer) is one of the regular secret meeting points of Murad (Ranveer Singh) and Safeena (Alia Bhatt), and yet, you don’t see (or smell) the sewer or the ambiance around in a single scene. There is even an aerial shot of the bridge where you could clearly see the garbage floating around on both sides of the bridge, and you somehow are not taken through a sullen ride of sympathetic thoughts about the slum or its dwellers. Zoya and her cameraman (Jay Oza) had deliberately made an attempt not to dwell into the hardships of a slum life as primary reference points in a single scene, but instead focus on the characters and their stories. That is alright for you, as long as you are following the story arc while inside the theater, but as you walk out, you wonder why the whole rap counterculture, a world most of us don’t know much about, was not explored further. In other words, what makes these rappers write songs to express themselves in a particular manner? Where and how did they draw their inspiration from? Perhaps, that’s the story arc that would have taken the movie along the path of Eight Mile. As satisfied as I was with the movie as a whole, I felt a little inadequate walking out and would have wanted Zoya to explore that path a bit more, while still keeping her “sports movie” template. To offset, a part of the Sky episode could have been nicked.
Vijay Maurya (Murad’s uncle – also the movie’s dialogue writer), Vijay Raaz (Murad’s Father), and Vijay Varma (Moeen, Murad’s friend and his occasional savior) are the three Vijays who pretty much provide the most needed push (in a benevolent or in a malevolent manner) in Murad’s life when he needed them the most. Talking about the dialogues, even though I am not the best judge of “Mumbaiya”, the dialogues were so well penned that they brought out certain fresh dimensions to some scenes.
Murad doesn’t talk much. He writes and when he discovers he could perform after meeting his mentor of sorts, MC Sher (played brilliantly by Siddhant Chaturvedi), he raps or performs and continues to talk less. A tamed Ranveer excels in his role and it was simply amazing to watch him go through his road to his eventual success at a Rap Battle which would change his fortune for the better. Ranveer was Murad for the duration of the movie.
Is there a better female actor in Bollywood today than Alia Bhatt? My admiration for her started after watching Highway and it has only continued to grow since then. In this movie, Safeena is defined by that spunk, that firecracker attitude, and that boldness & possessiveness, all of which Alia absorbed and breathed out effortlessly. The first scene where Ranveer’s and Alia’s characters meet (how beautifully staged was that scene) presents you the entire character graph of Safeena, while Murad’s character continues to evolve throughout the movie.
Clocking at a little over 2 hours and 30 minutes (which didn’t bother me much, although I would repeat why I felt a good 5-10 minutes of the Sky episode could have been sacrificed), Gully Boy doesn’t pretend to be anything else.
It’s a story about dreaming big. It’s a story that questions the societal disparity but offers hope to the underdog who wants to give up fighting that disparity.
Unlike Eminem in Eight Mile, who even after that epic rap battle victory still walks away all broke and only with a smirk on his face and a jolt of confidence, Murad walks back to the slum as a local celebrity, 10 Lakh Rupees richer, and even gives away some cash to his grandma who once insulted him.
The fine line between an underdog success story that wants you to leave with a hope for tomorrow and an underdog success story that wants you to leave with the satisfaction of you achieving a dream today. That’s the fine line between what I expected and what I experienced.
Go. Root for this Gully Boy!
PS: Shoutout to the original Gully Boys – Naezy and DIVINE.
"Hello, Good Morning!
This is Ganpy.
It's 5:04 AM on Feb 2, 2019. It's a Saturday.
A big day for the Groundhog supremacists. The temperature outside is 4 deg F with a windchill of -1 deg F. It feels like spring already.
Meantime, the lab is ready and I think I am all set for my experiment. I am very excited about this. I hope I have all that I need with me. Will do one more scan of the lab with the checklist. At this point, am just waiting for the subject to arrive before I start the preparation."
"Hello. It's me again.
The subject has just arrived. Will complete pre-experiment preparatory steps soon. Shouldn't take that long.."
"I am sure you heard all that noise.
Morning hugs and licks exchanged. And I can confirm now that the subject is ready because she is in the most ideal position for the experiment.
Also..for the record, I didn't have to give any treats to the subject as part of this preparatory phase."
"Hello, We are ready to begin the experiment. Really anxious and am super excited."
The objective of today's experiment is to test Tayga's endurance level to belly rubs.
I will be studying the relationship between the applied pressure of my hands and Tayga's excitement level and will be measuring the variations of all these parameters over a period of time in order to find that exact threshold time period at which Tayga says 'Enough!! I am done with your belly rubs..'.
Because under normal conditions, these belly rubs last only 2-3 minutes and I don't get to see any change in her excitement level, there is no data available to determine at what point of time Tayga pushes my hands away and says enough.
I will be recording my observations over a period of time and the method I am going to use to measure her excitement level is simply visual and emotional.
Ok, here we go.."
"Hello! I am happy to report that the experiment is proceeding well. The subject has settled into a comfortable position and hasn't moved much in the past 20 minutes or so. Her eyes are partially closed. Like she is dreaming. There may even be a smile.."
A quick update.
Nothing much has changed since my last update. If this continues for another 30 minutes or so, I will have to switch hands. Also, in case this makes you happy, Phil didn't see his shadow and that according to Phil means spring is really coming soon.."
More than 2 hours since we started the experiment.
I had to get some water as I started feeling thirsty, which was something I didn't account for. But I had help and could get my drink without any interruptions to my experiment.
The subject is still holding steady and absolutely no variations. If any, there is more drool now.."
"Hello, this is me again.
I am at a point where I have to make a crucial change in the experiment.
I would like to make it on record that the objective of my experiment has been altered.
The objective as it stands now is to find that specific threshold time period, when Tayga opens her eyes, lifts her head, and rolls from one side to the other.
Also, I have asked my lab assistant to massage one arm while the other one is being used to conduct the experiment."
"I hate to admit. And I had not planned for this scenario.
My arms are beginning to hurt, in spite of all the help, I am getting through acupuncture and pressure point massages.
The objective has been slightly modified again.
As long as the subject opens her eyes, and even for a fleeting second gives me a wink that I understand as she telling me that she is done, I will take the measurements and stop the experiment.."
"My assist..err..hrr..re feeding me lunch.
Tayga still in same pos..I think I am getting dehydra..or cramp..it..hurts..ok..later.."
"I am abandoning the experiment.
This experiment has been abandoned.."
“It was truly a perfect match”, said Novak Djokovic as he described his seventh Australian Open win.
What a comeback and what a transformation in his game.
If Novak is going to keep competing at this level for the rest of the season, he can truly have many more perfect matches and by the power given by the tennis gods, he could very well win all four grans slams in a single calendar year, thereby making him win four consecutive grand slam titles twice in his career.
Given his unceremonious exit from Melbourne last year’s Australian Open after an elbow injury which needed surgery, to fancy a comeback like this needed a certain kind of arrogance. Or self-belief, depending on how you differentiate one from the other.
“I don’t want to sound arrogant, but I always believe in myself. I think that’s probably the biggest secret of my success, if I can say, or probably any other athlete, is self-belief, always digging deep in the moments when you’re facing adversity, digging those moments of complimenting yourself, visualizing yourself as a winner, trying to be in a positive state of mind. It’s much easier said than done, obviously.”
When asked about his chances of winning a fourth grand slam title in a row for the second time, he had this to say.
“Not impossible, but highly unlikely.”
Novak Djokovic is clearly on a high and also perhaps running a bit under the radar, given the focus Rafa Nadal and Roger Federer continue to get, even though he has won three grand slam titles in a row now for the third time in his career. As I started typing this, I even forgot momentarily, that he won the 2018 Wimbledon Championship.
True to his reputation, Novak kept his humor in tact, during the press exchange after.
If humor and a bit of arrogance carried Novak all the way to the championship in Melbourne, Naomi Osaka, the women’s champion, took a very contrasting route to the podium in Melbourne.
After the semifinal against Karolina Pliskova (who incidentally is from the same country as Osaka’s opponent in the final, Petra Kvitova) this is what Naomi Osaka said.
“But I felt like for me, there are certain things she’s better than me at, right? I felt like I have to keep pumping myself up. Every time there’s an opportunity, or something doesn’t go my way, I had to keep being very positive.”
And defeating Kvitova in what seemed like an emotional final for her, Osaka, the newly crowned champion, didn’t jump around the court or pump her fists. She walked to the net almost as if she was the one who lost the match, and offered her congratulations to Petra.
And then she said this during the trophy ceremony.
“I’m really honored to have played you in the final of a Grand Slam.”
Now, anyone who has followed Naomi from the US Open 2018 would remember what Naomi said during the Australian Open final were not all that different from how she conducted herself and what she said after the controversial ending in the final, where she beat her childhood idol, Serena Williams.
Naomi said this, wiping her tears off, in a very obviously apologetic tone.
“I know everyone was cheering for her, and I am sorry it had to end like this.”
I would like to know if you can point me at any tennis player who has/had conducted herself or himself in this manner. Tennis is a single player sport and not a team sport, one in which a certain amount of arrogance has always been accepted and expected.
But Naomi rightly or wrongly, inspires a dangerous amount of hope.
She is 21, young, charming, smart, funny, kind (she was thanking the ball kids and spectators who had to bear the heat during the tournament), interesting, and most importantly humble.
I say “dangerous” because we may never see another champion like Naomi, someone at 21, winning back to back grand slams, and becoming a likable star in a sort of unifying way, by sprinkling hopes for humanity, as the tennis world rejoices her humble persona. And it would be devastating to lose all that hope when another champion exuding the kind of humility that Naomi exudes never emerges.
For now though, dangerous or not, I will join the many tennis fans from all around the world in keeping my faith in the future of tennis and my faith in the future of tennis humanity.
What if the battle isn’t always between good and evil?
What happens when evil permeates into good and what’s left is only shades of evil?
In a movie based on an abrasive story about a family horrifically transformed after the death of its patriarch who is a wealthy gangster, the writers (Mani Ratnam and Siva Ananth) and the director (Mani Ratnam) adequately prepare you for the gory twists and turns the movie is going to take, after a shocking opening scene where there is a failed assassination attempt on the patriarch and his wife.
Chekka Chivantha Vaanam is a new kind of Mani Ratnam film. The ‘Mani-isms’ we are used to seeing perhaps have gotten a reboot. Mani’s treatment of songs has entered a completely new and a complex territory. There is less of poetry in any given scene, as the scenes are not dwelling on moments, instead they define phases of stories and hence Mani couldn’t afford to spend time on waxing poetry. There are many details, at first, seem untold. When I watched the movie the second time, I realized that they were not left untold, but were meant to be left intentionally open for audience’s interpretation, as the director wants to move the story forward in the quickest way possible. So, do these all make CCV a film that is very “Un-Mani-Ratnam”? The answer is yes, if you like to box creativity. The answer is no, if you believe in an artist’s creativity manifesting into different forms or in it simply evolving.
Arvind Swamy, Arun Vijay, and STR are three brothers. They play these characters that are your manly men, riding high on Testosterone with a capital “T”. They have strong women in their respective lives – Jyohika, Aishwarya, and Dayana. When their father, Prakash Raj and mother, Jayasudha, escape an assassination attempt on their lives, the brothers, two of them living outside the country, are forced to get together in Chennai. As they help comfort their parents, an opportunity to reassess their priorities arise, and along with it a suspicion on who could have tried killing their father creeps in. The stage is set for a power struggle, if and when a vacuum gets created after the father dies.
We are also introduced to an outsider, Vijay Sethupathi, a cop, serving suspension of his duties. He is a childhood friend of Arvind Swamy and is fully aware of the family’s criminal dealings, and is ok to share a plate of ‘upma’ or a cup of tea with them, without any guilt. The script sort of skates over these characters and their backgrounds unwaveringly, and yet, we don’t feel lost or disconnected. So, it’s left to the actors, then, to keep us close to the movie, and none of them shirks away from that task of injecting the needed intellect and emotion to the characters. AR Rahman’s powerful background score defines the underlying mood of the film, frame by farme.
I was quite unsure of my reaction to the movie the first time around because I was unsure if I had missed any character layering, given that the story is straightforward, barring the somewhat predictable plot twists. When I watched it the second time, I was able to appreciate the nuances of the characters much better. I could understand why Mani and Siva may have made some choices in their character portrayal. Given the nature of the “plot forwards”, and because of the deliberate attempt to downplay and not dramatize the bonding between the characters, there is very little emotionally, for the audience to latch onto, which works in the movie’s favor when it comes to the final act.
The final act of the movie is almost like a “purge”. A bloodbath of vengeance, shot aesthetically in a visually arresting landscape (Gandhikota Canyon in Kadappa district, Andhra Pradesh), set to hues of red, all over. From the phosphorus rich red soil to the bullfinch sky showcasing a sunset, from blood oozing out of dead bodies to the redness arising from anger, the director of cinematography Santhosh Sivan and Mani Ratnam, make sure that there is poetic justice meted out to the title of the movie. With AR Rahman’s guitar riff screaming to some powerful lyrics of Vairamuthu, one ends up walking out of the theater rooting for the right character…albeit as an afterthought. What if the battle isn’t always between good and evil?
What happens when evil permeates into good and what’s left is only shades of evil?
தப்பு தப்பா தப்புங்க செஞ்சு தப்பு அறிஞ்சும் தப்புங்க செஞ்சு செவந்து போச்சு நெஞ்சு [Conscious but repeated violent deeds Eventually result in bloodied souls]