Tamilnadu and the State of sobriety

At this rate of Tamilnadu State Government’s atrocities, I would not be surprised if MK Stalin renames Tamilnadu as TASMAC-Nadu, named after the state owned liquor Corporation. Tamilnadu is suffering the perils of the lack of genuine Leader after Jayalalitha, who could have been a bit dictatorial but possessed a flawless moral centre and a benevolent mindset eclipsing her smaller shortcomings. 

And I would not be surprised if MKS wakes up the next day after learning the State’s name change and growing opposition, making an Former CM Edapadi Palaniswamy act after Tuticorin Jalian wala Bagh type assassinations, that he himself was not aware when even the Collector was in loop.

“In wine there is wisdom, in beer there is freedom, in water there is bacteria.”

Senthil Balaji Err… Benjamin Franklin

I would not be shocked if the Party’s late-coming Kangaroo who managed to eclipse all the DMK’s loyal stalwarts, now busy on making a recipe of “Death by liquor Chocolate for Tamilnadu” closely collaborating with the DMK’s first family, will be the DMK’s next antagonist after 2G scam. He is just a career based Politician who knows how to unlock the right political doors at the right moment, rising from Mineral water vendor to Liquor Supplier of Tamilnadu. Some Politicians don’t understand the difference between being an entertainer or a Politician, just like flavours of water. The State is in such a state where there are more political clowns keeping their attendance strong at PR Circus shows just like Film stars, rather doing what they got elected for – good Governance.

“When the well’s dry, we know the worth of water.”

MKS after 2G Scam Err… Benjamin Franklin

And I would not be surprised if people of Tamilnadu suffer from confusion and dilemma in understanding whether it’s the same Government which promotes education among the lesser privileged, provider of morning meals to school children, giving free bus tickets for Women is also the same Split personality Government supplying free flowing Liquor to keep them in a dizzy state forever, applying all innovation in Liquor promotion, rather on welfare and HR.

“My therapist set half a glass of water in front of me. He asked if I was an optimist or a pessimist. So, I drank the water and told him I was a problem solver.”

First Family Err… Don’t know Who. Copied from Web

And I would not be surprised, if this “disgusting” ( as rightly quoted by PMK’s Anbumani, I did not vote for Oviya, but will not mind voting for you if come above crooked caste politics and silly coalitions ) Liquor Government, with bottomless greed for corruption, even after hectic struggles for decades to rise up after 2G scam and other corruption charges, will go through much more issues by the same pattern after 2024, making themselves a rotten Hell, if they dont course correct to get their feet and ears grounded.

“I think good governance and good politics can go together.”

Chandrababu Naidu. No! Not any TN Politician of present times.

And I would not be surprised, it’s not just few scams, but MKS will be remembered for his own inefficiency after peaking for good in first two years, only to slide down for all arrogance and bureaucratic lethargy. Jayalalitha did not just get reelected among politically conscious Tamil people with just PR. She showed real intent and equivalent actions to come up with novel schemes frequently, for the welfare to make herself an outstanding Leader, not just Photo Booths and inviting Film stars for publicity or doling out liquor vending Machines and licensing public spaces for Liquor vending or helping Politicians amass land and steal entire water bodies by privatising even water resources of the State .

“The earth, the air, the land, and the water are not an inheritance from our forefathers but on loan from our children. So we have to handover to them at least as it was handed over to us.”

Land Mafia and their inheritors Err… Gandhi

Honestly, I did not expect this from MKS who seems more of a dummy CM faring poorer than EPS with series of U-turns, foxy laws and secret Govt gazettes. MKS looks like an Union Agent deputed to make BJP flourish in TN, and doing the self destruction job of dravidian culture even better than EPS. Sadly DMK as usual aspires to be outstanding Number One Party in India for Corruption, under the feeble guidance of MKS.

“Water, taken in moderation, cannot hurt anybody.”

TASMAC Err… Mark Twain

Thoughts about Ponniyin Selvan from a Son of Gun

One of the most adorable characters of Ponniyin Selvan Movie is Mani Ratnam. I have seen Mani Ratnam through a key hole from his Press interviews of the Past and very few words minced on stages. I thought he is carefully cultivating an enigmatic persona. As a motor mouth I always thought its better to be silent than sounding foolish, but in vain, including this worthless blog. But MR broke all such myths with his free flowing interviews from the start of PS1, with his sensibility and deep thoughts, opening the entire door. It was nice to understand a bit of what is going though his mind. At least now I am cleared of all doubts, that he is the actual witty dialogue writer of his Films.

The compulsions of limited time with screens, investment and social media, could have urged MR to come up with a PR blitz. But, he could have very well done that his stellar star cast to do the talking, directing events from the background. But, he came out soldiering from front with quite interesting quips and tid-bits. I still did not like the way Northern media not extracting the crew’s potential during the Launch events except for Film Companion and few others. I personally liked the warm interviews of Bharadwaj Rangan and candid questions from Sudhir Srinivasan which made him more accessible with Human connect.

Why Ponniyin Selvan should be celebrated?

Any writer would have aspired for a Film-maker who would not kill the spirit of his Novel. Sujatha has written a lot about how his stories got sabotaged by Film-makers and his hesitation in handing over his classic “Pirivom Santhippom” to them. I personally liked MR’s honesty to stay true to Kalki’s vision and core thoughts, even when the novel is open for a Free-for-all adaptation. He did not resort to theatrics and computer games like CG just to keep the audience in awe. His adaptation is more on to the emotional core, exploring them from their perspective and make us feel for them.

The epic film making happened during COVID times. It was bit disturbing to see MR in PPE kit and mask and we know he is not in pink of his health in early 60s. The way the crew worked together to bring in a believable experience is laudable. 

The technicalities were top notch. Ravivarman made the screen look golden, paint brushing all the graphics. Kalki has described many gruesome scenes starting from the First episode on the war and its ravaging effects. But MR made everything looked poetic. When Nandhini’s husband Veerapandian gets killed, he amps up the experience with just a Plain white cloth and ARR, making us understand Nandhini’s pain. Though the setting looked so foreign with a Thai hut, it’s still a memorable scene.

The star cast was the real USP of this film with characters throwing in believable surprises, enacting a drama making us retain a little smile on our lips throughout.

It’s been quite a while Tamil cinema attracted entire families, including old people when most of the Filmmakers started catering to a narrow segment of audience, playing it safe. It took a dignified maker to create a wholesome trend of very healthy filmmaking.

Why it was not received well among non-tamil audience?

The PS1 film had few fault-lines like a bit of lag where the tricky part of balancing emotions along with the storyline could have been smoother. Personally, I felt the movie rushed essential things a bit assuming the audiences are too clever to get the layers of it. It also had ten minutes of unwanted flab not contributing to the first part of the story. Consider the below scenes from an Audience who has not read the novel. A comet arises and a voiceover predicts loss of a royal one, but who cares when we have not even seen or invested in any any of them by then? Azharkadiyaan elaborating on his relationship with Nandhini when he himself a stranger from audience perspective, Kundavai luring smaller chieftains offering Arulmozhi for their daughters’ marriage when they have enough intelligence to topple the king, might have already known his affinity for Vanathi, Vanathi begging Kundhavai to wed Arulmozhi, is the great king is such a Kundhavai controlled Dummy, without illustrating the actual bond between the siblings. Veerapandian getting killed just for a pre-interval high when we don’t even get to know him nor his rivalry beforehand.

The lag is deemed by Jeyamohan as worthless observation, is not a criticism but more of observation that Film does not add up well to form a cohesive story. It’s easier to abuse like Jeyamohan does, on anyone pointing on on these anomalies, but PS2 stands as a proof that, the fair criticism got well received and corrected. Just like MR said Cinema is an economic medium and not a lavish story medium where one can scribble whatever he wants or blabber in Youtube. It just does not sell.

The PS1 story also felt fragmented with few loose ends, with the lack of establishment of a proper antagonist. MR to his defence might say on the complex names and unknown faces for its disappointing failure. Even Baahubali had unknown faces for North audience and got complex names. To me the real culprit is that, the audience could not emotionally invest on any of the characters pre-interval. Only after the interval, the movie had an organic flow. There was still a Thiruda Thiruda type Achilles heel, with the movie lingering on Tom and Jerry type chase, going nowhere in terms of objective because it was not at all defined.

The succession fight did not have any larger purpose / connect, like whats in it for the People ( the subconscious WE part ) from audience perspective. It was like nothing goes wrong if Ravana or Ram rules, with Vanthiyathevan clowning around. Overall it looked a giant scrabble Vanthiyathevan struggling to crack amidst all his distractions. As an audience, I could not empathise with him as I was also on the same boat occupied with the same distractions. He looked more like an errand boy for Cholas.

The state of Tamil Cinema

I observed Mani Ratnam talking about how a Film maker has to be selfish like getting merciless at editing table. He seem to have done the same with Kalki to save the film from possible jumpy sequences, affecting the rhythm cutting unwanted flab protruding like Nambi’s tummy. Kalki might have really enjoyed its phenomenal success, elongating the novel runtime a bit more. But the screen play has not missed any of its cinematic moments and highs. While there are murmurs that MR was not as faithful as the first part to the original text, I revere Kalki for his timeless and masterful storytelling but would also assume Kalki would have appreciated MR for elongating PS lifespan with mass outreach among the attention-deficit-generation, without killing it for the sake of theatrical highs.

As ARR made an interesting quip about how people queued up to buy Audio cassettes / CDs earlier making itself a cherishable experience which has now transformed to directly watching it on youtube for free and also dole out free criticisms with reach, Internet has made celluloid Art more democratic but also bit artless and restless, with On-Demand emotions at fingertips. Gone are the days people wait in queues to procure tickets like treasure Hunt, that they had enough patience invested already, like waiting for the reward, while watching it on screen compared to seamless online booking and Piracy. It was a national habit earlier.

Also, Cinema was much affordable those days, compared to catering only to the “rich and at the same time stressed enough by earning for it / young and impatient / Rich OTT segment” moviegoers nowadays. It’s a trade-off Indian cinema has chose to rear its own demon transferring their loyalty to the elite and rich who are quite choosy and reject things so easily, rather also considering poor and loyal masses as a viewer base. If the crew complains that people are worthless if they deem it as boring, it’s their own worthless act of worshipping their impatient fat-pocketed easily-rejecting demography, causing their own downfall and also letting down their craft, by dishing what they want. When there are no Middle class seats, there will be no middle path criticisms. The quantum of Heart a film receives is directly proportional to the allocated economy seats – 1 or 2%. So, keep yourself busy, pleasing your smallest demography with MaamaKutties / soft porn / Violence, rather admonishing audience taste.

If you think this is extrapolation and Cinema has not gone below the belt standards, savour this unpalatable stuff, a classy Kamal Haasan had to croon a Gomma Gotha song, insecure of the current movie going demography as a last minute addition for hype, to stamp he is young enough. He even made himself a further sorry figure with the explanation, breaking down the lyrics as if he has written modern Silappathigaram…. Appidiye Janaki Voicepa… The Root cause is just that they have lost their loyal base of movie goers across economic spectrum, now desperate to attract the new base. It was quite ironic KH felt heartened by the way daily wagers watched his movie ( of course, at a high price even compared to western socio economic standards ). The Visionary in him did not ask himself why such sad state prevails in the State where Cinema acted like a Cradle for future Chief Ministers? The so called Golden Age will not arrive as long as Cinema becomes affordable to middle and poor class and gets back to the masses. Nee paadu Maame! Laalaa lalalala Ley!

PS2 – How is it? Kurai Ondrum Illai Maraimurthy Kanna…

This is more of an experience for me, not a review or rant, but feel free to make it whichever way you want.

Initially, I was in Alaipayuthey mode… Intha Padam nalla irukkumaanu theriyale… Aana 250 roova poyurumonu payama irukku! Jemo can label us Chilrai types, but that’s the sad state his baby RSS has brought down to the country where even a simple recreation option is too costly to afford.

The respite is that, the PS2 screenplay is neat and simple with Plot getting established very well with Nandhini and Co scheming to kill all the Cholas at once and the rest of the movie deals with how the events unfold. The real mastery is on how all the characters make us root for them unlike the previous part. The cherry on top is the dignified-beautiful-than-Nandhini-twist about her origins. The entire plot has a crystal clear flow of raising the knots and slowly resolving it one by one, with a clear antagonist in Nandhini as woman with vengeance. This time the movie looked tailor made for Dummies (like me) with repeated visuals rather calling audience smart and leaving us in bewilderment like Nolan’s Sci-fi films where even google can’t answer our queries. You know why the totem keeps spinning in the end of Inception end, or is it really the end? And this is just a historical plot not even complex Sci-fi.

The real strength of the movie is its excellent star cast and exceptional technicalities. Aishwarya Rai who played a beautiful expressionless queen damsel in first part is in totally different and likeable avatar rocking it, piloting the entire story. Vikram gets more clarity on what he actually pines for rather being a restless wavering Prince in first Part. Jayam Ravi has too few sequences, but emerges much stronger with every scene. He has improved a lot in dubbing with a calm demeanour. Of Course, Karthi plays a faithful anchor, faultlessly. The first look of PS1 carried a fatigued Arulmozhi Varman kneeling down with his sword with a dejected look, not a nice way to introduce a Marquee character, but the climax justifies the wearniness beautifully. That’s the actual difference between the first and last part – bewilderment Vs emotional satisfaction. Just4Fun: Adi kodutha Arulmozhikke ivlo valinna adi vaangunavan….

It will be gross injustice if ARR is not mentioned along with any PS2 appreciation. He is one of the vital factor to renewed the enthusiasm with his mastery. I especially liked the fluttering of a string instrument in Chinnanchiru Kiliye. Somehow, as a layman I felt PS1 music as a bit disappointing with focus more on songs. But PS2 is another level of music. Pre-Interval BGM was like he is dancing for Devaraalan Aattam like Tropic Thunder Tom Cruise in the background. Nandhini’s hissing bgm was something else, but Iravin Nizhal chorus had much better awe factor. But you know we are getting popcornized err… westernised with muzzled BGMs.

There was a news scoop of the past that, Mani Ratnam and his Brother GV ambitiously wanted to make this movie decades back. They could not muster the funds, so GV came up with an innovative idea of collecting money from audience beforehand to finance the film in lieu of movie tickets with the release. Looks like MR is much more smarter. He offered us all a Candy wrapper with his first part and the real candy comes up only in the second part. But, he also suffered the risk of diminishing the film and subsequent expectations.

“Naan rendu vazhapazham thaane ketten… Neenga oru pazham thaan koduthu irukkeenga…. Innonnu enge?”
“Thambi! athu thaanpa Ithu!”

I could feel for him though on his little failings, but how can I complain about a person whose fighting spirit and staying relevant is something quite special. Even the kindergarten teacher branded me as an outdated Boomer Uncle at my 44 as if she just finished her KG along with my kid. But MR has immediately bounced back silently answering all the criticism by letting the movie take care of on its own. There are no comebacks in his career, just bouncing back even more to reach greater heights.

Criticisms

Happened to go through various criticisms. The press and media has been appreciative of the film. BR stated the movie is an epic poetic whisper with a flatly emotional story-line without synthetic theatrical highs. Could not agree more. Maybe, if Vairamuthu had to narrate it he would have stressed few lines by repeating it in his raspy tone. MR is also doing the same highlighting high poetic moments.

But, there are few critics like Blue Sattai Maaran accurately predicting on what I have blogged as “Muttu boys”, blindly supporting the film with generated reasons. I really enjoyed his satiric criticism but not his strong warning not to watch it. I think nuanced critics like BR would do more damage, subtly letting down the film, than Maaran who is at his usual satiric best, outstanding as a self made brand rather sounding genuine.

Looks like Jeyamohan is out as “Youtube Morattu Muttu Rowdy Boy”, providing strong criticisms against PS critics. He actually looked like “Naan idacha nee Sethuduve!” type of guy, but somehow just like scripting his arguments does not add up. The crux is that those who cannot appreciate the movie are not worthy of watching movies. Unfortunately, he is dragging himself much below the level that even mercurial Maaran looks classy, diminishing his own stature, or this is what he is. Thought JeMo is much more than any of this. I saw a nice JeMo stamp on VTK movie, but when it comes to PS it’s more of Kalki and MR’s baby missing his mosquito coil like explanations without clarity and going nowhere, just like his half baked and roundabout political views, where even Party Touring Khushboo feels as better ideologist, as if politics is not in theater popcorn or in his own political stories but only in his RSS offices he opened, nursing hatred and vengeance for decades, focused on giving it back rather bouncing back for good, exactly being the difference between him and MR. He is a strange someone in his own words, who can’t leave Jesus, just like his own RSS, but also cannot forgive people for their sins… Maybe that’s his Aram / Dharma.

Neenga Nallavaraa Kettavaraa? – Nayakan

I am not giving back here, just leveraging the situation to showup the Mirror of sad state we are in. JeMo alone is enough to get the PS PR down to dust. it’s the same kind of cheap PR with same youtube backed sources, part of the PS team did in Hyderabad claiming that most of the film was taken in Telangana / Andhra pradesh, so it should be supported by telugu people, making one wonder what those self admiring smarties will say to tamil and northern audience. When telugu audience asked for a spoonful of Mirchi high, here is an Alec Smart offering them sweet words. How about a lullaby too?

I don’t believe in recommendations and reviews, except for their spoilers, especially in this consumer centric world where every influencer has their own agenda. I am fanboy turned Fan-Uncle of MR with subconscious bias bred on maniratm-ic moments. And I saw a lot of old men and women and surrounded by mostly women audience and kids, speaking a lot about the trust on this Film crew including Kalki. Just4Fun: felt like Infant Yuva Siddharth put up in between female infants when he was just born and grew up to despise them – Intha Ponnungale ippadi thaan ejamaan! Just kidding… before you brand me something else for my rants. To me BR/MR are the first Meme inspirers of Tamil cinema with such hearty memorable scenes, the seed which feeds a lot of neurons and sticks around for long. Patha vechuttiye Parattai!

Just use your money wisely just like how the crew has kept its production values crisp. Follow your Heart. There are no perfect Films or perfect escape dens. But, personally I enjoyed the film and its treatment. Wish the filmmakers discount the tickets for their First part boring blunder, cashing on the emotional and enthusiastic high among the audience to support the crew’s passionate statement of work, maybe just as a giveback / token of gratitude at some stage of break even. But Who am I to suggest… Well, it’s a free for all Blog.

Naalu Perukku nallathuna ethuvume thappille!- Nayakan

What Next?

Cinema is more of an emotional experience with our investment offscreen on the Crew and other emotional factors outweighing on screen part. Got to admit my slight disappointment with the first part as it sounded like an empty vessel ( just like me ). But second Part does justice when combined together. The crew could have rectified the first part shortcomings with a much better OTT release, getting understandable to everyone with simple voice overs or maps, and reserve a wider reach for second part. But it was a wasted opportunity.

So, all the loose ends of the plot got tied up very well in PS2. As a commoner, I don’t have any stake on this, but more of a connect with Kalki and MR, pushing to write about it. With the cheap PR with Jemo types, don’t see any point in investing time on this, as this is becoming uncivil discourse, just like crass Vijay Ajith fights in SM. But, this movie has higher stakes for the entire Tamil movie industry. If this does well, it could do plenty of good as what Rajamouli did for Telugu cinema. As an audience we have a lot to gain with a larger canvas and better stories in future.

Decades-old studies have shown that primary care physicians sued less often are those more likely to spend time educating patients about their care, more likely to use humor and laugh with their patients and more likely to try to get their patients to talk and express their opinions. It seems that more likable physicians are less likely to have claims filed against them.

– New York Times

The movie industry has moved towards PR blitzkrieg just before their launch, just like less sued Doctors engage well with their patients. The PR was just good with an emotional appeal from its crew. Vikram declared karthi was good for Politician. Karthi sounds more impressive and righteous, but it’s actually Vikram who has got that PR pull. But the events could have been staged well, more informative and resourceful rather going through few templated stories. Let’s hope the Dream Factory ( as Sujatha would call them ) will come forward to make it a grand success, capitalize on it to secure their own future. It’s high time it goes full swing on its revival with an Anjali! Enthiri Anjali enthiri! moment.

But, unfortunately, the Tamil cinema industry lived up to its reputation of being that metaphoric Frogs in the Well.

Land of the Resistance

I am not a big fan of Vetrimaaran, but I am afraid he will make me one. Thanks to Maniratnam’s Alaipayuthey dialogue. But, what I can’t figure out is some critics who keep a somewhat boring movie on pedestal, but could not tolerate a movie made better, passing it on as watchable and shallow. How can someone call a movie which goes to great depths to depict the perversions of Enforcement to satisfy their Legislative Lords. One can’t simply discount Raja’s music in Viduthalai to establish himself as hardcore critic, while remaining quiet, rather critiquing somewhere else, peppered with language of camera technicalities and edit cuts when he cannot even do haircuts. Maybe it’s easier to cast it as elitist lobby who worships few and lets down others? Or maybe it’s just a criticism of convenience based on how it serves his interests? The twitter feed is an excellent space for mind reading. maybe with his depression posts, the so called critic, who is habituated to lament on nothings, gets depressed if the concerned crew don’t offer him an interview? Only God knows!

Understand its a bit personal , but when critics cross their limits while thriving on the same cinema industry trying to be a lobbyist rather being a fair critic, I don’t feel any remorse. I bet in a month, someone will go ooh-aahh-aah goosebumpy over a moderate movie which will not even sport a single fresh scene on its sequel to talk about. I am not against any movie, but certainly against partiality and lobbying.

Cinema is the livelihood of many and tranquilizer Pills for a lot many like me. This is a sick trend in Tamil industry for long, like pulling others as if we are frogs in the well. They come up with their empty criticism as mass weapon of destruction, with a very nuanced letdown, even before we get to watch the first show, making people think twice about buying expensive tickets. I saw this happening with Prince movie too. Of course it’s an average movie but never to the level social media made mincemeat of it. But, critics are powerless when they could not market a movie like Gargi, just good for destruction. Let’s ensure we are fair, when we criticise and strive to make things better, like being part of the invisible Team, rather attack with bias or jealousy, hoping to prop up our favourite. Consumerism dont work that way, it flourished with more good movies, making it a habit among its consumers.

Having said that, I would like to get down to my own experience of watching Viduthalai. I do have very feeble memory of my childhood relations of my age discuss wide eyed on a hearsay about Appu, a revolutionary surrendering at a nearby Police station. I could not understand anything of it then. But, Jeyamohan’s story on Appu, a revolutionary, a master class description of the lives, background, politics and ecosystem Tamilnadu’s backward states have gone through during our early times, all of whom we have conveniently forgotten in the din of Nationalistic politics. We are indebted to Jeyamohan for documenting these stories and gifting it to us when we forgot what it means to be free and what it takes for freedom.

Let’s get down to the movie experience. It starts with a train wreck and a long shot of depicting the chaos ensued after the wreck. I am layman when it comes to technicalities. But the sound mixing which ebbs and flows on the voices around along with the single shot gliding camera movement,  was something very unique in Tamil cinema. It reminded me of the Dunkirk opening, ofcourse, it had much bigger canvas. Though few dialogues could only de deciphered with the subtitles, it accurately depicts the experience on watching a live train wreck and the cost Humanity pays for terrorism. My harmless add-on wish could be that, there was a short story, like a child getting separated from parents, to depict the human cost of the wreck. Even when James Cameron toppled Titanic, he said the story from the view of Lovers which made it special and unforgettable.

I could not crack how VJS shines when he has very limited screen space. The entire story revolves around him. His screen presence makes the experience bigger. Very few directors have utilized VJS, the champion of Tamil new-wave cinema, to his capabilities. Vetrimaaran has amped up his body of work. The theatre gets enthralled on his appearance, which could be just half an hour of the whole movie. The last few glimpses of second part were sure shot firecrackers.

The real surprise package is Soori with a quiet and restrained presence. He does it with aplomb, easing through all his scenes with very little emotion in his face, but makes us feel for him much more. The dialogues on his part are beautifully crafted. His romantic interest compliments him very well. Soori is the moral compass on this film though it oscillates like a pendulum, with terrorist acts followed by Police’s brutal and multifold givebacks.

Ilaiyaraja… as someone who grew with his music, never tired of fawning over him as delicious and soulful home cooked food for ears, this movie was a refreshing experience after a long time. Music is debatable as someone’s personal liking, but he has infused a lot of soul to this film in the initial buildups. In the age of tamil movie BGMs moving towards shock treatment with electric beats and quirky sounds, to keep audience engaged, IR has made this movie stand apart with his trademark stuff. Of course it could have been a lot better as we have enjoyed IR in purple patch earlier. As a dumb listener, I still think IR as someone who identifies music even in flowing water, has a lot of music left in him rather imagining himself a burnt charcoal, He could innovate a lot like Zimmer ( My hollywood and music knowledge is very limited ) playing drums with Guitars or making music bit unrhythmic,

It’s astonishing how IR starts with a very simple interlude, probably an old note from his excellent work, like Captain Prabakaran, and quickly turns to a fresh one in just few seconds. The climax BGM is an unbelievable score. This movie’s welcome card was two magnetic songs, the only space for breathers, in a grim world. Even for “Unnoda nadantha” song, I could count around three mobile browsing in the whole theatre. But the song does not have any high moments to help the narration and was a bit of lag. Maybe it comes up in split situations? While even movie stalwarts cut their songs fearing boredom, this is still a gutsy and captivating stuff.

The sound mixing especially on opening fire was really good, but somehow the ambience of the forest is not captured with sound while the camera work does it brilliantly. Generally, Tamil Cinema may have to journey a long way on this technicality, as simple palm trees rustling around creating an eerie effect, is not yet captured in cinemas.

This is a movie with multiple cogs and characters even without any names attached. It’s a signature stuff of the Director where we need to travel identifying faces rather worrying on names and identities. It brilliantly establishes how humanity fights within itself. We got a pervert Cop and an intelligent and balanced Superior, but both insist on keeping their forces under their thumb control, but they see each other as incompatibles. 

We got Perumal as revolutionary on the other side, who does not want to kill the menial cop who could be of potential trouble in future, just because he could sense his goodness. Even in survival circumstances, he is polite enough on the door with a “May I come in”. We got a manipulative Head Constable, with Police instincts, who works where his conscience lies. We got a rubber mouth establishment going to any extent to please the Corporates, putting their mouth where its money lies. It’s amazing with so many layers, everything gets established with very few scenes. But still, there is lack of clarity as we could see pointless Bureaucratic lectures. Maybe, visuals on their excesses could have amplified the context.

To me, the Director and Crew won, when simple moments like two women planning to shift places and one gets stuck up on the road. It got people to the edge of the seat in anticipation. The same happened with the climax chase sequence. Though there was nothing cinematic super heroism about the chase. But, we get invested on the characters so much emotionally, so that it becomes a taut thriller.

There are many Police torture scenes to establish the price people pay upon the dog-fight between the State and Residents. As someone who don’t like graphical scenes much, especially when you need graphics to cover it up, which makes it look artificial to process in minds, wished it had just two of it, one to establish the character of the pervert Cop with the initial interrogation of the old man and his Daughter-in-law and then the climax to amp up the emotional quotient. VJS rescuing a Woman at Police Station was a brilliant scene, enacted very well by that Actor. But, the severity impact of such nude brutality goes off with that scene. The climax comes up with the third time pervert torture scene gets bit redundant except to establish Soori’s provocation and the transition scenes between them are not so helpful as nothing much happens at the camp.

As someone who had not watched Visaaranai after getting scared by its reviews on brutality, Viduthalai was an excellent movie, teaching us on the price few unprivileged people, to keep the enforcement sane by relieving off their steam on them and become ready to get unleashed by the Power-centers.

Now, the real success of any movie is not decided by two baldies fighting over, who got better hairstyle, but on the single source of truth – the Box Office collection. Looks like the movie is a Hit, as an ode to Crew’s hard work. What went right here, could be a very fresh experience offered by the story, be it – The dreadful ambience of forest and villages captured in a mistiness or charcoal-ish tint as Jeyamohan explains in his story, the admirable life of a Naxal who had the decency of knocking “May I come in”, when someone is shooting on his back in complete contrast to the portrayals of previous Cop films on Naxals as terrorists with vices, the dignified performance of Soori and his romantic interest BavaniSre, fresh portrayal of Bureaucratic power with an impressive debut from Rajiv Menon.

What could work well for Part 2 is an interesting proposition. The glimpse proved to be a great experience. Maybe a better action set piece leveraging the already invested on Train wreck? Soori’s redemption for capturing Perumal from a possible encounter? Perumal’s acquittal from train wreck case? Logical end to the Mining corporate mafia? How the bureaucrats and politicians always wins over hapless people as it happened in real life of those revolutionaries or a cinematic twist? Whatever… However… It’s gonna be exciting…

Freedom at any level was never achieved by the Dumb mutes. It’s a special feeling reserved only for those who strived for it, for themselves and their people. Vetri Maaran and Team’s Viduthalai espouses this theme. Now, this is a movie not just for the oppressed, but for anyone who thinks his/her future generations should never go through meaningless oppression.

An Osho Story on Freedom to finish off…

I have always loved an ancient story:

A man, a great man, a fighter for freedom was traveling into the mountains. He stayed in a caravanserai for the night. He was amazed that in the caravanserai there was a beautiful parrot in a golden cage, continually repeating, “Freedom! Freedom!” And the serai was in such a place that when the parrot repeats the word “Freedom!” it goes on echoing in the valley, in the mountains.

The man thought: I have seen many parrots, and I have thought they must be desiring to be free from those cages… but I have never seen such a parrot whose whole day, from the morning to the evening when he goes to sleep, is spent in asking for freedom. He had an idea. In the middle of the night he got up and opened the door of the cage. The owner was fast asleep and he said to the parrot, he whispered, “Now get out.”

But he was very surprised that the parrot was clinging to the bars of the cage. He told him again and again: “Have you forgotten about freedom? Just get out! The door is open and the owner is fast asleep; nobody will ever know. You just fly into the sky; the whole sky is yours.”

But the parrot was clinging so deeply, so hard, that the man said, “What is the matter? Are you mad?” He tried to take the parrot out with his own hands, but the parrot started hitting him, and at the same time started shouting, “Freedom! Freedom!” The valleys in the night echoed and re-echoed… but the man was also stubborn, he was a freedom fighter. He pulled the parrot out, and threw him into the sky; and he was very satisfied, although his hand was hurt. The parrot had attacked him as forcefully as he could, but the man was immensely satisfied that he had made a soul free. He went to sleep.

In the morning, as the man was becoming awake, he heard the parrot shouting, “Freedom! Freedom!” He thought perhaps the parrot must be sitting on a tree, or on a rock. But when he came out, the parrot was sitting in the cage. The door was open.

I have loved the story, because it is very true. 

You may like to be free, but the cage has certain securities, safeties. In the cage the parrot has no need to worry about food, has no need to worry about enemies, has no need to worry about a thing in the world. It is cozy, it is golden. No other parrot has such a valuable cage.

Your power, your riches, your prestige – all are your cages. Your soul wants to be free, but freedom is dangerous.

Freedom has no insurance.

Freedom has no security, no safety.

Freedom means walking on the edge of a razor – every moment in danger, fighting your way. Every moment is a challenge from the unknown. 

Freedom means tremendous responsibility; you are on your own and alone.

Rabindranath is right: Freedom is all I want, but to hope for it I feel ashamed – because it is not a question of hope; it is a question of taking a risk.