Started to read Mitch Albom’s Tuesdays with Morrie this tuesday. I did get a chance to read this book when it released in ‘97. A friend passed me this book in when the book actually released in India and I took too much time sitting on the book and finally had to give it back without reading it.

Last year, after watching interviews of Mitch Albom on the cable, I was impressed by the book and did a exhaustible search for the book at the library. Either it was on hold by some damned book lover or it was rented out. Last week at the library, I digged it out from book shelf and picked it without much hesitation. Now after the first few chapters, I have to admit that I feel to have missed reading it then. Even knowledge acquisition has a destiny tied to it.

The camera refuses to move. Stops panning and stands uptight on Vaiyaapuri’s face as he comically remarks about the kidnap plan to the deaf Kamal Hassan. Half an inch more and Vaiyaapuri’s nose would brush the camera lenses. What is an unrestrained close-up like this doing in this comedy film. Out-of-place, you would feel. So did I. As more-and-more similar shots came more-and-more closer to the characters, you know it’s different. And by that definition of different, Mumbai Xpress is very different from the comedies that we have had before. It’s an offshoot of on-the-road movie genre. By a unwritten rule, we have had on-the-road movies either being thriller or serious types. Mumbai Xpress tries to explore the arena of on-the-road comedies. It tries.

Even as Pasupathi(codenamed as A) etches the kidnap plan of a rich business magnet’s son, to his sidekicks, the movie takes-off in a high speed. From then on, it runs express speed to hire Kamal Hassan in the kidnap plan and execute it. All of this told in a way that makes you think the movie was truly shot in a single day. Singeetham’s directorial experience comes to play in executing this kidnap sequence with a professional touch. The Kidnap plan which looks like the plot of the story gets done with half hour with top class comical twists, turns from the top of a crane. The Vande Matharam sequence in the school being the best of all sequence in the movie.

While the first half completes with a bike chase, one is left to wonder how Kamal & Singeetham would manage to drag this rather simple story into the next half. The second half occupies the commercial aspects for the film. A rushed-up romance that wouldn’t gel with the plot, introduction of new characters and new confusions in the aftermaths of kidnap and resolving these knots make up for a dragging second half. Even as I say that the second half goes dragging, there are scenes which make you laugh, like a typical Kamal Hassan comedy flick. Kamal chooses to end the film with a fiesta similar to Shrek.

A kidnap plan gone wrong, an innocent circus bike driver and a bunch of foolish amateur kidnappers gives enough time and space for an adept actor like Kamal Hassan to carve a niche for himself in the film. While acting as an innocent dude is something that Kamal does in most of his comedy flicks, also irritates a viewer who would expect assortment. With that Asterix type knot around his head and colorful bike, Kamal Hassan is all out for fun throughout.

Pasupathi is one who would be the most profited from the movie. Its his character that walks away with the cake, like the Gemini Ganesan of Avvai Shanmughi. Pasupathi talks a natural Tamil slang that just rocks. His voice modulation and his facial expressions just suits the ‘Boss’ role he plays. The scene where he tackles the traffic police alongwith Kamal, WOW. Manisha looks pale and is a misfit for the role. Naaser and Santhana Bharathi take similar roles they played in Anbe Sivam.

Sidharath’s camera needs to lauded for the angels and some amazing free-flowing shots. But then, blame it on the digital movie-making that most of the effort gets wasted and overlooked. Its understandable that the crew is trying to use a movie-making which is even debated in the Hollywood but the audience were just not told of all these. An unassuming viewer would think that it’s just an act of irresponsibility to have a movie show-up grains and poor picture clarity.

Illayaraja needn’t have been there in the film. The songs needn’t be hyped so much. The film would have managed well without songs too. Yelle Nee Ettippo which plays at the background has neat music in the album. All that got lost in the film and makes one feel that Illayaraja’s efforts weren’t paid-off properly.

As said its a beginning of a breed of movies in Tamil and could not pushed aside by overlooking. I don’t seem to recall many on-the-road comedies atleast in Tamil. Thiruda Thiruda was a little adventurous than being a riot fare. Mamootty and Arvind Swamy’s starrer Puthayal was of a similar type but Mumbai Xpress is out-right comedy with more logistics than logic. You may not be inspired to watch it again and again like Michael Madana Kama Rajan or Pesum Padam but you would certainly relish the moments of Mumbai Xpress.

Discman is a dangerous instrument.

For that reason, any mobile music instrument that pops music only to your ears is dodgy. On a rather dull day, in the middle of a morning bus journey, when you listen to Illayaraja on discman, especially during a very enjoyable song like Andhi Mazhai[Raaja Paarvai], you might loose track of what’s happening around you. Ecstatic. That very moment, you get a sudden irresistible urge to get up from your seats and just shout that song with arms wide open. Man, It would have been out of senses today, to do that.

Kettana Iravugal Suttana Kanavugal
Emaigalum Sumyadi Illamayiley !!…. Discman is a dangerous instrument, I tell you.

Ram Murali was lucky enough to catch a preview of Mumbai Xpress. Also has put up a cool review on it. The first review of this movie. BTW, Mumbai Xpress gets red carpet welcome. Big-time marketing.

An amazing application of Google Maps and Craigslist. Try it out if you know what Craigslist is all about.

Didn’t I tell you that this will happen, sooner or later. Adipolli Chetta !!

Schumacher races through Mount Road. In the future. Patience required.

Kyunki Saas Bhi Kabhi Bahu Thi completes 1000 shows. Now Radhika has a new target to reach. Anyone watching mega serials ?

Anyone with a camcorder/ internet connection is now a film maker. The buzz last week on Google Video is now gone live. Upload your videos to Google. Great News to independent and short film-makers.

Rajini’s fans[which is obvious] with their hairstlye adapting Chandramukhi release.

[Pic:thatstamil]

Chandramukhi Ticket Pooja by my friends at Chennai.

[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.

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.

[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 !!

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.

[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.