Et Tu Mani?: The Anguish of an ardent Fan

While I am happy, that Chekka Chivantha vanam(CCV) is doing well at the Box Office, I have been quite depressed since yesterday, after watching CCV.

In Nov 1987, After watching 'Vertigo' at Chanakya in Shanthi path, my friend Shankar Sundaram and me, found our way through the cold November, through the dark Buddha jayanthi Park to watch Nayagan with our friends at Karol Bagh, a roomful of them(may be 20) on a video cassette. It was well beyond midnight that 'Nayagan' started playing. In the ensuing two and half hours, there was pin drop silence in the room. 

The bar had been raised irreversibly.

Mani had the courage and conviction to make 'Iruvar'. A movie of extraordinary artistic merit. I do not know the risks that Mani had taken to make the film. But I believe he must have balls of steel to push 'Iruvar' through. I can challenge that probably nobody can make 'Iruvar' again. On a personal front, my regret remains, that since it was released in 1997, I could not show 'Iruvar' to my bed ridden father, who passed away in Jan 2002. He would have loved it. 

I can melt over 'Kannathil Muthamittal' and have goosebumps over the innumerable 'pearl and diamond'(mani ratnam)moments that I have savored over the years.

The premise of CCV is fantastic, my daughter as soon as she stepped out of the hall, averred that this could have been made in two parts. May be justice might have been done.

When an accomplished director, who is completely knowledgeable, who redefines the rule of Indian Cinema cuts corners, with an ensemble cast, all of them reduced to almost 'quarter baked' characters (not sure if they are baked at all), gnawing gaps in story telling, and highly illogical and laughable sequences, to deliver a hit based on the charisma of a few stars, it is indeed a sad day for Indian Cinema.

May be this is all the audience wants, But it has to be a sad day for Indian Cinema, that one of the most ambitious and courageous directors, has taken a defensive and defeatist approach and has  probably compromised on professional integrity.

Manmarziyan

The best adaptation of Casablanca

Ever since Casablanca(based on an unproduced stage play, Everybody comes back to Rick’s) was released in 1942, time and again, film makers have an irresistible urge to adapt it. 

This adaptation of Anurag Kashyap is probably the best adaptation of Casablanca, till date. 

My friend Arunkumar VR, after watching Manmarziyan, was wondering, if it had the stamp of Anurag Kashyap.

I am tempted to revisit, what has defined Anurag kashyap over the years.

To my mind here are some of the consistent, recurrent AKisms

Brutal Honesty

Nil space for Hypocrisy

A seething anger against Status Quo

4. An undercurrent of overwhelming concern for the society       at large

Wit, Sarcasm and humor all rolled into one explosive mix

The ability to infuse a kinetic narrative and toss it up with restlessness

Brooding intensity

Characters that we can easily relate to

A quotient of  unmistakable profanity

Darkness and Cynicism, whenever the subject demands it

Arunkumar VR, I think all the Akisms were very much there except thankfully, Manmarizyan, has less of profanity and no place for darkness and cynicism.

AKs go to cocktail  is Kanika Dhillon’s screenplay, Amit Trivedi’s foot tapping music, well fleshed out characters, Tapsee’s performance,  Amritsar 

and good old Punjabi.

AK’s evolving craft and his quest to integrate with Bollywood mainstream is quite heartening.

Promiscuity is a mirage. Lust is ephemeral. It is responsibility and commitment that define a lasting relationship.

AK, explores, the sanctity of a relationship, in a way that he alone can.

The flavor of Manmarziyan will be probably be halved,  if you do not understand Punjabi, but in Chennai, Satyam Cinemas, has subtitles, you can still watch a most energizing movie.

I will not mind watching Manmarziyan over and over again. 

Nimmi Rangaswamy, Thank you very much for your recommendation

P.S: I have forgiven AK for his deplorable Sacred Games and the horrendous Immaikka Nodigal performance.

Imaikka Nodigal, The eyelids that stopped blinking

The poetry ends with the title. 

With all the rave reviews, the expectation was slightly high.

The opening segment clearly let us know that the censors, in this country is non existent, has passed this crude, crass and violent film with UA certification. 

What fascinates me is how this horribly unoriginal, substandard and mediocre flick, can be a huge hit? 

Can movie makers learn to make a thriller without revenge as a motive?  The thrill takes so much of a beating, depression is the only heavy feeling that is left.

We are so inventive when it comes to a love story, the Vijay Sethupathi Nayanthara segment, demonstrates that. Why cannot we apply and come up with a thriller, without revenge as a theme?

The two central characters seem to be inspired from Silence of the Lambs. Here the story has been skewed which pits the teacher and understudy.

Anurag Kashyap, is a disgrace to Hannibal Lectern. Anurag depicts a crude villain. Not really sure why he would want to stoop to such levels. I never knew that he was capable of being so dumb.For die hard Anurag Kashyap fans like me, writing this way gives so much pain.

Nayanthara, god only knows how she darts around with those high heels. Not sure if the writing does any good to her character. She sizzles though, with her screen presence.

Surprisingly It is Atharva who gives a spirited performance, genuine and authentic. 

Vijay Sethupathi, is so gifted,  so natural and so imaginative, he brings so much happiness when he is around. And when I see the movie with my daughter, there is greater happiness when I see my daughter drooling over Vijay Sethupathi.

I just thought I might spend my hard earned money in a cinema hall. With such dishonest efforts, which takes the audience for granted, Amazon's and Netflix may be better ways to reduce the damage.