MOVIE RECOMMENDATIONS
Movie: Virumaandi
Directed by: Kamal Haasan
Music by: ‘Isaignani’ Ilayaraja
Starring: Kamal Haasan, Abhirami, Pasupathy, Napoleon
Year of release: 2004
Duration: 178 Minutes
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Review:
The Rashomon effect is a storytelling method used in cinema to provide a different point of view of the same events. When employed well, it can elevate a film.
Virumaandi (2004) is a Kamal Hassan directorial that revolves around the interview of two prison inmates, the direction of their life trajectory and where they have ended up. The film also explores the controversies of the death penalty.
This film has acquired cult status in Tamil cinema, and rightly so. There is so much detailing and local nuances which do not overshadow or intrude into the story. From capturing the blemishes and essence of the village lifestyle to using this media art form to open a commentary around the death penalty, Virumaandi is feral and intense.
While the performances were excellent, the subtexts were appreciated, and the titular character’s arc is a treat to behold. Early on in the film, we see a Jallikattu competition (a bull chasing tournament) where Virumaandi brings a violent bull to a stop. It is an allegory for the character himself, foreshadowing what is to come. Every beast can be tamed, and we watch the maturing of a gullible, violent ruffian to a softer, tamer beast, seeking the path of forgiveness.
The film itself is far ahead of its time, persuading the audience to understand that there are flaws in the criminal justice system. Truth itself is perceived by exploring the points of disconnect between honesty and truth. The use of the Rashomon effect in this film neatly explains the difference and introduces new details that were intentionally omitted to elucidate this point.
“The one who forgives is a great person, but the one who asks forgiveness is a much greater person”. – Virumaandi
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*Author’s note: There is a folklore surrounding Virumaandi, another name for Lord Bhrama, that I’m not entirely too familiar with. However, the myth is about a tragedy that surrounds Lord Virumaandi being stuck in a conundrum (imprisoned by a well) that is referenced in the film and I thought that formed a very compelling subtext. *
Movie Name: Thillu Mullu
Directed By: K. Balachander
Music by: M. S. Viswanathan
Starring: Superstar Rajinikanth, Thengai Srinivasan, Nagesh, Poornam Vishwanathan, Sowcar Janaki, Madhavi
Year of Release: 1981
Duration: 136 Minutes
Review:
When a particular actor becomes identified to a specific character or a role by the audience or the industry, it becomes hard for them to push the boundaries of the acting capacity. Superstar Rajinikanth, who have been type-casted into action and dramatic roles up to that point, was encouraged by his mentor, K Balachander to break the circle by taking up a full-length comedy role in Thillu Mullu.
Thillu Mullu revolves around Chandran, who fabricates a story about a fictional twin brother after being caught in a lie, in order to save his job.
The film showcases Rajinikanth and Thengai Srinivasan in one of their most memorable comedy performances in their long career. Rajinikanth gives an earnest performance as the man forced to keep up pretenses. Be it dialogue delivery or body language; he nails his role while staying true to his own style of acting. Perhaps he benefitted from his surrounding cast members, each a comic-legend in their own way. Thengai Srinivasan, with all his spontaneity and expressions is a laugh-riot, and he matches Rajinikanth equally in terms of screen presence.
A film of screwball misunderstandings, Thillu Mullu is a cult classic that is refreshing for its clean humor and slapstick hilarity.
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Movie Name: Nammavar
Directed By: K. S. Sethumadhavan
Music by: Mahesh Mahadevan
Starring: Kamal Haasan, Gautami, Nagesh, Karan
Year of Release: 1994
Duration: 178 Minutes
Review: The cinema industry has seen its fair share of ‘Inspirational Teacher’ trope throughout the years, but Nammavar (1994) remains as one of Kollywood’s best in that category.
A classroom drama usually hinges on pitting a dedicated protagonist-teacher against students who are daunting in their own ways. Nammavar revolves around Professor Selvam, the new Vice-Principal of a downtrodden college as he seeks to reform unruly students while battling a fatal illness.
As predictable as the story is, what makes this film a cult classic is the intensity and depth of Kamal Haasan’s character, and the realistic communication between him and his students. In one of the film’s more iconic classroom moments, Professor Selvam delivers a lesson on civics and moral education by relating to public nuisance acts in India. His quips and body language during such scenes along with the potency of the dialogues digs deep for the viewer. As he swags out subtly in every scene he appears, the charisma he emits necessary to bind his students is juxtaposed with how the audience feels watching a master actor at work.
The late Nagesh appears as a supporting character and played a more serious role as compared to his usual archetypical character of a comic relief. Without giving much away, a scene late into the film tugs the heartstrings of the audience, demonstrates the fine acting chops of the legend in one sitting. The romance between Kamal Haasan and Gautami, light-hearted and essential in the former’s character arc, is mature and depicted convincingly.
Nammavar works in the same mould as Robin William’s Dead Poet’s Society and Good Will Hunting. While one can assess the direction the movie embarks towards, the writing and acting is a treat to behold.
Fun Fact: Director Lokesh Kanagaraj is an ardent fan of Kamal Haasan and pays homage to his mentor by tying in Master (2020) and Nammavar in the same cinematic universe. The scene where the college founder, Nassar narrates the reason for Thalapathy Vijay’s JD being an alcoholic due to the death of his college professor in Master; he was referring to Kamal Haasan’s Professor Selvam character in Nammavar.
Movie Name: Thevar Magan
Directed By: Bharathan
Music By: ‘Isaignani’ Ilaiyaraaja
Starring: Sivaji Ganesan, Kamal Haasan, Revathi, Gautami, Nassar, Vadivelu
Year of Release: 1992
Duration: 158 Minutes
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Review: If Nayagan is Tamil Cinema’s love letter to the Godfather, Thevar Magan (1992) could be considered as an intense focus of Michael Corleone’s ascent to power.
The plot revolves around the son of a village chieftain, who returns to his native hometown to after studying abroad, only to get embroiled into the village politics. With Bharathan’s direction, there are just so many symbolic moments that speaks volumes without the need for words. An example would be when the camera zooms in on protagonist’s bare feet slipping into the sludge left by a flood that was orchestrated by the antagonist, signifying timid son of the village chieftain finally stepping into the muddy and visceral world of his town’s politics.
Kamal Haasan’s character development here is a filmmaker’s dream and as the audience, one finds themselves fully immersed into his life trajectory. He plays his character to perfection as the protagonist and the arc in which, his character takes over his father’s place is evocative; where his transformation from a timorous young man to a mature leader resigned to fate is a scream. In comparison to the Godfather, if Kamal Hassan is Michael Corleone, there was no one better to play Don Corleone than Sivaji Ganesan himself. The latter’s role is the catalyst for the violent confrontations that the film pivots upon, and he delivers a powerful performance with fiery dialogue delivery and screen presence. Kamal Haasan and Sivaji Ganesan are excellent actors and their impeccable chemistry blazes through every scene they appear in together.
From screenplay to music to acting, Thevar Magan (1992) is regarded as one of Kollywood’s finest product and continues to inspire a legion of budding actors and filmmakers.
Movie: Aarilirunthu Arubathu Varai
Directed by: S. P. Muthuraman
Music by: ‘Isaignani’ Ilayaraja
Starring: ‘Superstar’ Rajinikanth, Jayalaxmi, Cho, Sangeeta, Thengai Srinivasan
Year of release: 1979
Duration: 138 Minutes
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Review: When we talk about Rajinikanth, we naturally highlight his style and his trendsetting mannerisms. Yes, he was an outstanding villain before he became the ultimate hero. However, there was a time that he shook the industry with his acting proficiency as a versatile actor! Aarilirunthu Arubathu Varai (1979) was just one in many films showcasing his caliber as a character artist.
The film orbits around Rajinikanth, who takes up the responsibility of a breadwinner of his family after his parent’s death, by endeavoring to give his siblings a better life. The story continues on his struggle for survival as his siblings reject him after attaining the comforts of life.
Aarilirunthu Arubathu Varai depicts the struggles and sacrifices of a lower income man on a daily basis. With no humour or grandeur, the film is rooted on reality. The director, S.P. Muthuraman maintains a heavy subject throughout the film but it does keep audiences engaged.
The best thing about the film is Rajinikanth, with his emotional performance as an elder brother neglected by his loved ones. With strong support casts, Aarilirunthu Arubathu Varai is a timeless classic that reminds people of how good Rajinikanth is a versatile performer and the quality of Indian cinema.