Marudhanayagam

"Porandhadhu panaiyur mannu, Marudhanayagam enbathu pergalil onnu" (born in the land of Panaiyur, Marudhanayagam being one of his names) thus starts the title song, released a few months ago, from the ever-expected film of tamil cinema, Marudhanayagam. It is an epic movie about a warrior-revolutionary-general in the British era, who fought them.

The lyrics, along with Ilaiyaraaja's life-filled voice and his hauntingly mesmerizing score makes this song on par with Raaja's best works. The song starts with a folk style tune and blends into western classical during the end notes. The lines "madham kondu vandhadhu saadhi, indru manishana thorathudhu manu sonna needhi" is a testimony to the emphasis placed on the lyric-writing of the song. Hats off to the team that brought out this single, also posted in IlaiyaraajaOfficial channel in YouTube.

http://www.behindwoods.com/tamil-movies/marudhanayagam/marudhanayagam-song.html

This, Kamal's ambitious and magnum-opus project, has resurfaced several times during the 19 years since its inception, but the expectation about the film hasn't been so high, with Kamal and Raaja singing the title song together at Ilaiyaraaja1000; while we also hear news that a leading production house is interested in taking up this mammoth project.

நீர் குமிழியில் இருந்து உத்தம வில்லன் வரை

A woman was aboard a train with her child, and with a determination of living a single life here-after in a male dominated society. A teary-eyed man is waving her goodbye for her unknown future. Up comes the end card of Avargal, "Written and directed by K.பாலசந்தர்". Your heart craves for the welfare of that woman, a character that KB, as the director is known, etched with cutting-edge precision. A movie where soon-to-be-legends of தமிழ் cinema, Kamal Haasan and Rajinikanth, are a testimony of polarizing characters. Rajinikanth as the sadist husband of the protagonist, and Kamal Haasan as the naive one-side lover, are the two sides of a coin that KB minted.

His command at showing the lives of middle-class families in plain fashion drew people to his movies, though most of his films were 'A' rated, for the content was deemed inappropriate in those days. I think some of his films would still be rated 'A' today (like Arangetram), for you need a little bit of maturity to understand the complexity and finesse with which KB portrays his ideas and anger. This is the KB of the 70s - daring and brutally raw. A man who looked through the fiery-eyed bus conductor from the Madras Film Institute, like a Prophet scripting a legacy, that left an indelible mark in the thamizh film industry. Shivaji Rao thus became Rajinikanth, a man every person in Tamil Nadu relates himself with. I guess he was named so after Sivaji Ganesan's character in Gouravam, 'Barrister Rajinikanth'. Rajini can easily be rated as 'THE' find of the industry.

KB's coming of age to themes like these were fostered during his drama days, where again he was out-of-the-box in his characterizations. The silver screen opened to receive this man to itself. The boldness of KB was realized right from the word go when he cast thespian Nagesh as the lead in his first ever directorial, Neer Kumizhi (in my list of to-watch films). Major Chandrakanth (KB's script only), Edhir Neechal and Server Sundaram showed KB the actor in the form of Nagesh (which Nagesh himself claimed in Vaali's 50 - sadly none of the three are alive). The care with which KB groomed Nagesh the artist can be seen with his many portrayals, including a drunken-doctor split-personality-like role in Aboorva Raagangal. Many of KB's films, though having a serious tone, is never devoid of strong wit (scenes that make you laugh and cry at the same time), viz., Edhir Neechal, Server Sundaram, Ninaithaale Inikkum.... This was to be transformed later into his television exploits too.

Through Kavithalaya, he is credited for introducing today's legends like A.R.Rahman (KB was Roja's producer), actor Vivekh and many more. His Duet is a perfect tribute by ARR to this Kollywood's guru.

Starring as Margadarisi in Uthama Villain, the role had everything that was KB. The scene where Manoranjan (Kamal) meets his guru (KB) to request him to direct Manoranjan's last movie evokes a tear or two and a stark reminder of who KB is and why Nagesh, Kamal and Rajini are celebrated. KB, the real 'Margadarisi' will always be remembered for quashing stereotypes across decades.

Notable Films of KB:

Neer Kumizhi

Ethir Neechal

Server Sundaram

Major Chandrakanth (story, dialogues)

Arangétram

Aboorva Raagangal

Thappu ThAlangal

Avargal

Moondru Mudichu

Aval Oru Thodarkathai

Thaneer Thaneer

Varumaiyin Niram Sivappu

Unnal Mudiyum Thambi

Puthu Puthu Arthangal

Roja (*credits for introducing ARR)

Duet

Jai Hind 2

Arjunin Jai Hind 2 was one of the films I anticipated this year. Being a fan of Arjun, it has been a long time since an Arjun movie released, and I was very excited to watch it, especially after the trailer evoked in me a sense of a good story.

I have always felt Arjun's films never got enough publicity like the ones of top heroes (when I say "top heroes" I base it on the budget involved), but there were good promotions for this film, including an exclusive interview with The Behindwoods team.

And the film released on one fine day, much to my relief that at least people, including some of my friends, knew an Arjun film is releasing.

The first review I read of the movie was by Bharadwaj Rangan who wrote in The Hindu. The review looked disappointing except the fact that the action sequences were on a different plane in terms of execution.

The Behindwoods rated the movie very poorly and my worries doubled. "Another movie in the long list of Arjun's bad movies?" I thought with frustration. I still wanted to watch the movie.

I chanced upon an official movie streaming website in the US, which has a pay-per-view option. The story opened with 5 different people 'collaged' on one screen. And one-by-one opened up, with their involvement to Arjun. The film proceeded at a decent pace and when you think you know what the story is going to be, Arjun the screenwriter has some surprises for you, just that they are on the worse side.

The film deviates from the crux of the movie "education system in India" to finding-the-villain-and-btho-them types. The second half is nowhere connected to the movie and not a hint of story. A few scenes near the climax reminds the audience of what movie they were watching and what the story is, though it is too late. These scenes are watchable as Arjun the actor at least takes centre-stage.

Arjun, as a computer techie who teaches karate has excelled in the character. The scene where he explains the life of a street-dog to his friend and his explanation for India's poor showing in the Olympics stands out. Other actors do not create any impact, and the Brahmanandam-Mayilsamy combo at comedy is a stark example of bad comedy. Please do not even think of the comedy tracks of a film that has the same title.

Arjun's forté, action, is the highlight of the movie. If the effort Arjun has taken in getting the action scenes to perfection been reflected in other aspects of the film, it would have been a watchable movie. This exposes the reality of the need for good screenwriters. I was only reminded of another second effort, Nagaraja Chozhan M.A, M.L.A., which had the same team as the cult political satire, அமைதி படை.

Cinematography and background score are pretty good and noticeable, but the songs are unnecessary (I don't understand why very few dare to take films without songs when the same person is producing and directing a film).

Puthiya Vaarpugal

A film by Bharathiraja....

Naa romba naala "Puthiya Vaarpugal" paakanum nu ninaichinde irundhen. Idhu Bhagyaraj oda first padam. Neraya aacharyangal indha padathula:-

• Bhagyaraj ku dubbing vera yaaro.
• Goundamani oda role indha padathula enna asara vechudhu (கௌண்டமனிக்கும் andha ooru periyavar kum climax munnaadi oru scene la pinni eduthirupaaru).
• Enna dhaan slow ah irundhaalum, padam nikkama poinde irukku.

Locations ellaam vera level la irundhudhu.... Bharathiraja ku idhu kai vandha kalai nu sollumbodhu yaarukkum puriyadhu, indha maadhiri padathula paakumbodhu dhaan adha unara mudiyudhu. Ilaiyaraaja oda re-recording kekkave vendaam, onnu rendu yedatha thavara overall semma balam padathukku.

Bhagyaraj oda acting first padam nu kaatadha alavukku irundhadhu (voice um avar kuduthirundhaar na nalla irundhirukkum). Rati Agnihotri mis-fit ah irundhaa. Ava yedadhu pakkam mookku-kuthi poattadhu ennaala sambandha padutha mudiyala. Sila scenes la nalla pannirundhaalum innum better ah nadichirukalaam.

Janakaraj and Vaagai Chandrasekar rendu perumey chinna role dhaan (ivangalaa idhu nu thonum). Oru koothu paatula vara main aalum Chandrasekar maadhiriye irundhaaru (un-credited double role ah nu theriyala). Periyavar ah nadichavar voice nalla irundhadhu. Rati oda appa and thambi characters nalla pannirundhanga.

Puratchigaramaana climax (pudhusu illai naalum seriyana climax).

First to start with, CRICKET

It is a bizarre situation at New Zealand. Before the start of this series, everyone expected the tracks to be bouncy and with a lot of swing. A well-known fact is that our batsmen have been troubled and the team bowled out with two-figure scores, in its previous outings.

But we are awestruck at the transformation that has taken place to the grounds and pitches in New Zealand. The tracks are flat (I doubt even Mitchell Johnson, who injured great South African batsmen in the on-going series in the African nation, or an Akhtar, Bond or Donald would have had any effect in these conditions). The circles' radii have decreased by many folds. Clearing the rope is looking a cake-walk for the sub-continent team, especially. A team’s dominance in a game is unacceptable in grounds like the ones in New Zealand. For example, the six of the bat of Viru which brought his hundred in the last ODI is a sure catch (in-fact a sitter) in any normal ground with proper specifications. The bowlers look like ball-machines bowling at bat-swinging batsmen (this is the case in both sides). I accept that this Indian team is one of the best in the world at present, but winning a series 3-0 is no big deal for a team that won a CB series down under last season. The game looks just like a battle of about 12 batsmen (6 on each side), and their ability to clear the ropes at ease. The innings of Sachin (163 retd hurt) was nowhere in the vicinity to his all-time classic legendary knocks that we all witnessed over a span of two decades. A flick or a just a touch from his bat is enough to clear the ropes. This is mainly due to the prime reason that the ropes are just a long-jump distance away from the bat. Then how on earth does a captain expect his bowlers to retain confidence in them. The basic point I would like to make here is that Cricket, which is moving closer to being a batsman-centric sport, should be a balanced one between the bat and the ball. The short grounds and flat pitches should be done away with, and replaced by bouncy tracks with long boundaries. This will become a real test to both the batsmen and bowlers and provide a stiff competition and I hope will surely retain the suspense that prevailed earlier, in ODIs and the new format Twenty20.

By a true Cricket fanatic,

Ramshankar