Balaji's Thots

It does seem to be a good time to be a successful actor in Tamil cinema. Our actors must be humming Kaadhalaa Kaadhalaa’s Kaasu Mela Kaasu Vandhu… as in addition to their salary for the movies they appear in, they are using their stardom as a springboard to earn money from several other areas.

First of course are the commercials. Gone are the days when the crossover between cinema and the advertising world was limited to actresses appearing in commercials for sarees. As the marketing budget for companies has increased and appearing in commercials is not seen as a step down for actors(if anything, it is seen as a sign of their popularity), our stars are hawking everything from hair oils to underwear. And there doesn’t seem to be any connection between the actors or even the characters they portray and the products they are hawking as Namitha urges us to use a particular brand of TNT rods and Abbas goes around convincing us that a particular brand of cleaner cleans toilets the best. With a few minutes of work ensuring a rather big payday, the attraction of our actors to commercials is not difficult to see.

Considering that cricket and cinema are arguably the two leading sources of entertainment for us, it wasn’t a big surprise when the two joined hands, resulting in the CCL or the Celebrity Cricket League. Our actors formed the Chennai Rhinos and the salaries they got for taking part and other incentives from the organizers and sponsors must’ve helped them make a tidy bundle as they took on teams made up of movie stars from other languages.

There are also shows put on, usually outside India, by groups of actors. Bollywood seems to be way ahead on these shows but there have been a few shows by our actors in places like Malaysia, Singapore and London. It doesn’t look like there are too many of these, which is not surprising since putting on the show cuts into day-to-day work with the travel, practice, etc. But when they do happen, the actors are probably quite well compensated for their participation. Apart from such shows, actors also make solo appearances for meet-and-greet occasions where we get to take pictures with them or have breakfast or dinner, all for a price of course.

TV shows are a recent addition to the sources of revenue for actors. For quite some time, television was seen as the destination for out-of-work and past-their-prime movie stars as once-reigning heroines like Banupriya and Meena started acting in serials. But with Bollywood stars hosting reality shows, the stigma associated with TV shows seems to have been removed. I think it started with Amitabh Bachan hosting Kaun Banega Crorepati and since then all Bollywood stars, the latest being Aamir Khan, have gone on to host reality shows. That trend seems to have started in Tamil too with Suriya now hosting Neengalum Vellalaam Oru Kodi. With the big fat paycheck he is supposedly getting, he has opened up a brand new revenue source for actors.

The most recent money-making move was by Prasanna and Sneha as they sold the telecast rights to their recent wedding. They were able to do because they banked on the public’s obsession with anything remotely connected to cinema. But regardless of how successful the telecast turns out to be, the whole thing seems a bit crass to me. When it comes to commercials, television programs, cricket matches and stage shows, the actors are still doing a job. They may not be on a movie screen but they are still acting, putting on a show, entertaining us. So they get paid for the job. Not so when they are getting married. By allowing TV cameras into their wedding and getting paid for that, Prasanna and Sneha invited the media into their personal lives, into an occasion meant for family and friends. They essentially transformed a private function into a public show. That didn’t seem right.

For every successful actor there are many others with short-lived careers and there have been stories of once-popular actors living in penury. So I don’t see anything wrong with our actors exploiting their stardom and exploring new means of making money. They are simply making hay while the sun shines, something that everyone does. But when they voluntarily sell their privacy for making a few bucks, it does seem like they stepping over the boundary into plain greed. I shudder to think what’s coming…

The Avengers had a really long set up leading up to it as we had a series of movies introducing us to 4 of the superheroes(the Hulk, Iron Man,  Thor and Captain America) making up the group before they, along with 2 others, Black Widow and Hawkeye, were brought together  in 1 movie.  The team-up turns out to be a blast with the superheroes saving the world with some impressive special effects and action choreography but managing to retain their individuality and characters while doing so.

The bad guy is Loki, Thor’s brother, who steals the Tesseract, a limitless source of energy and then opens a portal for an alien race to attack the race. So Nick Fury, the SHIELD director, restarts the Avengers initiative to put together his band of superheroes.

Multi-starrers are fun even if the actors appearing together onscreen aren’t our favorites. That’s also the case with The Avengers, which is essentially a superhero multi-starrer. I devoured DC Comics when growing up, reading every single Superman and Batman issue that came out. So I was a lot more familiar with them and other DC Comics superheroes like Green Lantern and Flash Gordon than I was with Marvel’s superheroes. I was only marginally familiar with  Iron Man and The Hulk and hadn’t even heard of  Thor and Captain America until the movies came out. Still it was exciting seeing them together onscreen and that’s the chief pleasure the movie offers.

Though the film has so many superheroes, they all manage to get their time in the spotlight and the story has been developed such that all of them has an important part to play. Iron Man seems to have an edge(after all he had the most successful of the solo outings) and gets the most important task at the end(a move reminiscent of the climax in Independence Day) but the rest of the superheroes have their moments. Even Black Widow, who initially gives the feeling that she was included just to add some sex appeal to the completely male-dominated group, plays a key role in ending the war. This equal partnership is particularly evident during the climactic battle. They help each other out at various instances but there are also those flowing shots where the camera pans across, showing them fighting the same war but engaged in individual battles.

Before they team up to tackle the common enemy, they fight each other as their egos, opinions of one another and principles all clash. The spats are fun since the adversaries are equally matched but are also handled with humor and the respect they have for each other comes through. Unsurprisingly, Downey Jr.’s Iron Man gets the best lines during these portions with his mix of sarcasm and wit (though Thor and Hulk get the biggest laughs in the movie, the former with his “He’s adopted” line and the latter with his effortless thrashing of Loki).

David Baldacci moves away from his favorite setting, Washington D.C, for his latest stand-alone(for now!) novel Zero Day. It starts off with the murder of an entire family in Drake, a coal mining town in West Virginia. John Puller, a military investigator, is sent alone to investigate the killings. With Samantha Cole, the town’s cop, he begins digging into the murders and uncovers a conspiracy that had its seeds sown several decades ago. With a compelling hero and an engrossing – even if slightly outlandish – plot, Baldacci delivers another easy read in his typical style.

The novel’s plot turns to be pretty simple and falls in Baldacci’s usual territory. But the author manages to introduce enough diversions and red herrings to stretch it out and keep things engaging till the end. The story starts off like a murder mystery but it isn’t a big surprise when its canvas turns bigger. But it still isn’t until the end that we understand  who the actual victims were and the motive behind their killing. The eventual plot and the things needed to make it work are a tad over-the-top but that is a characteristic of most Baldacci novels(starting with his first, Absolute Power!).

Baldacci sure knows how to create compelling protagonists who fall somewhere between hero and superhero and he does the same with Puller here. Puller is the full package with his brains, army training, good heart, etc. But it doesn’t get boring and his discipline, his strength, his way of thinking all combine to make his portions, especially the action sequences, consistently entertaining. He gets an equally interesting partner in Cole, a small-town cop who manages to rise up to the occasion admirably when caught up in much bigger things. The relationship between the two keeps things interesting even when the plot slows down.

Zero Day does begin in an intriguing fashion with Puller meeting his brother, who is in jail for treason. Though his brother does end up playing an important role in the proceedings, its strange that Baldacci doesn’t delve into his past or even give us an idea about the reasons behind his incarceration. This makes me think that Baldacci may be planning starting a new series with Puller.

Agent Vinod is Bollywood’s attempt to bring James Bond to Hindi cinema. The titular hero, played by Saif Ali Khan, is a suave, wisecracking RAW agent who is out to save the world from a deadly weapon and the man who intends to use it. The film has a decent plot and packs in some good suspense and twists but the lackluster action ensures that it never gets as exciting as a good spy thriller should.

The film’s plot has a big enough scale to suit a spy adventure as the weapon everyone is after is suitably deadly and Saif hops through some exotic locales as he tries to stop the bad guy in time. It also has a number of bad guys and enough suspense to hold our interest. So we initially have a book of poems and the number 242 to keep us intrigued and once those are cleared up, there are bigger questions about where Kareena’s loyalties lie and what exactly the villain’s plan is. There’s nothing unique or fresh about the plan but the movie succeeds in not letting us realize this until the end.

Its obvious that director Sriram Raghavan loves movies and loves to show off his inspirations. In Johnny Gaddar, it was James Hadley Chase and here its James Bond. So there are a number of nods to the series, the most obvious of which are a short poker game with Saif in his tux, a ticking bomb that is stopped at a very recognizable point and a scene that recreates Ursula Andress’ famous first appearance out of the sea in Dr. No.

The film has enough action with many hand-to-hand fights, chases on foot(including one that happens with Raakkamma Kaiya Thattu… playing in the background), car chases and gunfights. But barring some smooth moves in some of the hand-to-hand fights, none of the action sequences make an impression. They are neither long enough nor are they staged in an exciting fashion. The only action sequence that really stands out is the one where Saif and Kareena escape from a hotel, as it is accompanied by a song and seems to have been filmed in 1 continuous shot.

In both Kaadhal and Kalloori, director Balaji Sakthivel seemed to fashion a climax picked from the headlines and then develop the story leading up to it. He follows the same style in his latest film Vazhakku Enn 18/9. The two romances told in his trademark down-to-earth realistic style are engrossing because of the tight screenplay and the strong climax provides a low-key but fitting finish.

Velu(Sri) works at a roadside eatery in Chennai. He falls for Jyothi(Urmila Mahanta), who works as a maid, but circumstances conspire to make her and her mother have a rather poor opinion of him. Jyothi works at the house of Aarthi(Manisha Yadav), a 12th standard student. Dinesh(Mithun Murali), who stays in the same apartment complex, woos Aarthi but his intentions aren’t very honoroble.

The movie is essentially about two romances even if the titular case is always in the background(after all, both the romances are disclosed during police interrogations). But barring this similarity in the circumstances under which they are narrated, the 2 love stories are markedly different. One is deep and sincere and driven by the goodness of the heart while the other is superficial and casual and driven by very different motives. So its ironic that the latter becomes the catalyst to illustrate the strength and the depth of the love in the former.

The two romances take place in two different levels of society and the characters in both the environments have been shaped without exaggeration. Sri’s and Urmila’s lives, though tough, are neither romanticized nor overly pessimistic. Sri’s good, helpful nature and Urmila’s quiet, no-nonsense character are shown well through their interactions with others. Similarly, Mithun  and Manisha as well as their parents and friends are not caricatures even though the characters they play are familiar.

But most interesting are the characters(like the policeman) who exist between these two levels. Dealing with people from both levels, their attitude and behavior changes depending on who they are interacting with. This unpredictability in their thinking plays a key role in keeping us in suspense about how the story will unravel.

The screenplay has been constructed meticulously as the two romantic tracks intersect in natural ways at different times. This allows us to see some of the events from different points of view in the two tracks. None of these intersections alter the story significantly but what we see the first time around does sometimes take on a new meaning when we see it the second time with more information(like the scene where Sri helps push a stalled car. We initially think that he has missed seeing Urmila but the second time we see the scene, we realize that what she has not seen is more important).

Considering that the movie’s title is a case number, the unraveling of the events leading to it isn’t very exciting. The story certainly isn’t predictable and it is suspenseful since it isn’t always clear how things will turn out. But its no mystery or crime thriller. It proceeds in a straightforward manner without any surprises, red herrings or last-minute revelations. But only at the end do we realize that its not the case itself but what happens because of this particular case that is important. Its corruption, lies and falsehoods that lead to the case but the surprising climax ensures that its love and hope that triumph after it.

The huge cast of newcomers has been selected perfectly and they all fit well into their roles. Mithun Murali in particular stands out with his expressions and dialog delivery as he plays a good guy to impress Manisha. Kumaravel, who plays the policeman, is terrific and completely natural. The way he puts Sri and Manisha at ease while they tell their stories and the way he deals with Mithun’s mom are a couple of scenes where he shines. The actress who plays Urmila’s mom also makes an impression, particularly in the scene where she gets her the job. Vijay Milton frames many shots in interesting fashion and employs a few other techniques without overwhelming the story.

For me, waterfalls definitely occupy the top spot when it comes to enjoying nature. The itineraries of many of my trips are decided by the waterfalls in the vicinity of my destination and I try to see at least one on every trip. So one of my favorite local places is Uvas Canyon County Park, which is the closest place to see some decent waterfalls in the Bay Area. We headed down there a couple of weekends ago after the rains to get my fix of waterfalls and spent a fun day hiking, rockhopping and viewing waterfalls.

The most popular trail in the park is the Waterfall Loop trail that takes us to 4 waterfalls Upper Falls, Basin Falls, Black Rock Falls and Granuja Falls. The last one, Lower Falls, is accessible via another trail, the Swanson Creek trail. Here are a few pictures of the waterfalls from the trip.

Upper Falls

Basin Falls

Black Rock Falls

Granuja Falls

Lower Falls

With his first two films Siva Manasula Sakthi and Boss Engira Baskaran, director M. Rajesh earned a reputation for making light-hearted films where comedy and romance, in that order, dominate the proceedings. The formula worked twice and he makes no effort to deviate from it in his third film Oru Kal Oru Kannaadi. But it does feel like a step back as the mean streak in the humor and the feeble story take it closer to his first film SMS rather than the much more enjoyable BeB.

Saravanan(Udayanidhi Stalin), who works as an usher at Sathyam cinemas, falls for Meera(Hansika Motwani), who is training to be an air hostess. With his friend Partha(Santhanam) in tow, Saravanan makes several efforts to impress Meera but they have no effect as Meera accepts him as a friend but tells him that she has no feelings for him.

Though the movie has an interesting hook at the start, the backstory that leads to that point has no substance whatsoever. While Hansika’s role is shaped well, Udayanidhi Stalin comes off looking casual and cheap as he pursues Hansika and as he keeps flip-flopping on his attitude towards her, the absence of a real plot becomes apparent soon. After a point, the romance begins to feel like a plot device to bring Santhanam into the picture for the next comedy sequence!

The emphasis on comedy also ensures that the few dramatic points in the story are ridiculously contrived. The few opportunities that exist to add something to the story to make it more interesting are killed by being unrealistic and over-the-top((like the scene where Hansika meets a suitor),  artificial and contrived(like the conversation between Udayanidhi and Santhanam that causes a rift between Udayanidhi and Hansika) or taking the easy way out to resolve issues that crop up(like the climactic resolution to the problem).

Director Rajesh definitely has a good knack for extracting humor from familiar situations. Neither the film’s story(a standard romance) nor its situations(usually Udayanidhi dumping Santhanam in favor of Hansika) are particularly fresh or unique. Still the dialogs are effective in making us laugh with a mix of wordplays, kadi jokes and gentle take-offs on other movies. Sequences like the one where Santhanam goes to Udayanidhi’s house after Saranya’s frantic call and the one where the two of them go on the flight where Hansika is the airhostess, are comic highpoints but most of the comedy sequences manage to feature at least a couple of jokes that work. The personal attacks, like the ones aimed at Santhanam’s girlfriend, are rude and don’t work well though.

The situation in Udayanidhi’s house is a perfect example of the movie’s decision to treat treat everything as comedy. Though the situation between Azhagamperumal and Saranya is sad and serious, the film never lets us see it that way since there are always some jokes to lighten the mood. Still, the scene where the problem is resolved is sweeter and more convincing than any scene between Udayanidhi and Hansika.

Udayanidhi Stalin is definitely not ready to be a full-fledged hero yet. He has a dazed expression whenever he is supposed to act innocent or cute and ends up looking silly instead. And he comes from the Bagyaraj school of dancing. Hansika looks cute and manages to be bubbly without being irritating. Santhanam is the life of the movie and his trademark dialog delivery helps elicit laughs even from jokes where the punchline is apparent. Saranya displays her subtle comic ability in many places. Harris Jayaraj’s soundtrack is predominantly romantic though its the lightly duppanguthu Venaam Machaan… that manages to be the most catchy. Adadaa Oru Devadhai… has some cute and funny images. Both Akila Akila… and Azhage Azhage… are nice numbers though Udayanidhi Stalin’s dancing doesn’t do them justice. Kaadhal Oru Butterfly… is a melodious number but again, the choreographer seems to have forgotten that.

On weekdays, we hardly get to spend time with the kids. The daily routine allows us only 1 solid chunk of 3 hours, from the time they come home from school to the time they go to bed. That routine has undergone a small shakeup this week as Kavya has gone to something called ‘Outdoor School’ with her class. Its just her and its just for three days but it has made a big difference at home.

Those 3 hours are also the only time when Kavya and Karthik get to spend time with each other but many of their interactions during that time are not what I’d call cordial. There are loud complaints when Karthik teases her (he’ll close her book when she’s playing the flute or crawl close to her when she’s dancing), enters her room or touches her things. Things aren’t quieter when they spend time together on something either with a wide variety of complaints emanating from both of them. If she’s teaching him something, she’s bossy while he’s disobedient; if they’re playing something, she makes too many rules while he breaks too many of them; and if she’s doing something on her own, she’s selfish while he’s annoying.

Considering these fights between them, I assumed Karthik would enjoy this alone time, this opportunity for undivided attention from his parents, this chance to experience life without sharing or competition. But his behavior has been quite a surprise. In these 3 days, he has shown me that absence does make the heart fonder. He has barely opened his mouth and hangs out in the family room, visibly bored. He starts and ends the day with a countdown to Kavya’s return and finds a way to include her in most conversations. And he hasn’t gone into her room or touched her stuff even once. While he hasn’t gone as far as saying openly that he misses his sister(he’s a boy after all ), it is pretty apparent seeing how different he is.

I was excited about the Outdoor School it was supposed to teach my older kid responsibility, independence, love for nature and many other things. But now I’m thrilled because it has also shown me how much my younger kid loves his big sister!

While Manirathnam has tackled a variety of subjects, most of the director’s films have been driven by emotions rising from strong relationships(even Agni Natchathiram, which can be counted as a masala film, was based on the enmity between stepbrothers). So Thirudaa Thirudaa, a light-hearted, full-length action-comedy, is a departure of sorts for the director. The top-notch technical aspects ensure that the action parts are good but some bad casting choices and a slightly loose screenplay prevent the rest of the movie from coming up to that level.

TT Vikram(Salim Ghouse), who lives in London, has just masterminded the robbery of Rs. 1000 crores from the train carrying the money fresh from the press. The container with the money is now on a truck and can only be opened by a computerized card, which is now in the possession of a dancer Chandralekha(Anu Agarwal), who got the card from businessman Ashok Chellaiya, Vikram’s local contact. When the CBI, led by Lakshmi Narayanan(S.P.Balasubramaniam), arrives to interrogate her, Chandralekha escapes. Meanwhile Azhagu(Prashanth) and Kathir(Anand), a couple of petty thieves, are on the run from the police with Rasathi(Heera), who tags along with them to escape marriage to her much older uncle. The three of them land up in the same train Chandralekha is in and promise to help her escape in exchange for a lot of money.

Thirudaa Thirudaa is a very ‘active’ movie in that the camera is always capturing action of some kind. The screenplay has been designed such that  the characters are always either running away from something or going after something. All the main characters are either running when we see them for the first time or take off soon after(Prasanth and Anand go on the run after their robbery, Heera tags along with them, Anu escapes from the CBI, SPB runs to catch a train and Malaysia Vasudevan goes after Prashanth and Anand) and don’t stop running till the end. The non-stop movement of the screenplay doesn’t always translate to a relentless pace but the movie does feel like a adventure.

This kind of an on-the-move screenplay ensures that there is abundant action. And there is a lot of variety in the action also. The film starts and ends on a train and then there are several hand-to-hand fights, shootouts and an impressive escape from a burning house. But the greatest variety is provided in the chases as they involve at various points horses, cars, a horse-cart, a bus and an eighteen-wheeler. All of these involve nice stunts and are superbly filmed and so though the film’s lighthearted tone prevents them from being really suspenseful, they provide good thrills.

Overt comedy has never been Manirathnam’s strongpoint. While the director has made us laugh with his cute romances (like the evergreen Karthik-Revathi segment in Mouna Raagam) his attempts at direct comedy have been disasters(cases in point, the comedy tracks in both Agni Natchathiram and Idhayathai Thirudaathey). So its no surprise that barely any laughs are raised throughout Thirudaa Thirudaa. There are a couple of clever wordplays and Heera’s laments when she is abandoned or thrown into danger by Prashanth and Anand sometimes make us chuckle but the humor for the most part feels forced.

The romances usually introduce some levity into the otherwise serious proceedings in most Manirathnam films but that situation is reversed here as the romance turns out to be the serious part of the film. With all the action, it takes some time to make its appearance but leads to a love triangle when it does. Without much character exposition and with hardly any time to develop meaningful relationships, the love triangle seems abrupt and unnecessary. The best part about it ends up being the flippant tone with which it ends.

Manirathnam has always made surprising but good casting choices. He extracted the best out of Kamal, brought out the actor in Rajni, showed us that Madhavan had a rough side and made a three and a half-year-old look like a seasoned actress. So its surprising that the cast in Thirudaa Thirudaa is so weak. The main culprits are Anand and Heera. Anand is uncharismatic and stone-faced and has the same expression whether he dancing joyously or sacrificing his love. Heera just doesn’t fit the village belle role though Suhasini tries her best to help through her dubbing. Prashanth somewhat makes up for Anand with his energy and liveliness while Anu Agarwal gives off some seductive vibes. Two popular singers add some sparkle to the supporting roles. S.P.B has an easygoing nature but also manages to convey that it hides a sharp brain while ‘Malaysia’ Vasudevan adds humor to his role of the policeman who is suddenly thrust into more action than he has faced in the past.

The film’s soundtrack is considered one of A.R.Rahman’s best and with good reason. In their second collaboration after Roja, Manirathnam and ARR make the song sequences quite a treat for the eyes and ears. Veerapaandi Koattaiyile… is one for the ages with its thumping orchestration and a tune that moves effortlessly between fast and slow segments. The setting, the lighting and the choreography(the moment where Anu enters the song is terrific) are all fantastic. Those three aspects again make Chandralekha… a spectable as they transform Chennai’s museum into a dance stage. Kannum Kannum… is a fun number with Vairamuthu’s lyrics being both poetic and funny. The dance steps are simple and the cinematography is dominated by golden hues and silhouttes. Raasaathi… is carried by its tune and some humming with no other music. Puthampudhu Boomi… describes a Utopian world marvelously while Thee Thee… is beautifully staged and photographed but the lack of chemisty between Prashanth and Heera is damaging. ARR’s background score suits the film’s tone. The piece that is used at multiple pieces is very catchy while many of the other snippets complement the action sequences very well. P.C.Sreeram captures the action gloriously and as always, paints some stunning pictures on screen.

After the plot-heavy, twisty series opener, the Mission Impossible franchise has moved away from that model to focus more on action. Mission Impossible – Ghost Protocol, the fourth entry, which sees Hunt(Tom Cruise) and his team(Jeremy Renner, Paula Patton and Simon Pegg), now on their own, pursue a Russian who intends to trigger nuclear war, continues the trend with a simple story and wall-to-wall action. But the action set-pieces are so terrific that no one is likely to complain.

MI4 resembles a James Bond adventure with its globe-trotting, hi-tech gadgets and a megalomaniac villain out to destroy the world. Apart from the nature of its hero (Ethan Hunt doesn’t seduce any women or sip martinis and he gets beat up a lot more), the film could easily double as an entry in the British spy franchise.

The film is one fantastic action sequence after another. The Kremlin infiltration seems a tad too easy but the Burj Khalifa break-in, the subsequent foot and car chases in the sandstorm and the fight in the parking garage are all elaborately staged and beautifully executed. The Burj Khalifa sequence in particular is the movie’s highpoint with its mix of eye-popping stunts as Cruise scales the glass walls and some smart drama inside as the team handles two transactions. And in all the cases, Cruise seems to be performing the stunts himself, which increases the excitement level.

MI3 suffered because it seemed like it was assembled from bits and pieces of the previous 2 films. But MI4 avoids that feeling. It has all the basic elements that one expects from the franchise but gives them some small tweaks so that they don’t seem too familiar. So we get a break-in but the focus is more on how Cruise gets inside rather than what he does when he is inside; we get a mask but its not worn by someone we expect; and in a dryly funny incident, we get the familiar self-destruction mission message but it ends up malfunctioning.

With all the action, there is hardly any time for character or relationship development (for the first time in the series, Cruise doesn’t even get a romantic partner). But Renner’s past and his link with Cruise gives the film some emotional heft, apart from leading to a surprising, feel-good end.

Cruise is his usual athletic self but its Renner who gets the chance to display both comic timing and some intensity. Paula Patton is convincing in the catfight while Simon Pegg gets some laughs from his nervousness and excitement at being on the field for the first time. Anil Kapoor is pretty much comic relief as he plays a billionaire tycoon who is first seduced and then drugged.