Balaji's Thots

Hobbies, by definition, are things that we do in our free time. We like doing them and for at least a while, they help us take our mind off the more important issues. Most of my hobbies – movies and books are probably the top 2 – involve enjoying the fruits of others’ labor and while they offer satisfaction, there is no sense of achievement involved there (though some might consider sitting through movies like Veerasamy as an achievement in itself!). Putting together jigsaw puzzles is one hobby that delivers that sense of achievement.

While I have done a few many years back, I put aside that hobby once Kavya was born under the assumption that the small pieces would just be too tempting for her to pop into her mouth. The keeping away from the hobby continued after Karthik was born though in his case, the fear was that the partially-assembled puzzle would be too tempting for him to pull apart.

With both the kids reaching the age where they are interested in putting together the puzzles rather than dismantling them(which I realized when we did the puzzle during our trip to Clear Lake), I stepped back into the hobby a few weeks ago. The kids were real enthusiastic about it and the jubilation they showed after finding each piece that fit was fun.

Below are the puzzles that were completed. The Penguins(500-piece) and The Clown Fish(300-piece) were done by yours truly with help from the li’l ones. The Transformers(100-piece) was completed by Karthik and mom while The Frog(100-piece) was done almost fully by Kavya and Karthik.

Just a month into 2010, we’ve already had 2 biggies, Aayirathil Oruvan and Goa, hit the screens in quick succession. While those 2 movies earned their hype mainly because of the directors helming them, this Friday will see the first star-driven film of the year in Ajith’s Asal. While fans of the actor will be eager to see him on the big screen after a long break, his re-teaming with his favorite director and the film’s music ensure that there is something to look forward to for the rest of the viewers too.

Wild swings have characterized Ajith’s career for a long time and its no different now. He had one of his biggest hits in Billa but followed it up with a damp squib in Aegan. But Asal has a few aspects to ensure that it ends up as another hit for him. He is joining hands with Saran, who has given him 3 big hits so far; he is playing a don, a role that gave him his last hit; and he is playing a double role, which has proven lucky for him in the past, apart from giving us his best film to date(Vaali). He looks stylish as the don in the stills but his look in the other role has not been revealed.

Ajith has two heroines for company this time around. Sameera is back after totally charming us in Vaaranam Aayiram and Bhavana too hasn’t been seen for a while. Prabhu is a given considering its produced by Sivaji Films and Sampath Kumar, after that refreshing turn in Goa, is back to playing the bad guy, looks like.

Saran is definitely banking on Ajith more than Ajith is banking on him. Once an A-list director with a nice streak of hits(Amarkkalam, Paarthen Rasithen) and a genuine blockbuster(Gemini) to his name, his recent movies(Modhi Vilaiyaadu, Vattaaram, Idhaya Thirudan) have failed to make a mark at the box-office. His movies have a pretty safe, predictable formula – the story has a lot of sentiments, the hero is imbued with shades of gray and there’s a good plot twist involved – but it has failed to click in his last few movies. With 3 hit outings, Ajith has proved to be a lucky charm for him in the past and he’ll be hoping that their combination’s success rate stays at 100%.

After working with the Colonial Cousins in Modhi Vilaiyaadu, Saran is back with Bharadwaj and the composer has delivered a wonderful album. The album has been having equal play time with Vinnai Thaandi Varuvaaya and Goa on my iPod and thats saying something considering the composers responsible for those two soundtracks. The incredibly catchy Tottadoing and the very meaningful ode-to-Dad Singam Endraal… (which is supposedly been dedicated to ‘Sivaji’ Ganesan) are my favorites though Kudhiraikku Therium…, Kaatrai Niruthi… and Hey Dushyantha… aren’t too far behind.

With a successful actor-director team, a reputed production house and a hit soundtrack, Asal has a good chance of becoming a hit. Let’s hope that it is an asal success!

Venkat Prabhu has his own brand of humor and it worked very well in both Chennai 600028 and Saroja as it livened up the proceedings which were otherwise familiar to the films’ genres. But when the same kind of humor forms the basis for an entire feature film, it ends up being stretched rather thin. Goa does keep us engaged throughout and smiling most of that time but it doesn’t have enough comic highpoints to be considered a successful comedy.

Vinayakam(Jai), Samikkannu(Premgi Amaran) and Ramarajan(Vaibhav) feel stifled in their village Pannapuram and can’t wait to get out of there. So they head to Madurai, where they end up at the wedding of Vinayakam’s friend, who is marrying a white girl. Learning that he met the girl while working as a tourist guide in Goa, the three friends also head to Goa with dreams of meeting foreign girls and marrying them. Jack(Arvind Akash) and Danny(Sampath Kumar), a gay couple, give them a place to stay and help them in their quest.

Venkat dips into his now-familiar bag of tricks to tickle our funny bone and most of them work. There are spoofs of well-worn cliches(like the village panchayat), take-offs on popular film sequences(like the Vettaikkaaran stunt sequence), visual tricks and ofcourse one-liners and gags (this might be the movie with the earliest start to jokes as even the statutory warning about cigarette smoking is delivered in a funny way). He has many different ruses and so doesn’t have to overuse any of them, which is why the jokes, like Jai’s pidgin English, are funny right till the end. There are a few double entendres, the most overt being the sequence where Arvind overhears a Premgi-Sampath conversation inside the room) but the humor for the most part is not vulgar(not to be confused with ‘not adult’!).

But the jokes here are of the kind that evoke chuckles rather than big laughs. Most gags do find their mark and even when they are not exactly funny, they are quite smart(like the way Venkat presents conversations between two white women) or interesting(like the pop-ups telling us what the guys are saying when the surroundings are too noisy). Still the movie lacks the kind of sequences where a string of jokes, both verbal or physical, build on one another to invoke loud laughs. So the film feels like a light-hearted entertainer rather than a full-length comedy.

It is always difficult to tackle serious things in a comedy, especially one that spoofs other serious cliches, and Venkat runs into that issue in the romances. Premji’s romance with Melani might be the least believable but it is the most enjoyable since it is handled with humor throughout. Jai and Piyaa’s romance goes through the usual steps of realization, jealousy and denial but even when things are serious, there’s always the doubt where these scenes are serious or just being played for laughs. The Vaibhav-Sneha track never makes an impact and ends tamely, after an unnecessary and ineffective detour into heist territory. Surprisingly, the most serious is the Arvind-Sampath track. While the non-cliched, non-stereotypical handling of a gay romance is admirable, the happenings are a bit too serious considering the tone of the rest of the movie.

The ensemble cast has excellent chemistry and it shows on screen. Jai finally looks like he is enjoying himself after looking confused in the last couple of films and delivers his broken english with a sincerity that is quite endearing. Premji has a rather limited set of styles and expressions but does extract a lot of mileage from that. Vaibhav stays in the sidelines for the most part. Sampath Kumar is fantastic. With an accent and body language that are unmistakable but don’t go over-the-top, he creates a memorable character and shows that he could be cut out for a lot more than cliched villain roles. Arvind Akash, the latest addition to the six-pack club, is adequate. Melanie, who hails from Australia, is really pretty and looks totally at ease in the romance. Piaa looks cute while Sneha pulls off a role which is not the kind she usually plays but doesn’t look very comfortable doing so.

While there are a lot of songs, many of them stop after the first stanza and so they don’t irritate. The visuals too play a part in making them watchable though none of them stand out. The folksy songs Ezhuzhu Thalaimuraiyaa… and Adidaa Naiyaandi… are pretty ordinary as they are not picturized on the stars. Among the modern numbers, Valibaa Vaa Vaa… is the pick of the album, mainly because of the fun steps for the Haahaanu dhaan segment. The title song is catchy and fun but the bikini-clad women dancing for it don’t look like they are having fun though. Idhu Varai… and Idai Vazhi… both feature some nice locales both indoors and outside.

My ten favorite films of 2009…

10. Thiru Thiru Thuru Thuru
This underrated film navigated atleast 3 different genres expertly by tying them together with subtle comedy. The transitions between the sections were smooth and kept us consistently engaged even if the light-hearted take on everything meant that the film never developed any dramatic tension. The likeable leads and the light romance also helped in making the film a clean, youthful and breezy entertainer.

9. Nadodigal
This film’s message was a bit jumbled but nevertheless, it managed to convey it by staying on the correct side for the most part as it walked the line between realism and melodrama. A bravura sequence where the protagonists snatched their friend’s lover from her wedding was the film’s highpoint and it was bookended by some good humor and characterization on one side and a bit too much melodrama on the other.

8. Vennila Kabaddi Kuzhu
This entry in the rare sports film genre offered further proof that it was possible to make a fun, entertaining Tamil film revolving around a local sport. The diverse and interesting set of leads, the casual but effective humor and the energetically-picturized games made the familiar story arc interesting. Barring the unnecessarily tragic epilogue, the film worked as an engaging entertainer.

7. Arundhati
This was a no-holds-barred, dubbed-from-Telugu horror flick that was grandly mounted and unapologetically bloody. With a stirring, charismatic performance from Anushka, especially in the role of the queen, solid  characterization of the equally-matched characters representing good and evil, good special effects that lent it grandeur and a relentless pace, it was a visceral, thrilling film.

6. Ayan
This film restored some respect to the masala genre, which has understandably become a rather derogatory term referring to crass, loud films targeted only at the front-benchers. It had enough minor twists and plot developments to keep the momentum from flagging and its behind-the-scenes look at smuggling and the marvelous action sequences ensured that it served up its masala with style and smarts.

5. Eeram
The familiar revenge tale was bolstered by the technical strength in one of the best-looking movies of the year. The film developed the suspense well and juggled it well with a sweet romance. The film’s direction in the second half was disappointing even if logical and it ended with a whimper instead of a bang but it maintained Shankar’s reputation for producing quality fare in not-so-popular genres.

4. Naan Kadavul
The unique characterization, the spotlight on a section of society seldom seen in films, the dark, depressing tone and the uncompromisingly bleak storyline made the film a tough but rewarding watch. The plight of the beggars was horrific and Arya’s character arc made the title very apt. But Arya’s emotional detachment and the lack of a strong relationship between the main characters made the film have less of an impact compared to Bala’s  earlier efforts.

3. Yaavarum Nalam
The film employed a remarkably unique and original conceit – life imitating a TV megaserial – and exploited it very cleverly without resorting to gore or cheap scares. It entered familiar territory towards the end but tied up loose ends well. Banking on atmosphere, a sense of dread, good suspense and a nice twist, it bestowed legitimacy on the horror genre in Tamil cinema.

2. Unnaippol Oruvan
This surprisingly faithful remake of A Wednesday took a gamble by keeping its protagonist anonymous and it paid off well. Kamal’s stature as an actor diluted some of the surprise and power of the original but the performances from him and Mohanlal, the single-minded focus on the story, the complete absence of unnecessary commercial trappings and the suitably lean running time all made it a solid film.

1. Pasanga
A loveable set of kids gave us a memorable peek into their lives in director Pandiraj’s laudatory debut. The kids’ world was a real microcosm of the adults’ world, the supporting characters were fully fleshed-out and the technical aspects kept the film vibrant and lively. Barring the cinematic and  melodramatic climax, the film was refreshingly fresh and fun fare.

Since the list of my least favorite 10 films of the year is usually made up of films that very people have actually seen or even heard of, the Bottom Ten now refers to what I consider the 10 most disappointing films. So here, in reverse order, are the 10 films I consider the biggest disappointments of 2009 (for the record, if I were to simply list the 10 worst movies of 2009, Rajadhi Raja would be at the top  – or is it bottom? – of the heap).

10. Paalaivana Cholai
This straight remake had no modifications to make it appealing to the viewers of this generation. With a plot that held no surprises, characters that are poorly shaped and actors who come off looking bad when compared to the actors in the original, it was no surprise that the end result was a film that was simplistic and old-fashioned.

9. Jaganmohini
This remake of the older fantasy film was case of lost opportunity considering that fantasy films offer an enormous opportunity to be remade with bigger budgets and using the latest advancements in special effects. With an unbelievable plot, amateurish graphics and bad comedy, this was a fantasy adventure only in the sense that it offered more fodder for those with fantasies of seeing Namitha in skimpy clothing.

8. Thoranai
This film was yet another proof that simply throwing together elements like action, romance, sentiments and comedy cannot generate a successful masala film. The listless romance and repetitive comedy lessened our emotional involvement in the film and the second half seemed like a retread of Dhool. The result was a dull, ineffective film that pushed Vishal’s stock further down after 2008’s Sathyam.

7. 1977
This was an ambitious film spanning multiple countries and generations but that increased ambition only led to more amateurishness. The movie was interested more in silly comedy, feeble romance and showcasing Sarath as a larger-than-life hero and even individual scenes lacked continuity, coherence and finesse in execution. Silly and boring, it made Vijayakanth’s cop films look like spectacular and racy action adventures by comparison.

6. Guru En Aalu
Romance and comedy weren’t balanced well in this remake of Shah Rukh Khan’s Yes Boss. The romance wasn’t too cliched but the proceedings lacked drama or suspense because of the characterization. The loud and crude comedy dragged the movie down so much that the light romance, which had its moments, was unable to salvage it.

5. Mariyaadhai
The simplicity and the feel-good factor helped us overlook the other aspects in Vikraman’s earlier films but not here. The simplistic story, predictable screenplay, two-dimensional characters and poor production values made it hopelessly behind the times and completely silly and showed us once again that Vikraman was firmly stuck in the past and was either unwilling or unable to come out of it.

4. Aanandha Thaandavam
With a lead pair who probably sounded good on paper but look terribly wrong onscreen and intrinsically dislikeable supporting characters, this film was a messy adaptation of one of writer Sujatha’s most liked novels. G.V.Prakash’s music and the well-picturized song sequences were the only relief. Something was definitely lost in translation here.

3. Sarvam
Vishnu Vardhan continued placing style over substance in this film, whose rich production values tried to prop up a rather frail story. The plot was too underwhelming considering the grandiose narration and screenplay and it was only the romance between Arya and Trisha that saved the movie from being completely forgettable. In the end, the film as a whole, felt rather hollow.

2. Villu
Considering that Prabhu Deva gave Vijay one of his biggest hits in the stylish Pokkiri, their re-teaming led to some high hopes. But a romance that skirted vulgarity, some atrocious use of technology and an old-fashioned, melodramatic finish made for tough viewing. Vadivelu started off well but then ended up adding to our misery in the second half.

1. Kandhaswamy
With a big budget and clever marketing, immense hype was manufactured for this film but it turned out to be a colossal misfire. Director Susi Ganesan picked Shankar’s favorite theme of a social crusader trying to fix the ills of society and had an equally large budget but didn’t have the sense of grandeur or pacing to make it work. So it was silly and amateurish and looked and felt like a cheap knock-off of a Shankar film.

As far as movies go, 2010 sure seems to be top-heavy with a string of big movies lined up for release. 2 weeks after Pongal and Aayirathil Oruvan, Goa is now ready for release. The film might be very different from Selvaraghavan’s product with respect to scope and ambition but in terms of expectations, it’s not too far behind.

Goa is only Venkat Prabhu’s third film as director but the high expectations come from the quality of those 2 films. His debut Chennai 600028 was a breath of fresh air. Belonging to the rare sports genre and displaying an endearing localness, it was a stylish, fun ride. His sophomore outing Saroja was a step down but not that big a step. A thriller about a group of ordinary guys unwittingly thrust into the roles of saviors, it was also slickly-made and maintained a good pace for the most part. The two films have made Venkat Prabhu one of the more promising directors working today. His directorial style is the perfect mix of class and mass as he picks stories that are down-to-earth and protagonists who are realistic but picturizes the movies with style. Goa also features multiple leads but Venkat has shifted gears again with respect to the genre and the movie is a road movie/love story.

The other big name associated with Goa is its producer – Soundarya Rajnikanth. With Sultan, her directorial debut, still not complete, Goa has become the first release for her production company, Ocher Studios. While there were a few rumbles in December about unpaid debts and stay on the film’s release, it looks like the issues have been smoothed out.

Venkat and Yuvan make a wonderful team. The Chennai 600028 and Saroja albums may not be Yuvan’s best but the songs perfectly suited the mood of the films and Venkat picturized them in immensely likeable fashion, like the freewheeling, casual dance for Jalsa Pannungadaa… or the visual gimmicks for Dhosth Badaa Dhosth…. The Goa album finds Yuvan keeping up his side of the deal. I loved the background music for the teaser trailer and so its no surprise that the music of the title song and the club mix, which feature that bit, are instantly catchy. Idhu Varai… is a melodious duet with slight strains of Vaseegaraa… in the stanzas while Idai Vazhi… is a faster duet with some interesting interludes . Ezhezhu Thalaimuraiyaa… is similar to many other folksy numbers usually sung by Ilaiyaraja but somehow manages to be catchy while Vaalibaa Vaa Vaa… has an ordinary tune but the Haahaanu dhaan lines manage to be winning. The fun Adidaa Naiyaandi… and the pathos Ooru Nalla… are the weakest numbers in the soundtrack.

It should be pretty clear that the names that will bring people to the theaters are all behind the screen as far as Goa is concerned. Onscreen, the biggest name is Sneha and there is some suspense about her role. Jai was hot property after Subramanyapuram but a couple of duds later, he is on shaky ground. Arvind Akash and Vaibhav are becoming Venkat Prabhu regulars while the presence of Premji Amaran is no surprise. Pia, seen earlier in Aegan and Poi Solla Porom, is one of the heroines while a girl from Australia, Melanie Marie, is also part of the cast.

Goa is advertised as ‘A Venkat Prabhu Holiday’ since the team had a lot of fun shooting the film. Let’s hope that the third time’s also a charm for the director and the film turns out to be a fun time for us too.

Aravind Adiga’s The White Tiger was my latest attempt to expand my reading beyond the thriller and mystery genres. It was the winner of the Man Booker prize and received rapturous praise from the press. Adiga is a wonderful writer and picks a story and narrator that suit his style but the consistently negative picture he paints of India and its people is a little off-putting.

The book is presented as a letter written over the span of seven days by Balram Halwai, a successful entrepreneur in Bangalore. Writing to the Chinese premier, who is visiting India soon, the narrator tells him about his days growing up in Laxmangarh, a village in the interior of India, and the turns his life took to get him to where is today.

While the book’s scope and ambition are lesser, Adiga employs the same style that Salman Rushdie used in his epic Midnight’s Children. The casual, conversational, first-person style he uses when writing his letter and the back-and-forth narration he indulges in as he fleetingly refers to past or future happenings  during his writing both remind us of the way Rushdie narrated his story.

Balram’s story allows Adiga to write about both village life and city life. The rather dismal state of affairs in every aspect of life(the school teacher sells kids’ uniforms in the black market, kids are forced to work in tea shops, the government hospital doctor works in a private clinic, etc.) in a small, backward village is laid bare as Balram, born to a poor rickshaw-puller, grows up. And once he gets a job as a driver and moves to Delhi with his employer Ashok, Adiga shifts to highlighting the huge divide between the rich and the poor in the capital (the way he describes life as a Rooster Coop is phenomenal). Balram’s life is interesting but the book is more about his surroundings, how he sees them and how they shape him.

The interesting story is definitely livened by Adiga’s penmanship. His writing flows smoothly and is a pleasure to read. His words bring the locations, be it a beautiful fort, an unhygienic hospital or the red-light district, alive. His vivid imagination conjures up interesting imagery(helmets being sold by the roadside look like a pile of severed heads) and his sardonic tone creates some wonderful comparisons that convey the truth with more than a dash of humor(villagers discussing the elections is like a bunch of eunuchs talking about sex).

Focusing on the poverty, corruption and other ills in India seems to be the way to go for international recognition nowadays. But while other efforts like Shantaram or Slumdog Millionaire exhibited a love for India even as they pointed out the things that were wrong about it, Adiga comes off as someone simply making fun of it. The way he describes the pollution or the traffic on the roads or the situation at the hospital or the corruption in politics, he seems to be intent on projecting a nasty image of India. This is probably because he doesn’t attempt to provide anything positive at all. He shows almost all the characters in a negative light and the occasional positive points(like the friendship between the drivers) are presented with the kind of humor that doesn’t make them seem positive at all.

The White Tiger is a promising debut novel.

There is typically one trend that dominates Tamil cinema each year and in 2009, it was rawness and realism.  Subramanyapuram showed us how much of a trendsetter it was as movies began to follow its raw approach. Renigunta, about a young protagonist pulled into a life of violence, and Yogi, that followed a hard-hearted rowdy as he became a reluctant father, were the most obvious followers. But movies like Nadodigal, a story of how friends suffer because of their act of friendship, Sindhanai Sei, a twisty tale of double crosses between friends, Madurai Sambavam, a tale of a rowdy, and Kunguma Poovum Konjum Puraavaum, a doomed romance, also had similarities to it with their downbeat stories and realistic style.

But the best thing about 2009 was not this realism but the number of genres that Tamil cinema tackled. Horror movie fans had 3 films to choose from – Yaavarum Nalam, which exploited the unique plot point of a TV serial imitating life but did the job without blood or gore; Eeram, which took the same approach as it told the tale of a vengeful woman taking a watery route to get revenge; and  Arundhati, a blood-soaked, visceral film about a battle between a queen and a sorcerer. The sparsely-populated sports film genre had a wonderful entry in Vennila Kabaddi Kuzhu, that presented a familiar story with humor but resorted to an unnecessarily downbeat climax. Pasanga, which narrated the story about a bunch of kids delightfully and Vannathu Poochi, which used a kid’s story as an excuse to deliver an indictment of city life compared to village life, were two entries in the genre of children’s films. Pazhassi Raja was a period epic about a king who was one of the earliest freedom fighters. And finally, it could be argued that Jaganmohini belonged to the fantasy genre though it ended up being only for those who had had fantasies about Namitha.

Thrillers are a popular genre but even here, there seemed to be more entries than usual. Psychological thrillers seemed to be topic of choice for NRI filmmakers as seen in Meipporul, which had a good plot but poor production values, and Achamundu Achamundu, which started strong by capturing life in the USA but weakened when it entered thriller territory. Newtonin Moondraam Vidhi was homegrown and freshened up a familiar revenge tale by adding a real-time element. Inspirations from Hollywood led to thrillers like  Indhira Vizha (based on Disclosure) and Vaamanan (which copied a lot from Enemy of the State). Ennai Theriumaa disappointed us though after its Memento-like start and Muthirai, though not directly based on a Hollywood film, reminded us of many with its plot and style.  Peraanmai, with a few Hollywood actors, took us close to a real action-adventure film with its single-minded focus on action once we got past its agenda of highlighting the caste divide.

And then there were the films that didn’t really fit into any genre, familiar or otherwise. Kamal adapted A Wednesday as Unnaippol Oruvan with minimal changes to the screenplay and though his stature diluted its impact somewhat, the story and complete lack of commercialism made it a solid film. Bala stuck to his dark tone and bleak storyline as he focused on the sorry life of beggars in Naan Kadavul. TN-07-AL-4777 was a unique character-based drama that didn’t have a conventional romance but was let down by its slow pace while Laadam put a fresh spin on the rowdy movie but didn’t have any place to go once the story became clear. Pasupathi turned hero with Vedigundu Murugesan, which wasn’t sure about its tone and so ended up trivializing a serious topic. 

Ofcouse, masala was still the most popular genre. The year’s biggest hit, Ayan, belonged to that genre though it almost made us forget the fact as it  presented the masala with style and smarts. K.S.Ravikumar made no such attempts for Aadhavan, that was saved by Vadivelu’s comedy. Vijay, the flag-bearer for the genre, opened the year with Villu, a messy mix of silly technology and old-fashioned sentiments, and closed it out with Vettaikkaaran, that had a sweet romance but was brought down by an ineffective villain and weak action. Aarumugam saw Suresh Krishna trying to recapture his past glory by recreating scenes from old Rajni films. Malai Malai finally gave Arun Vijay a break but Thoranai, lowered the stock of its hero Vishal. 1977 was a masala film hidden in the garb of a period film while Eesa was a masala film trying to become a psychological thriller.  But Rajadhi Raja, a loud, violent and vulgar revenge tale, was the best reminder of why the genre has a negative connotation today while Perumal and Thee, both from Sundar. C, weren’t too far behind.

The romance genre too was popular and boasted of a few entries as always. Kanden Kaadhalai retained a little of the charm of its original, Jab We Met, though Bharath wasn’t a complete fit. Though it had a cast of unknowns, Madurai To Theni caught our fancy with its simplicity and realism. Sarvam tried to jazz up a simple story with some screenplay machinations while Vaalmiki made a familiar story seem fresh with interesting characterization. Maasilaamani seemed like a retread of several other movies while Modhi Vilaiyaadu saw Saran once again try his hand at romance but fail because of weak characterization. Aanandha Thaandavam made Sujatha turn in his grave with its interpretation of one of his popular stories while Manjal Veyyil and Anthony Yaar seemed to be stuck in the 70s, both their stories and their execution. Paalaivana Cholai seemed simplistic and old-fashioned as it regurgitated the story of the original and Naan Avanillai 2 seemed unnecessary as it simply presented episodes of its womanizing hero cheat a bunch of women. Both Solla Solla Inikkum and  Saa Boo Thiri might’ve seemed ambitious on paper but on screen, they were cheap, amateurish efforts that never conveyed what they attempted to say. Gnaabagangal saw the acting debut of lyricist Pa.Vijay but the amateurish screenplay and his wooden acting reminded us that people should stick to what they do best.

But in most cases, romance was served up with something else. Thiru Thiru Thuru Thuru successful guided a romance through comedy and thrills with consistent humor. Guru En Aalu, about love winning over the materialistic hero, focused on comedy while Kandha Koattai, was evenly split with romance in the first half and action in the second. Ninaithaale Inikkum added a murder mystery to a campus romance and got the former to work but not the latter.

Families were a little less popular than usual. Maayaandi Kudumbathaar had an old-fashioned story that sang praises of the joint family but its notable point was that its cast was primarily composed of directors. A Aa E Ee and Mariyaadhai seemed like megaserials with their regressive storylines and tacky production values while Aindhaam Padai and Azhagar Malai had heroes who were devoted to their brothers and got into trouble after defending them.

The biggest casualty as a genre though was probably the ‘message movie’ though this was more due to the quality of the films themselves rather than viewers getting bored of the preaching. Kandhaswamy was a costly misfire as it came off looking like a cheap knock-off of a Shankar film with its anti-corruption stance. Sooriyan Satta Kalloori made everyone except the hero look bad to convey its message of the law being supreme while Malaiyan took on the important issue of the conditions of the workers in fireworks factories but then abandoned it. Even Cheran gave up trying to convey a message and concentrated on an inter-religious romance in Pokkisham.

Looking back, 2009 was another average year at the movies. While the advent of realism and the excursion into many new genres were exciting, the average quality of movies remained on par with recent years. But as every new year dawns, we always look forward to better things ahead and its the same when it comes to movies too. So here’s to an exciting and satisfying 2010…

Compiling this list only confirmed something I’d guessed before – song sequences didn’t have a very good year in 2009. The criteria I typically use for this list is completely unscientific – the number of personal YouTube views. In other words, the deciding factor is simply the number of times I seeked out the video of the song on YouTube. But there were very few videos from 2009 that I actively looked for (Adhiradikkaaran…, Adiye Kolludhe… and Palaanadhu… would probably beat all the numbers on this list quite handily). I’m not sure if its because our cinema became more realistic and down-to-earth(which, while a good move, restricts the options for visuals in the songs), the variety of genres explored increased or there were no movies from directors(like Manirathnam, Shankar, Selvaraghavan or Venkat Prabhu) with a good eye for picturization of songs.

Still there were a few interesting, visually appealing song sequences and the following are my top 10 personal favorites.

10. Yeno Yeno Panithuli… (Aadhavan)

Some scenic locations and visual trickery spruced up this melodious and catchy number from Harris Jayaraj. Surya had the chance to show off his vastly-improved dance skills while Nayanthara provided him good company.

9. Allegra… (Kandhaswamy)

Though launched in a silly fashion(its supposed to be at a farewell function in Shriya’s college), the song was staged on a large-scale and looked good on-screen. The choreography was good and in sync with the tune and Shriya, looking cute in her new hairstyle, performed the steps well.

8. Jakkammaa… (Arundhathi)

Queen Arundhathi was one of the most charismatic roles last year and this song, which played during her first appearance(as a grown woman) and later during some key sequences, played a key role in that. Anushka looked regal and powerful and the song provided the perfect background for her actions.

7. Mazhaiye Mazhaiye… (Eeram)

The technical aspects of the film – whether the rain being a recurring motif or the blue tint prevalent throughout – were captured in this number. The catchy, melodious number was matched by the perfectly natural actions of Aadhi and Sindhu Menon.

6. Om Siva Om… (Naan KadavuL)

The godman Arya played in this film was a powerful figure and the song gave the necessary punch to his introduction. As Arya strode forward purposely or stood on his head while surrounded by funeral pyres, the song made the images memorable.

5. Nee Kobappattaal… (Villu)

This melody(an increasingly rare happening in a Vijay film) was filmed in an interesting fashion by Prabhu Deva. The multiple Vijays dancing in synchronized fashion was nice to see and the Pokkiri in-joke was a funny touch.

4. Sambo Siva Sambo… (NadodigaL)

The sequence where the protagonists kidnapped their friend’s lover from her wedding was the highpoint of the film and this number provided the perfect backdrop for it. The lines added urgency to the proceedings as the 3 friends made a run for it and its fast pace added to the intensity until the final moment when Sasikumar bid goodbye to them.

3. Oru Vetkam Varudhe… (Pasanga)

Reminding us of 2008’s blockbuster song KangaL Irandaal…, this number was picturized in the same realistic, natural fashion as it captured some of the precious moments shared by the young lovers. With some well-placed humor and nice cinematography and locations, the song was a soothing, feel-good number.

2. Sila IravugaL… (Sarvam)

The best song in the soundtrack was picturized imaginatively and innovatively by Vishnuvardhan. The special effects were good as Arya stopped a truck or flew out of a bike and the second half brought things down to earth with Arya and a pretty Trisha engaging in a gentle dance in a very unique location.

1. PaLapaLakkira… (Ayan)

The energetic, fun number gave the film a wonderful start. The group dances were choreographed well with light, uncomplicated steps and some interesting touches(like Suriya’s reflection shouting at him). Suriya’s recreation of some of the roles from his earlier movies was a fun touch in the middle as the song showcased his profession.

With all the aforementioned directors having movies coming out this year, I’m guessing that compiling this list at the end of 2010 will be difficult for a very different – and more enjoyable – reason. I’m already looking forward to that…

Whether one likes the movie or not, there’s no doubt that Aayirathil Oruvan is a very  ‘adult’ film. It definitely earned its ‘A’ certificate with its mature themes, graphic violence and overt sexuality. So it was disturbing to see so many children of all age groups at the Sunday 8 pm show, here in San Jose (sitting right next to me was a family of 4, with a son probably 10-11 yrs old and a daughter probably 8-9 yrs old).

Selvaraghavan is not someone who has directed children’s films or even family films. So Tamil movie fans should have an idea of what to expect in his films. But even if unfamiliar with his work, parents just cannot use lack of knowledge as an excuse in this day and age. Aayirathil Oruvan’s trailer, opening with a string of bleeped out words, made it clear how the movie would be. Within hours – minutes, if you are on Twitter -  reviews/opinions of the film were available online and a casual perusal would’ve been enough to get an idea about the nature of the film and its appropriateness for children. So dragging children to the film cannot be blamed on ignorance.

These are parents who care about their children, remember to bring food and water for them and fawn over them while standing in line at the theater. But its a surpise that these same parents don’t think about what their children are going to be subjected to, for the next 3 hours.

Anyway, regular readers know that this is a topic close to my heart and so I had no hesitation in saying Yes to a request from another concerned individual to post their letter on the same topic here.

Dear Indian-parents-who-take-their-children-to-‘A’-rated-movies,

Because you do not seem to get it, I’d like to break it down for you. The Central Board of Film Certification, more popularly known as the Censor Board, has been established for a reason. Their job is to inform you that it is not suitable for your clearly-not-18-year-olds to watch any movie rated ‘A’ (and by the way, in case you didn’t know, ‘A’ stands for Adult). The film certification is often displayed on websites, cinema halls, and even before the movie titles- so that you know when to run the other way with your child. But you still show up with that innocent kid tagging behind you? Come on, you should know better than that! Why is it that children of such young age should not be allowed to drive, drink or watch inappropriate movies? Are organizations such as the Censor board scheming against your children and depriving them from having a lot of fun? No. It is because their developing brains are still unable to discriminate good from bad, and real from fake. Graphic situations like violence and sex leave an indelible impression on young minds, and might even result in a very hard-to-detect clinical child depression.

Who am I to tell you this? I am clearly someone who is more sensitive to your child than all of the adults in your family that made the collective decision to endanger the child’s mind permanently. What was the trigger? The threshold was not even the fact that more than dozen children were watching a late-night show of Aayirathil Oruvan, a movie that makes even a 26-year old cringe. But it broke my heart when your small child hugged one of you tight saying ‘Veetukku polama?’ (Can we go home now?’), and your lukewarm reply with your eyes glued to the movie screen was ‘Konjam iru ma’ (Hang on, child)! What is my business? It might not be my business that your children are up running around a movie theatre, disturbing many others’ movie watching experience, way past their bedtime; but, if you bring your children to movies such as this, it unfortunately becomes my business. I will, as I did yesterday, report to the theatre manager (who should not have let your child in, in the first place), and make sure that your entire family leaves the theatre without finishing the movie. It wasn’t funny when your little girl kept saying ‘Yeah right!’ (clearly copying an explicit conversation between the movie’s characters) to you on your way home, was it?

Sincerely,

Someone-who-knows-too-many-people-affected-by-a-bad-childhood