/* */ Hi Pal.. Film4thwall has been moved to PIXMONK - my new home :).: July 2009

Wednesday, July 29, 2009

Hide and seek - Catch me if you can.



Dad : டேய் சிகாம‌ணி.. நீ ஒரு எஞ்சினிய‌ரா, டாக்ட‌ரா, வ‌க்கீலா வ‌ருவென்னெல்லாம் க‌ன‌வு க‌ண்டேனேடா.. நீ இப்ப‌டி இருக்கியேடா.
Son : உன‌க்கு அறிவே இல்ல‌ப்பா.. ஒரே ஆள் எப்ப‌டி எஞ்சினிய‌ரா, டாக்ட‌ரா, வ‌க்கீலா வ‌ர‌ முடியும்.

This might not have been possible for Sigaamani but Frank William Abagnale Jr made it happen in 1960s. You must be interested in what he did and of course, how. Based on his real life, a film was made and the name is CATCH ME IF YOU CAN. I admire the dialog said by a con in an old Tamil film Manthirikumari – “கொள்ளைய‌டிப்ப‌து ஒரு க‌லை”. Covering up a fraud is more difficult than committing it. I am highly fascinated towards the Con/robbery movies – Inside man, Oceans 11, MI, The day of the Jackal, flawless.

Sometimes, I look forward for associating simple themes to great directors. Like Spielberg directing a bank robbery [ Imagine ARR worked in the movie 'Kadhal' ].. The reason is they’ll definitely study the subject very well and we’ll be offered a real good cinema experience. Similar thought came to original Frank Abagnale and he laid the condition that his life story has to be directed with only Spielberg so that his interesting life is justified on screen. Spielberg, in fact, didn't disappoint Frank.

There are 2 types of frauds – one using the physical power and the other one using mental skills. This white collar crime is tough to crack; especially counterfeiting. Remember our SME Salomon in ‘Counterfeiters’ and the novel 'Rajarajan kinaru' by Sujatha.

Catch me if you can - Drama/2002
Cast : Leonardo Dicaprio, Tom Hanks
Music : John Williams
Produced & Directed by : Steven Spielberg

Plot
This film picturises the true story of Frank Abagnale, Jr. ( Leonardo DiCaprio - don't read about the real life character till you finish this movie ), a near-perfect artist who is good at cheating in all posible ways. All he needs is just paying attention to what he says. He becomes the youngest victim wanted by FBI for the list of forgers. He is chased by agent from FBI called Carl Hanratty ( Tom Hanks). Abagnale escapes - but not always. You have to watch the movie to know what happens to such a great artistic and master fraud.

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The titling is one of the finest aspects in the film. In fact, the story board comics kind of title previews the happenings. It is by far one of the more artistic titles. As I indicated that’s the power of a great director to get involved in this category of movies - they start their presence in the titling and in the first shot [ like opening shot in Anjathey ]. It’s cleverly done so that the animation doesn’t reveal the story but just the outline.

The movie starts at a dull pace showing the problems with Sr Agabnale. Once, Jr Abagnale is left alone to lead a life, the script traverses at a different speed. We all have the secret desire to cheat sometimes [ டேப் அடிச்ச‌ 10 ரூபாயை ம‌த்த‌ நோட்டுக்கு நடுவில‌ வ‌ச்சி த‌ள்ளிடுவோமே.. அந்த‌ மாதிரி :) ]. The techniques Abagnale use, are amazing. Of course, it’s more of his speech mixed with actions. Whenever he does something, he engages the opponent with his eye contact.

The core of the film is not about the adventures he makes rather the problem that forced him to do so. Disturbed brought-up and separated families are used as the undercurrent. The FBI agent gets a call on Christmas from Abagnale and the talk continues. For the first time in life, he calls the FBI agent Tom. Tom says to Abagnale that he has called him not to give any clue where he stays now but the actual reason is that he doesn’t have anyone else to talk. The film subtly touches about the disjoined families and loneliness.

Watch for the beautiful flow of the script. It has all the best possible incidents that could happen in a hide and seek movie. This movie incorporates ‘open suspense’ type of storytelling. [ where the victim is identified and getting chased; like Krishnaswamy chasing Senapathy in INDIAN ]. Even there’s a scene where the FBI agent happens to meet Abag. The unpredictable nature of Abagnale is the key in the story. He always plans a level above the FBI guys to overcome the traps.

As I mentioned in ‘Counterfeiters’, no knowledge is useless; even his undetectable frauds saves him. Watch out the fabulous ending and check what happened to Abagnale afterwards.

John Williams is the music director of this film. What a great scope can a MD get in a police-thief theme ? In fact, it’s a challenge to showcase the talent in star studded period film and that too directed by Spielberg. John has done a sparkling job and it can be experienced when you listen to this theme music of this film. [ Saxaphone vellayatu ].

Kudos to the entire crew for incorporating US in 1960s [ really a challenge to set the period ]. Even they recreated MIAMI international airport as in 60s.
Brilliant screenplay - The true story of a real fake !

:)
Toto.

Monday, July 27, 2009

Reel rewind - Classics.

Reel rewind - Classics series.

It was a bright Sunday afternoon in the early 90s..[ க‌தை சொல்ராறாமாம் :) ] In Doordarshan, after the 1.15PM news for challenged, I was waiting for the national award movie [ Even the newspaper TV schedule shows just as regional film without the title – nobody knows till the film is screened ]. Surprisingly, there was an interview before this movie. The interviewer was Srividya - gorgeously dressed in silk saree with untied wavy hair [ போதும் பிர‌த‌ர் ! ]. The interviewee was BR. I cannot forget the question and this particular answer.

Q : Sir.. You have used a phrase 'Easppaatu' in this film. What does it mean?
A : You see.. If one kuyil kuckoos, the other kuyils replies with an answer cuckoo. This is what Esappatu is.

His language might not have been convincing as Srividya's. But the passion, emotions he showed with his facial expressions was the most memorable one for me. Though I had seen the movie already in theatre, I watched the movie again.

The movie didn't have exotic foreign locations, noisy BGM, comedy track, eye-catching photography, fast cut editing, club dances, furious chasing or fights, violence but the key is it had a beautiful story, well etched characters, extraordinary BGM and wonderful visuals

Film details

Mudhal Mariyadhai - 1985/Drama/Tamil
Story, Dialogues - R.Selvaraj
Music : Illayaraja
Produced & directed by : Bharathirajaa

மீண்டும் ஒரு கிராம‌த்து ராக‌த்தை என‌து ப‌ரிவார‌ங்க‌ளோடு பாட‌ வ‌ருகிறேன். - BR.

Every artist has their own peak periods in the career curve. Interestingly, every artist involved in this film was at their peak artistic form. The story & dialogue part is already established by R.Selvaraj. What BR could do to establish his talent ? How he converted the story on the paper to the celluloid ? That's the talent of BR. Like Alfred Hitchcock, he neither formed the story nor wrote a single dialogue in the movie but he had the enormous confidence in executing this project [நான் விஸுவ‌ல்ஸ்ல‌ வெள்ளாடிருவ‌ன்யா..].

He aptly used flashback, a suspense, love, fidelity, interestingly woven characters, narration and of course, songs. He is one of the directors who believed in story rather than the stars. This was really a craft in his career.

Music : If you ever happen to watch this film without music or BGM, it would have attained 50% of its essence, what it has achieved. IR added life to this project. If a MD is interestingly working in a project, the output is always brilliant - this movie is a beautiful example. Similar to Hollywood musicals, we too had our other art forms mostly depending on music. The first 40 mins of the film has 4 songs ! The script just flows along with the songs - to mention specifically short songs were also used in this movie. The music is blended very aptly in this movie; there’s never been a forced situation for a song [ Innaiku night party-la international smugglers varaanga..:) ] The main character is introduced with his interest on songs to overcome his personal shortfall at home.

I have to appreciate the peppy title song which aptly sets up the mood for a perfect village film. To make it simple, this film can be kept as a lesson for how a BGM should be. If BR used visuals to narrate the characters, IR in parallel plays his role to elevate the flow. The flute bit music used when the character Sevili dies and the following sequences - exotic visuals with a fantastically accompanied music.


He has contributed valuably right from the opening song to the end title card. The initial dialogues of Ponnathaal slowly dissolve into the flashback without any break - the dialogues just continue. The divide starts with a slow violin bit [ when she serves food ] and the peppy music his outside world once he comes out of the home. BGM for trying to lift a rock [ guitar ], for his daughter rasamma’s introduction, when they fish out, when kuyilu gets arrested, the final deathbed of Malaichamy [ No need to worry about revealing the fine moments , when it comes to writing about old classics :) ].


Above all, the parts of the songs are also used perfectly in the flow of the story. The song ‘Ye Kuruvi’ has this line ‘பொல்லாத வீடு.. க‌ட்டு பொன்னான‌ கூடு', which travels upward from the plane where it started.The original mark of IR.


Kanaiyazhi magazine quoted once IR as - அங்கீக‌ரிப்ப‌தின் மூல‌ம் புற‌க்க‌ணிக்க‌ப்ப‌ட்ட‌ க‌லைஞ‌ன்.,இளைய‌ராஜா. How true !

R.Selvaraj has written the story and dialogues very beautifully with perfect mix of melodrama and other feelings. The characterization of Malaichamy was so fantastic [ even his interest in good food is used – அரிசி சோறு க‌ஞ்சி தானே.. இருக்க‌ட்டும் :) ]. The dialogues are remarkable [ ஆத்தை க‌ட‌ந்து அனுப்ப‌றியே.. அங்க‌ என்ன‌ அர‌ண்ம‌னையா க‌ட்டி வ‌ச்சிருக்கு, அவ‌ங்க‌ குடும்ப‌ம் ந‌ட‌த்த‌, உன‌க்குத்தான் ஒரு கூடு இல்லை, the dialogue Malaichamy talks with his grandson [ similar resemblance in Thevar magan ], the emotional dialogues with aruvaa towards the climax – even the village profanity [ ..க்காளி was perfectly used :) ]. The village shown is not from TN but KA. In a scene, Malaichamy returns from Andipatti in red colour Karnataka bus - the movie was majorly shot near Mysore. One more trivia is that the photographer who takes the photo of Malaichamy and kuyilu, in the village market was Illavarasu [ he worked as asst cameraman to B.Kannan ].


Sivaji – I really don’t know how BR narrated scenes or shots to him. Because, the moment he gets into the frame, everything changes. Sivaji just answered so politely back with his under-play acting to all his critics.


“I had no idea of the character. But the moment I was dressed, the clothes and the make-up made me feel the person he was. I began to know him, and by the time I walked onto the stage he was fully born.” - Charlie Chaplin.


This suits for Sivaji too. Vairamuthu wrote a particular line for Sivaji in பூங்காற்று திரும்புமா..– உங்க‌ வேஷ‌ம் தான் கொஞ்ச‌ம் மாற‌ணும், just keeping his overcoat and strange wigged useless n usual movies, he was doing those days. He requested him trhough a song :). Radha also did a commendable work.


The technicians neither had pressure nor had boundaries, I guess. The entire team has done a neat work and the final form is an unforgettable experience.


ஒரு ந‌ல்ல‌ திரைப்ப‌ட‌ம் க‌தையை ம‌ட்டும் சொல்வ‌தில்லை.அதில் எல்லாம் இருக்கிற‌து.ஆழ‌மாக‌ப் பார்க்கிற‌வ‌ர்க‌ளுக்கு ப‌ல‌ நுட்ப‌மான‌ விஷ‌ய‌ங்க‌ள் அத‌னுள் இருக்கின்ற‌ன‌. எந்த‌ ந‌ல்ல‌ ப‌ட‌மும் பார்க்கிற‌ பார்வையாள‌னை ஏமாற்றுவ‌தில்லை. ‍ ‍‍
- செழிய‌ன்.

It's always better to watch a mix of films ranging from old classics to world classics.

:)

-Toto.

Friday, July 24, 2009

POO - Memoirs of Mari.

ந‌ம்முடைய‌ க‌தைக்க‌ள‌ம் பிர‌ப‌ல‌ ந‌டிக‌ர்க‌ளை விடுத்து, ந‌க‌ர‌த்தின் பிர‌ம்மாண்ட‌ம் விடுத்து வாழ்க்கையின் எதார்த்த‌ம் தேடிப் போகும்போது தான் தமிழின் அச‌லான‌ திரைப்ப‌ட‌ம் தோன்றும். -‍ "பேசும் ப‌ட‌ம்" செழிய‌ன்.





None of the 5 star hotels will be able to reproduce the simple irani chai what we have in a simple tea stall [ புத்தி போகுதா பாரு ]. Similarly, a simple movie does the biggest magic, what multi-crore budget movies fail to do. ந‌ல்ல‌ சினிமா த‌ரும் ச‌ந்தோஷ‌மே த‌னி. People who watch cinema beyond entertainment value understands this.

It’s always challenging to capture the minute feelings of a girl in celluloid. What KB did was nothing but gimmicks. In fact, he degraded the value of a girl – his heroes always have 2 or more affairs. Even the very few women directors fail to capture the true girl from life. A serial did that to a great extent – PENN, a tele-serial directed by Suhasini .I liked the episode of Revathy wherein she realizes her relationship with her mother Srividya, after marriage. Anyhow, all the fiction girl’s life is extended until city limits and not beyond.

Though I stopped Balakumaran long back, he was the first one to define love as mutual concern [ mutual fund illainga.. ப‌ர‌ஸ்ப‌ர‌ அக்க‌றை]. When a girl/boy thinks that the other soul has to be happy, be in peace, irrespective of their conditions, that’s the actual affection. All the great world cinemas share the same stuff – unconditional love [ like the mother superior in Anbe Sivam ]. Though I am not a fan of woman oriented films [ not a fan of ‘Aval appadi thaan’ ], POO fascinated me very much. It’s the best ever depiction of a girl’s character in celluloid, so far.


Once, Mysskin asked Naaser that why ‘Anjathey’ is not getting appreciated to its actual level. Naaser replied that if the industry praises your movie as the best in script and direction, what happens to their earlier products. BR asked Ameer – நீ காட்டின‌து தான்யா கிராம‌ம்.. Obviously, we ask what BR showed us then ?! POO makes the same impact – Our heroines in village are shown till now in films, but not a true village girl is shown on screen.

A big bouquet to the director Sasi !

Poo - 2008/Drama/Tamil
Cast : Parvathy menon, Srikanth
Music : SSKumaran
Photography : PGMuthiah
Written & directed by : Sasi
Story : Based on a short story 'Veyilodu poi' by S.Tamilselvan. Came 18 yrs back

Plot

The story is about the magnanimous n deep love of Mari on Thangarasu, right from childhood. She is a daring village girl who just dedicated her entire life thinking about Thangarasu. Even in her class, she tells the teacher that her life time ambition is to "become the best half of Thangarasu"! But Thangarasu goes out of the village to purse engineering studies. It’s the dream of his father ‘penakaarar’ to get his son a degree. Socially there’s a big gap between them, though they are relatives.

She is accompanied by her friend ‘Cheeni’, a co-worker of her age in the fireworks factory. She is the all-in-all for Mari. Mari hesitates to express her unconditional n true love to Thangaraasu. Meanwhile, Thangarasu’s father gets into some other situation. What happens to them in life is to be experienced in the emotional journey.

View


The first credit goes to Dhananjeyan, CEO of Moserbear for boldly coming forward to produce this movie. Of course, it’s purely a director’s movie – simply and poetically portrayed film. Sasi did a fabulous job in maintaining the content and for the brilliant treatment. It’s not so easy to knit a story with a girl’s perspective and her minute thoughts/feelings.


The success of a director is to bring the goodness of the story interestingly in the script. Trust me; this simple story has too many unnoticeable twists. If you expect a character to behave in a pattern, they don’t and exactly the opposite, when you don’t expect. It’s full of surprises. Sasi had never been to those village setup in Rajapalayam/Sivagangai areas – in fact, he was brought up mostly in Salem and Chennai !


Script writer Sigfield says that once you build the character biography of different characters, the incidents automatically falls in the correct places of the script. Especially the character biography of Mari.. Even she cannot tell why she cares for him so much. Mari’s total body shivers, the moment she sees Thangarasu.. Her walk collapses, her eyes become restless, speech becomes blabbering – Stunning expressions.


The script is extraordinary.. As I say, one shouldn’t know the story of any movie, before watching it. Because the director plant so many twists / turns in the simple happenings. No audience would be able to predict what Maari is going to react in every situation. The beauty of the Mari character is : Inspite of knowing all the difficulties, inequalities with Thangarasu, she deeply n madly loves him – unconditional. Her affection is not based on money, beauty, lust but a mere n strongest concern about him. She gets restless in a scene where Thangaraasu just clears his throat. I find it very difficult to digest her characterization. Her varied expressions, dialogue delivery and body language are quite commendable. There’s a scene where she forgets a cell phone number and recollects when seeing Thangaraasu.. Brilliant expressions !


You know what.. till the end, she doesn’t even shed a single drop of tear for whatever the pain she undergoes. She weeps only once in the film.


Thangarasu, his father Penakarar, Cheeni [ excellent character ], School vaadhyaar, Alo tea kadai owner, his wife, Maari’s mother [ I was really shocked to see such an original village mother on screen ], Maari’s brother, supervisor in the fireworks company, oil mill owner – everyone does the justice to their character with neat performances.


Coming to Zhaming Yimou.. I watched a Chinese movie ‘ The road home’ [ ஆர‌ம்பிச்சிட்டாண்டா ! உல‌க‌ சினிமாவை ! ]. The Chinese film had some similar sequences with the girl [ ஆஹா..அது பொண்ணு.] – where she daily waits on the way where hero passes on. She becomes extraordinarily happy just at the sight of him. Finest movie with a fantastic background score. In fact, POO ‘s BGM also carries the same tune. I really admire Sasi’s sincerity to acknowledge the film, from which he got inspirations.



The way the director has used the landscape [ the 2 palm trees in the above photo are used as characters !! ] with the help of cinematographer P.G.Muthiah is noteworthy. Some of the dialogues are perfectly sharp, sensitive, and realistic. He effectively uses silence too. It’s good that Srikanth didn’t do anything in this movie – he just underplayed his role.


Conclusion


Subramaniapuram – violence = POO. The director doesn’t even show a single flower in the movie, though he had this title. The intention is to have the fragrance of the movie, even after the end. There were some flaws but I consider this movie as the finest in this category of movies. Great mistake .. I missed to watch this film in theatre [ க‌ண் அச‌ந்த‌ போது க‌ட‌ந்து போன‌ க‌ட‌வுள்- Effect of Na.Muthukumar’s aana avaana poem collection]. Unfortunately, this movie didn't even run for 100 days.

ம‌ழை நின்ற‌ பின்னும்
ம‌ர‌க்கிளை இன்னும்
மெதுவாய்த் தூறும். - ‍நா.முத்துக்குமார்.


'பூ' இன்னும் என் ம‌ன‌தில் வாச‌னையோடு தூறிக்கொண்டு இருக்கிற‌து.

-Toto.

Wednesday, July 22, 2009

Coming next - Poo,

பூ .. என்ன‌ ப‌ட‌ங்க‌ !!



அன்புள்ள‌ ....

.....

இதுக்கு மேல‌ என்னால‌ எழுத‌ முடிய‌ல‌.

எழுத‌வே முடிய‌ல‌.. நீ ந‌ல்லா இருக்கனும்..அவ்ளோ தான்.

- மாரிய‌ம்மா.


This is one of the best ever written letters in fiction. I am speechless thinking about the story and the way this film was written. I really feel very much that I missed this movie when released in theatres. A true classic film crafted in Tamil !


The Director Sasi thanked the chinese director "Zhang Yimou" in the title cards. Do you know why ?


-Toto.

Nadodigal --Why ?!


I remember once, 'Pudhiya kalacharam' came up an article with the heading 'காத‌ல் ப‌ட‌ங்க‌ள்.. க‌வ‌லைப்ப‌டு ச‌கோத‌ரா !' - the period where 'Kaadhal kotai' started a trend of 'Kaadhal' films. I have been watching since the early TRajendar peak periods - whenever a character talks about love/friendship to the 4thwall [ the dialog meant for audience ], it gets a roaring applause [ Indha ponnungalE ippadi thaan kind of dialogues ]. Of course, it still continues. The writer of 'Alaigall oivadhillai' Manivannan said in 'Gokulathil seethai' that why our films just end in marriage and don't show what happens after the lovers got married. 'Alaipayuthey' dealed with that concept whereas Nadodigal deals with the friends who help and make the love marriage happen.


Samuthirakkani worked as an associate with KB in 'Kalki'[ adhu oru paadaavadhi padam - film that demoralises women power ] and then with 'Paruthi veeran'. Meanwhile, he worked as a serial director [ killer :) ] in many famous TV serials [ I never ever watched a single episode of any serial in my life time ]. He even directed 'Thanga vettai'. He patiently waited for his turn and directed 2 films. 'Unnai saran adainthen' and 'Neranja manasu' ; both didn't do very good at box office. He stunned me as Kanagu in Subramaniapuram with his sparkling performance as an actor.

If Subramaniapuram is Veenaaponavan's poem, 'Nadodigall' is like a poem comes in 'kavidhai solai' of vaaramalar. Yes ! Subramaniapram is a craft and nadodiagall is not.

Nadodigall : Drama/2009/Tamil
Writer & Director : P.Samuthirakkani
Music : Sundar C Babu
Photography : SRKathir

Plot :

In Rajapalayam, there are 3 friends [ Sasi, Vijay, Bharani ] who are closely knitted along with their families [ idhulaye oru 15 charcters therum ]. Sasi loves Ananya and Vijay loves Abhinaya, sister of Sasi. Another friend comes to their town seeking help for his love and intensifies it by a suicide attempt. What the friends do for the couple to get married is told as part one. In the process, the friends loose what they value most. Did the couple live properly ? What is the compensation for the loss faced by the friends ? இதான் க‌தை.

View

Let me take the good things first.. The film has too many characters involved and some of them are etched really well. Epscially Paandi, his father, his noisy atmosphere [ poetically used for another reason ], always munching Nallammaa [ Enna azhagu ! ], 'Pasanga' teacher. Some of the touches are


- Saravanan explains the reason why he approaches Sasi. It's shown in a single shot. A couple sit in a beach and the girl's father comes in and separates.

- Most of the dialogues used by Paandi are really stunning. Unaku valikaaddhadaa.. Nee valichaalum illembe..' The price he receives for his help is stunning. One of the best sound recording happened on screen. The impact it makes to the audience is terrific. His performance in the second half was really good.


- The racy interval sequences.. Though it's just an interval the sequences are filmed as if for an action thriller [ like Gilli ]. This gang has one more friend who doesn't even utter a single dialogue.. Nice characterization [ like Mottai in Anjathey ]


- The local politician 'Chinnamani' character is portayed and used properly.


- The heroines are unusually beautiful. Ananya was too good and steals the show. Equally, the other hoerine Abhinaya also did well [ the fair girl standing first in the left side of the above photo !! ] - The shocking truth is that she is challenged in real life [ unable to speak or hear ]. The director did this after a popular heroine rejected the role stating that she was unable to communicate with Samudrakani in English. Director proved he is good by using a girl who cannot communicate to anyone.


Why I consider Nadodigal as average


Music.. My strong opinion is that a good film always has good music. Whether it is song or BGM [ Veedu ! ]. Even for a plain entertainment movie like Chennai-28, music is so important. That aspect is highly spoiled in Nadodigal. there's not even a single good duet though almost everybody falls in love :) . The BGM part is mostly covered by the siva sambo song - a racy n noisy one.


I never liked 'Ivaar dhaan Sankaran.. Chief accountant' kind of intro. Cinema should be given it's due respect in visuals.


Dialogues : Everybody explains too many things in dialogue.. Varalaaundradhu.. Love-ndradhu.. Natupu-ndradhu.. Every word is explained. Remember the KB's torture days.


Telugu impact - Now the movie is getting remade in Telugu. It's planned one. That's why they introduce the lady MP character and sho all the SUV category of vehicles in high speed [ Scorpio, Tavera, Innova, of course Sumo ].


Through out the movie you get questions about some logic. Most of them are unanswered. A good film never makes me to ask questions at least while watching. The grip is missing. You get those frustrations in most part of the movie.


The climax is the most confusing aspect of the movie. I don't believe that the rich lovers get a moral of Sasi's lecture. On top of it, the 3 friends get ready for one more help. In TN, if anybody says better not to love and go for work/studies, that film will be considered as junk. As per FM radios, one cannot live without having a lover. [ Sorry ! next caller please :) ]


The sister character falling in love is not a convincing one. Why the rich lovers come to Sasi.. Of course, what stops their love to express to their parents ?


The kuthu song on the way to Namakkal - I was disheartened by underestimating the level of audiences. Also, I was shocked to see Sasi resembling T.Rajendar in some dance and action sequences. Sasi.. We expect 'direction' from you and not 'action' !!



Unnecessary insertion of Kanja karupu character - It's purely sentimental and nothing else. The fault is not definitely on Ka.Karuppu. Samudrakani lacks sense of humour.


I am not bothered about the success of the movie. In fact, a successful movie makes so many families happy and motivates the assistant director to think about the story/script. Definitely this film is extremely better than SundarC films [ SundarC is the exact replacement of those days Thiyagarajan/Telugu dubbing movies - I couldn't even sit and watch the trailor of '5-m padai' ]. But the hype made for Nadodigall equal to Subramaniapuram, Paruthi veeran is too much - those comments makes me uncomfortable.


ச‌ரியான‌ ஒரு பட‌த்தை எம‌து ம‌க்க‌ள் ஓட்டினால் அதை க‌ண்டு ம‌கிழ்ச்சிய‌டையும் முத‌ல் ர‌சிக‌ன் நான் தான். அதே ச‌ம‌ய‌த்தில் ம‌கேந்திர‌னும், ம‌ணிர‌த்ன‌மும் க‌ட்டிக் காத்த‌ த‌மிழ் ப‌ட‌ உல‌கில் பிழையான‌ ஒரு ப‌ட‌ம் தெலுங்கு ரைட்ஸ்‍க்காக‌ எடுக்க‌ப்ப‌ட்டு ஓடுகிற‌தென்றால், அதைக் க‌ண்டு வ‌ருத்த‌ப்ப‌டும் முத‌ல் ர‌சிக‌னும் நான் தான்.


To repent for this, I'll come up with a review on POO [ a classic film by Sasi ]. Have you ever wondered, why Director Sasi thanked chinese director Zhang Yimou. in the title cards ? Our directors normally thank Nungambakkam HDFC bank or Kothaalampatti Karur vaisya bank for giving loans :).. யோசிச்சு வைங்க‌..


-Toto.

Thursday, July 16, 2009

KILL BILL - Vol I - Quentin's Kurudhip punal

"I steal from every movie, ever made" -Quentin Tarantino.


Disclaimer :

If you have the habit of fainting at the sight of blood, pls skip this 'bloody' review :)


Malayalam film industry [ Idhu verenga :) ] used to have music directors who are more towards the melody types of songs. JASSIE GIFT jolted the entire industry with LAJJAVADHIYE with his sand paper voice. The audience didn't know how to react and they didn't want to ignore, also. They enjoyed it to the peak and the song / MD was admired very much. In film history, there's always been a rebellious person in any category of art. Like MRRadha in Tamil industry. On the outlook, we hesitate to enjoy them and we admire them personally. It's not only their performance but also their perception. These kinds of artists differ highly from the crowd. Similarly in Hollywood, Quentin Tarantino is one such extremely different story teller. Like Manirathnam, he is self taught.


We are used to stories that have a finite structure. However, it's not necessary that all movies hold this pattern. For eg. 21 grams, Rashamon, Andha Naall. These type of stories starts from the middle and connects different events to form a story. Sometimes instead of a story, a film ends up with a just a collection of events. Quentin Tarantino is of this strange category. This film involves extreme violence, profanity, pop music, lengthy dialogues and sudden shocking moments. No wonder, Quentin Tarantino liked "The killing", a Stanley Kuberick movie. [ Sk is another strange director - never come across a movie called Clockwork orange - Satirical drama film ].

When I watched "Reservoir Dogs" [ Quentin's first film ], I was confused whether to follow this Director or not. I liked as well as disliked the movie. Yes ! The film was about a diamond robbery and the robbery was not shown at all.[ appa enna dhaandaa kaatnanga :) ]. But his narrating style attracted me very much and I started following his films. PULP FICTION was the best of Quentin Tarantino. I enjoyed watching DEATHPROOF. The beauty is none of his films were told in a linear fashion [Except JACKIE BROWN ].

KILL BILL


Don't get surprise to see that it's a plain revenge story with stylishly excessive violence. The bride [ Uma Thurman ] is attacked by her ex-squad members and the chief in her wedding. They kill everyone and brutally beat Uma to almost closer to death. Somehow, she survives and takes revenge. Adhaan kadhai. The total movie length is 4 hours and hence KILL BILL 2 was released.

View

The film starts with this phrase on screen. "Revenge is a dish best served cold".

Though it just looks like a simple Chiranjeevi or Suman movie, the way it is taken is interesting. I still have a double mind whether to say the violence shown is good or not [ Like Subramaniapuram ] but I can easily say that it's the most shocking shots. The film combines multiple categories of films styles like martial arts, mix of US and Japanese cultures, Characters with Samurai attributes, shocking level of violence and x.

As I said, on the outlook once can ignore this film easily but as a fan, I liked the styles used in the movie. The director fluidly used animation in telling a particular flashback. It's about the American girl becoming a Don in Tokyo and that episode is shown in animation style [ Manga comics with whooshing blood ]. The fights are choreographed stylishly with perfect timing and the visuals are as clear as a crystal. The tempo used in the revenge can be used as a complete reference for our Indian action film [ Hero walking on a glass floor shown from low angle - Watch what's written on Uma's shoe :) ].

Quentin Tarantino is a great fan of music, comics and films. Every shot in his film has almost all the mentioned elements. The characters in other films - they talk a lot, different opinions, and different music. One needs to be so familiar with the history of music and culture in US to understand his narration to a great extent [ Remember sub-title is just a translation ].

Conclusion :

Never ever watch a QT movie with family or kid.

:)
Toto.

Wednesday, July 8, 2009

Time to blow the speakers..Baby !!

Time to blow the speakers..Baby !!



It's just another category of music. It's not necessary that we always look for soothing melodies and it's time for some "JING BANG" music.

1. Aathichoodi.

Film: TN07 4777
Singer : Vijay Antony, Dinesh Kanakarathnam
Music by : Vijay Antony
Choreographer : Shobi
Lyrics : Thevai illai :)

For a long time, I restricted myself not to see or listen for this song, due to a perception [ Effect of Nakka mukka - may be ]. Later, in a function, I heard this song in a series of peppy songs. The way you hear in a big music system changes the view. Come on.. Why should I act like I hate peppy songs ! This one was well choregraphed by Shoby with some decent movements even at the end [ funeral beats - It's like secretly watching liril soap ad in the school days. I like it but don't reveal it outside :) ].

I like the line.. Maalu maalu maalu.. muje hindi nahi maalu.. Indha paatai kettuputtaa unaku mullaikum vaalu .. Unmai dhaanga :)

http://www.youtube.com/watch?v=DxbIgzE2EV0 2

2. Daddy mummy

Film: Villu
Singer : Mamta Mohandas, Naveen Madhav.
Music by : DSP

I like Vijay'sincerity when it comes to dance. He doesn't care much about the co-dancers. yes.. Even if it's Khan sisters [ Mumaith Khan with her sister Zabyn Khan .. Kudumbam Vellangumm ;) ]. You can easily visualise Prabhudeva dancing in all the steps. The opening music and the beats are perfect for a party song. Watch for the graceful [?!] steps and the beats. All these complicated dance steps are started from the telugu hero Junior NTR.

For me, even Dole dole dhaan is a better product from DSP's [ Devi Sri Prasad] juke box.

http://www.youtube.com/watch?v=YmOTt1QJYtg - Daddy Mummy
http://www.youtube.com/watch?v=-EXpM90E-ic - Dole Dole dhaan


3. Madai Thirandhu
Album : vallavan by Natchatra group
Singer : Yogi B, Lockup Guna, Natchatra

Yogi B is an Malaysian-Indian who has a pop group Natchatra. In their album [ Vallavan ], they have this beautiful number 'Madai Thirandhu'.I am not a fan of remix and in fact, I oppose spoiling the original creation. [ Even engaeyum eppodhum in polladhavan didn't attract me ] However, an exception comes to break my perception, as always. I had heard this before in FM and ignored initially. Later, when I heard this in a big pub [ B&C ] , I was fascinated towards the song. Watch this live performance of YogiB group ..I think they haven't damaged the original. He says ' Super.. excellent and fantastic Balu ' .. Better way to respect the senior singer. :)

http://www.youtube.com/watch?v=yXhuGtoQSv8



4. Hit em up style
Singer : Blu Cantrell

This is a little bit older English album song [ 2001 ]. I used to collect dance numbers during that time. I remember once a foreigner said to Vaariyaar Swamigall after listening to 'Uruvaai aruvaai' in his speech, 'I don't understand the language but it does something to me'. I say the same thing for Blu Cantrell [ Adap paavi !! ] . She got a fantastic voice perfectly matching for a dance number.

There goes the dreams we used to say (oops)

There goes the time we spent away (oops)

Ha..ha.. What a song !

http://www.youtube.com/watch?v=6kQDyCTSzpg

:)
-Toto.

Sunday, July 5, 2009

Thalainagaram Engall Subramaniapuram

ஒரு ந‌ட்பு .. ஒரு காத‌ல்.. சில‌ துரோக‌ங்க‌ள்.


In 1985, 3 different films of great directors came simultaneously with surprisingly the same story line - A middle aged man's extra-marital friendship with another girl. Sindhu bhairavi [ Nov-11-1985 : KB ], Mudhal mariyaadhai [ Jan-01-1985 : BR ] and Chinna veedu [ Nov-11-1985 : Bhagyaraj ]. The difference is how they worked out the script and visualized the story. Similarly, Pithamagan, Paruthi veeran and Subramaniapuram have common characters, love and story but the way the stiry is treated, made all 3 unique and special. A thug, his lover [ school going or polytechnic - rendum onnu dhaan :) ], another rustic friend with no lover, Thiruvizhaa, the killings, no modern gadgets, gory murders, the climax, Madurai, theni, Kamudhi are common in these movies. Coincidentally, they share the Guru sishyan chain.. Bala -- Ameer -- Sasikumar.


For me, including a cell phone makes a big difference in the script. If cell phone was used by Ajith and Devayani in Kadhal kotai, there wouldn't ve been a chance for such a dramatic climax. Director Sasikumar cleverly avoided this gadget tortures by taking the story to 1980s. However, he was so meticulous in using almost all the possible elements of 1980s.. not only the bell bottom pants and 'kazhudhai kaadhu ' collar shirts. What a nice thought !.

Have you ever wondered why youngsters in Madurai were so much involved in cinema n politics ?! I remember one article analyzed this and concluded that there were no industries came up in Madurai region [ like BHEL in Trichy, LC in Neyveli, SAIL in Salem, Mills in Coimbatore ] and hence the people were attracted to cinema and politics, during the period mentioned in this movie. This story revolves around 5 jobless youngsters in a small time village and their experiences.

Story

The story, set in the 1980s, happens in a town called Subramaniapuram, a suburb of the city. It is built around 5 friends, importantly Azhagar, Paraman and Kasi. They are jobless and involve in small time street fights and become visitors to the local police station. An ex-councilor and his family stays in the same area, helping the friends gang in needy times. Azhagar falls in love with the councilor's daughter Thulasi. Insults and isolation triggers the events in the rest of the story. We never know how a change happens in life and why we undergo changes. Whether we accept or not, it happens !

View :

The film starts with a dark n rainy day out of Madurai Jail. All the great movies use flashback effectively. That attracts us to get into the story. [ Remember Muthal mariyadhai opening scene - Why Malaichamy thevar sickly lies in a cot of an isolated riverside hut !! ]. Similarly, Who comes out of the jaiil, What happens when he is released kind of questions.. In the previous days, films starts with a song considering late coming audiences [ ப‌ட‌ம் ஆரம்பிச்சி ரொம்ப‌ நேர‌ம் ஆச்சுங்க‌ளா.. [ நேர‌ம் ஆகி இருந்தாலும் ].. இல்லைங்க‌.. இப்ப‌ம் தான்.. ஒரு 5 நிமிச‌ம் இருக்கும்.. காலை மிதிக்க‌றீங்க‌ பிர‌த‌ர்.. :) ]. The movie then travels from 2008 to 1980.

The three elements shown in the film are friendship, love and perfidy.

Friendship part is shown so naturally. The 5 friends Azhagar, Paraman, Kasi, Dopu, Dumkaan spend time in Sithan sound services. For me, drinking tea or having a fag can depict the friendship fluidly [ that's what we do when we gather.. டீ சொல்டா ம‌ச்சான்.. அப்டியே 2 கிங்ஸ்..] They are jobless but happy. They spend their quality time in Sithan's shop, local bar, bus stand, tea shop, cinema theatre. But everyone has their own idea about living. Azhagar falls in love with Thulasi. Paraman somehow doesn't accept this as she is from the ex-councilor’s family. They believe that the family helps them during troubles. The beauty is they don't even own a cycle - they use sithan's cycle. This shows their social status and been used later cleverly when they take another cycle for a purpose. Paraman angrily gets involved in whenever Azhagar falls in any trouble and they are very close friends except Paraman warns Azhagar about his love.

Love : The burden of telling a love tale is reduced tremendously when you have the right casting in place. Swathi was the perfect choice for Thulasi and her eyes do more then what the director wanted to convey [ Swathi vandhaa Sasikumar-i marandhuduven :) ]. Azhagar and Thulasi share very less dialogues in the film. Sometimes, a song can speak for the director and Kangall Irandaal song speak volumes of their love. Watch out for the fantastic costumes worn by the Azhagar and Thulasi in the song. [ Thaavani and blouse are in same colour as in 1980s.. Saamee ! ].

Betrayal: In the outlook, everyone was playing their part quite well. The characters are introduced with their mindset and qualities.. For example.. Kasi favours people of his caste and in need of money, always. But when there's an issue everything gets different and the problem begins from there. And the consequences were shocking and gory. The trigger comes from the ex-Counselor’s wife insulting him and the cascading effect in the family. Kanagu mentions this as 'Pombalainga kooda madhikalainaa apram enna'. This triggers the team and the rest changes their lives. The betrayal is shown when the victim(s) stop opposing what happens to them like Azhagar, Paraman, Kanjaa karuppu, Kanagu, Thulasi. It's not just one betrayal but it's a chain. Kanagu expresses anger, insult, pain, vengeance, cunningness fluidly in his eyes, body language and performance. The betrayal makes us stunning as the characters become motionless and express their inability to digest the treachery.

I favour the best part as the screenplay and the casting. Director Sasi has done a wonderful n bold job.

What are the elements you can think of 1980s ? Paavadai thavani, bell bottom, rippled hair style, bearded youngsters, Rajinikanth cinema, Lamby scooter, wired chair, green ambassadar car, Radio news and Saroj Narayanswamy, Idhayak kani MGR rikshaw stand, Ilayaraja songs, LP records [ Melodies of Yesudoss ], large cone shaped speakers, betromax lights, Solidaire 4 band TV with distorted images and dots [ we had tri-coloured aditional screen for a BW TV, TV antenna at the height of a eucalyptus tree, boosters :) ], Thiraigaanam, Neyar viruppam, advertisement in cycle bar area, Photo studios with flower designs background, rettai jadai and ribbon [ Ribbon vacha ore heroine - thani para-la vachikkaren ], Mahalakshmi dollar, jimiki, big buckled belt, cinema posters, wall advertisements [ eyetex / tortoise / narasus coffee ], coffee bar with family rooms, sithan sound services, Jatkaa, cycles. These observations are the success of the art director Rembon.B and costumer K.Natarajan [ New guys ]. Though it's illogical for the local guys to have such a great wardrobe, we can ignore it in the name of appreciatiing the taste.

Music.. IR is a musicpedia.. Anyone can refer his music, songs in any of the Tamil films. The film starts with a serious title music with showing the shady n dark night life of Madurai [ Similar to one shown in "Kaadhal" ]. Apart from the mesmerising songs, James used IR's 'Siru ponmani asaiyum' so aptly in this movie for the lovers and the Muratu Kaalai song for a celebration in the threatre. Watching Rajini movie's first show is definitely a celebration. I easily forgot the 'Kallukull eeram' version of Siru ponmani asiyum and remember this [ Similarly, I relate Mambazhaam maambazam Vijay song to Anjathey's area light music party - Sathya.. Sarakku saapduvamaa :) ].

The heroine introduction is so poetic with the bits from Kangall irandaal song in piano and flute and of course, the most catchy song in the film [ "pEsa enni sila naall" line resembles "Thanimayile oru raagam" song - of course, we can leave this as the composition is for 1980s ]. Similarly, the Thiruvizhaa sequence [ the black humour creates a sag in the movie ] score is good. James Vasanthan did a wonderful job in his debut film.

Thulasi. the heroine with "i-max" eyes and a beautiful smile :).. I better take the help of Na.Muthukumar to talk about her.
க‌றுப்பு வெள்ளை பூக்க‌ள் உண்டா
உன் க‌ண்ணில் நான் க‌ண்டேன்.. உன் க‌ண்க‌ள்
வ‌ண்டை உண்ணும் பூக்க‌ள் என்பேன்.. ‍ ‍ நா.முத்துக்குமார்.


Cinematographer, SRKathir did a sparkling job, catching the true colours of the town. In fact, it's not only the story of the people but also about their town. There's a chasing scene where Azhagar and kasi are chased by some other gang. That's one of the finest chases in gullies of a village with an appropriate background score. Except the lengthy Thiruvizhaa scene, everything else perfectly fits the movie. There's long walk by Kasi in the introduction and the same long walk is cleverly used at the end of the movie. One of the most stunning climaxes, I have ever seen.

Every scene and dialog is carefully penned and used to connect one or the other part of the movie. The movie has an element of suspense too. Also, the dialog carries the justification of the characters activities. Every frame shows the meticulously worked script and execution. Even the fights [ fights with rickshaw drivers and local thugs in the theatre .. Stunts by : Rajasekar ] were depicted with a natural effect. Thanks to the master for not cheapening the fights with silambattam or maan kombu fights :). ந‌ல்ல‌ வேளை..ஜ‌ல்லிக்க‌ட்டு / ரேக்ளா ரேஸ் எல்ல‌ம் வ‌ச்சி ஹிம்சிக்க்லைங்க‌ !

It’s easier to understand the movie when you watch it for the second time. I watched this movie in a theatre and the whole crowd was jumping and shouting for most of the scenes.. Siru ponmani asaiyum song, Kangalla irandaal song, the revenge, Subramaniapuram theme song. The crowd cheers for the goriest murder too. The film has been released in DVD format from Moserbaer.

When I had a chat with Sudesamithran, he mentioned that Sasikumar is from a wealthy family [ owns a theatre it seems ] and the film was shot in 16mm camera [ a low budget format ! ]. Shankar travelled to Los Angels to pick n train the 3rd row dancers for Style song in Sivaji in AVM's budget.. Enna kodumai Sir idhu ??!!

I remember seeing Paraman chasing Thulasi in the trailer as well as in the posters. But it is not shown in theatre/DVD. i don't know what happens to Thulasi ??!!

Towards the end Paraman says this..

நாலு காசு ச‌ம்பாதிக்க‌லைன்னாலும் ச‌ந்தோஷ‌மாத் தான‌டா திரிஞ்சோம்..

How true it is ! I remember a good friend recently recollecting his earlier days and asked 'Why the hell did we grow ?! ". Whether we accept or not, it happens !

:)

-Toto.

Wednesday, July 1, 2009

Gilly of Gully :)

Fine entertainment from the Sharks and Rockers teams.



When did you laugh out loud while watching a movie ? If you can't remember, just watch this movie, even if you have watched it already. Luckily, in Tamil cinema industry, we have so many good films based on humour. One such gem is 'Chennai - 600028'.

I still wonder the guts of Venkat prabhu and SPCharan to convince SPB to produce this movie. Either they have narrated him and explained extremely well or they just gave a try. I would rather assume the first one, as the script is so convincing to believe whatever shown on screen.


The movie starts with SPB's voice over giving an an introduction about gully cricket and what can be expected from the movie. [ as in NILA NIZHAL novel by Sujatha - He once visited Srinagar and observed kids playing cricket on a frozen lake. That inspired him to write a novel with cricket background and of course he was a good player too ].

Story

Cricket is the life of the story, with 2 rival teams [ Sharks and Rockers ] involved in it. Rockers Raghu moves from Royapuram to Visalakshi thottam [ Sunnambu kaalvaai ]. The cricket ground rivalry gets in to the ground as well as their personal lives.What happens then is the story. As SPB narrates in the beginning, the friends go through intimate friendship, love, joyful moments, rivalry, dances, celebration, fights, problems and above all CRICKET.

At one time or the other, we all have played cricket [ at least book cricket :) ] or been to ground saying so. With cricket as the main ingredient, the writer slowly assembled the story in bits and pieces. In fact, its a combination of events rather than a story with some purpose. Hats off to the script and dialogues [ not only Venkat Prabhu - his associate Saseedharan and Sripathy - always repect the team work ]. The beauty of the narration is that all the prime characters were introduced in the first 12 mins of the movie.

The first credit goes to SPB who took a bold decision to produce this movie. The sports movies are always told seriously in most of the cases. First time, they have combined cricket and humour. We have watched variety of humour ranging from Kali N Rathnam to 'lollu sabha' santhanam. This type of humour doesn't fit anywhere what we have experienced earlier [ Even the crazy Mohan dialogues ]. A set of friends talk and through out the movie [ almost ! ] I never felt that they speak some written dialogues. I heard once that Venkat prabhu asked the crew to chat casually and captured some of the wits came out of the conversation. Also, the characters get equal opportunities to enact their roles [ including the character Rockers team captain John ].

Dialogues are used with almost freshness without looking for the grammar of cinema dialogues.. [ Somebody hits the ball outside the ground and Siva going out to get the ball says pOdaa poramboku :) ]. I remember my school friends used to utter the best available tamil words, damaging the entire family, if a catch or 4 is missed.

Editing needs a special mention as the lengthy game cricket can't be shown over by over in a movie. It would be different for other games [ 10 round boxing was interestingly edited in 'Cinderella man', children's cycle race in 'Children of heaven' - Adhaane.. endgadaa kanamenu nenachen :) ] but it's really tough to edit a cricket match [ thought it's 15 overs ] by showing the gist of the match. The credit goes to Lenin sir.

Yuvan Shankar raja has done a fabulous job with his songs. My favourites are " Un paarvai mele pattaal [ What a song , Vaali at his best as usual ] - Vijay Yesudoss ", "Yaaro - SPB" and of course 'Saroja.. saamaan nikaalo' [ beautiful dance number.. A simple catchy line used by a setji in Mudhalvan ]. Premji Amaren apart from his casual role, has taken care of the background score. Equal to YSR, he has done a fantastic job - he is very brilliant in choosing some old movie songs and music [ Pothi vacha mallaigai mottu, Aboorva saogodharargall sad theme, sax theme for Arvind's love, guitar for a break in friendship, yaaro theme for another love, cricket theme ]. All the music used in the background easily fits the visuals, just like a glove.

Sometimes, a clever crazy Mohan dialogue or a catchy timing of Prabhudeva might be easily missed in a movie. Similarly, when I watched it first time, I couldn't follow much of 'Badawa' Gopi's cricket commentary. Second time, I was able to capture them and listed here. The dialogues are so natural.

என்ன‌டா இன்னைக்கி க்ரவுண்டே ஜிலோனு இருக்குது..

அந்த‌ர் ப‌ண்ணிட‌லாம்டா ம‌ச்சான்

" உத‌டு கிட்ட‌ வ‌ந்து டைம் என்னானு கேட்டா ம‌ச்சி.. ::: ஏய்.. வாட்ச் இன்னா வாய்ல‌யா வ‌ச்சிருந்த.."

"அறிவில்ல‌... :::: இதோ பின்னாடி தாண்டா இருக்கான் "

த‌ம்பி.. டாஸ் ஜெயிச்சிட்டீங்க‌.. சொல்லுங்க‌.. ஃபீல்டிங்கா..ப‌வுலிங்கா..


Snippets from Badawa Gopi's cricket commentary.


முல்லை பெரியாறை விட‌ பெரிய ஆறு.. [ Sixer :) ].

‌ள‌த்திலே ப‌ள்ள‌மில்லை என்றாலும் ம‌ட்டையைத் த‌ட்டி த‌ட்டி..

கௌரி ஆன்ட்டி வீட்டு எண்ட்லிருந்து..திருப்ப‌தி ல‌ட்டு போல‌ ம‌ஞ்ச‌ளாக‌ ஒன்று வ‌ருகிற‌தே.. அதை தான் நீங‌க‌ள் அடிக்க‌ வேண்டும்

வெற்றிக் க‌னி ஜூஸ் வ‌டிவில் வ‌ருகிற‌து..

இடுப்பில் ட‌ய‌ர் வைத்திருக்கும்.. இஞ்சி இடுப்ப‌ழ‌க‌ன் ம‌ட்டை வீச‌ வ‌ருகிறார்..

ஐஸ்வ‌ர்யா ராய் நேரில் வ‌ந்து ந‌ம‌து சுமார் மூஞ்சி குமாரை எப்ப‌டி ஐ ல‌வ் யூ என்று சொல்ல‌ முடியாதோ.. அதே போல‌ 15 ஓவ‌ர்க‌ளில் 135 அடிப்ப‌து ந‌ட‌க்க‌ முடியாது.

Coincidentally [ God promise-aanga ], I happened to travel with Venkat Prabhu in the same Indian Airlines flight from HYD to Chennai [ IC936 -6.30 AM]. He was accompanied by another guy [ Asst director ] narrating a fight story between a police man and an army man [ VPrabhu paavamga.. 6.30AM flightla pasila kadhai kettu vandhirupaar ]. I had approached him and told that I watched Chennai - 600028 for the third time and it was so refreshing. He accepted the appreciation very humbly and told that the movie GOA will be ready for Diwali release.

the best dialogue is

லெக் சைட்ல‌ போட‌த‌டா.. ஆஃப் சைட்ல‌யே மைன்டைன் ப‌ண்ணு.. அடிக்க‌ரறாணுங்க‌ன்னு தெரியுதில்ல‌.. ம‌ச்சி .. 32 ர‌ன் தாண்டா அடிச்சிருக்கோம்.. பாத்துடா.. ப்ளீஸ்டா..

ஏ.. அவ‌ன் எப்ப‌டி போட்டாலும் அடிக்க‌றாண்டா !


:)
-Toto.