Sunday, January 15, 2017

Bhairava, Not a Top Notch category..


       Punch dialogue, tempo, fiery stunts and nimble dance movements are ever the trademarks of Vijay. They are found in plenty in Vijay's Bhairava as Pongal gift to his fans.From the start till its finish the movie moves at an even speed not sagging anywhere.The cricket stunt scene and the sparkling stunt just before the interval, would make the audience sit up and watch with excitement.A couple of new ingredients of the film are the uxorious [wife doting] villain, [played by Daniel Balaji}and the darling concept in the friendship of Vijay and Satish. The graceful song sequence 'Nillaayo' at the marriage hall is a melodious number of Santhosh Narayanan adding to the aesthetic component of the film.But unfortunately, in the case of other songs, the worthy lyrics of Vairamuthu get extinguished in the fire of Santhosh Narayanan's musical decibel.The budding music composer did much better in Madras and Kabali.
    Bhairava needs a special acknowledgement for bringing together actors from all the Southern region.Apart from a huge list of men and women from Kollywood,the film has the main villain Jagabathi Babu from Telugu,Sharat Lohithashwa from Kannada,and Vijayaraghavan from Malayalam. Of late, Jagabadhi Babu has become a popular villain of Tamil Cinema, with Vikram's Thandavam, Rajini's Linga,Vishal's Kathi Sandai and now Vijay's Bhairava. He has got a wholesome role, to play villainy and he has performed it with a combination of sweetness and brutality.As usual Daniel Balaji essays his role with characteristic clarity and force in dialogue delivery.
   The noise free comedy of Satish is always a heart warming factor. Keerthi Suresh seems to be bent upon making her substantial innings in Kollywood, with her looks and acting mettle.The film carries a huge load of cast.The clippings from old films Nam Nadu,Enga Veettu Pillai and Uzhaippali from the Nagi Reddy family's proud film production unit, speak of the glorious place this film production unit has held in Tamil Cinema.This great film house has dealt with a variety of themes such as family values,and political corruption.
       Here, they have dwelt upon the plight of higher education in the hands of wrong players.Some of the scenes and dialogues make us recall actual happenings in medical colleges in Tamil Nadu, that drew large scale media attention and public ire.I have heard some of my own relatives and friends saying that they received just a slip of paper mentioning certain number in pencil, in lieu of hefty donations they gave for a Medical or Engineering seat.But the sad factor is, such a sensational issue has taken a highly cinematic route for highlighting the horrid state of affairs in higher education. However, there is a dialogue in the climax from the hero's voice, stating that, when yardsticks are placed for the selection of students and appointment of teachers,there is no eligibility yardstick for those, who happen to manage most of the private institutions of higher education.
   Vijay's Bhairava is definitely an action packed film, in the line of his earlier hits like Thiruppaachi or Vettaikaaran in the sense, the film contains quite a lot of twists in narration as in those films.But some where something pulls it down from the top notch position.May be the narration could have been a little more realistic and refined instead of being an attempt to surpass the demands of logic and acceptability of common sense, by presenting the course of events, in a make- believe manner and in projecting the hero, as some one endowed with super powers of body and mind.


Sunday, January 1, 2017

Two Female Stars in a Comparative Perspective.


                              Two Female Stars in a Comparative Perspective.

      Tamil film industry, like world cinema, has generally cherished the status of heroes more emphatically than that of heroines. However, some heroines have outlived their positions with their unique star status and this blog has already gloried the proud star status of some heroines, who proved to be special and indispensable like most front line heroes. Again this writer has also made comparative references to Savitri and Vanisri and Sarojadevi and Bharathi  particularly in terms of their looks and demeanor. However, there were two actresses of two different generations, who magnificently ruled Tamil Cinema, with identical attitudes and similarities, in sharing screen space, with great heroes of their times. They are P.Bhanumathi and J.Jeyalalitha.
      When one thinks simultaneously  of these two female stars, the first thing that would strike their mind, is their innate zeal for aspiring independent womanhood, coupled with an obviously fiery attitude towards retaining their individual space and position, as reflected quite often, in the roles that they happened to don periodically. Both these women could dynamically portray courage and clear levels of self- confidence, as the essential characteristics of the feminist brand. There was an exemplary fighting spirit revealed in their role play, as Bhanumathi performed in films like Chandi Rani, Manamagan Thevai,Makkalai Petra Magarasi,Malaikallan,Sadhaaram and Arivaali and as Jeyalalitha took up in films like Pattikkaadaa Pattanamaa,Savaale Samaali, Paattum Bharadhamum, Kanavan and several other films. Though they belonged to two different decades, they were the chosen co- stars of the most popular hero MGR. Both  had shared screen place between MGR and Sivaji Ganesan not only with a clear mark of equality, but also without letting down their proclaimed right to their own  unique positions, as female stars.
     Both had a charming voice for the musical core, though Bhanumathi would have rendered more number of solo and duet songs. They had certain amount of facial resemblance too. When it comes to performance, both were highly capable of establishing their positions in the given roles with absolute understanding, involvement and dedication. But Jeyalalitha was certainly a more impressive dancer than her senior and in respect of dialogue delivery, she scored more points in rendering her dialogues with force and clarity. Though Banumathi’s voice carried an equal amount of force, when it came to  emotional outbursts, her voice would quite often break down resulting in a screeching, jarring note, particularly whenever she had to cry and shout out her emotions. Whereas Jeyalalitha would make it a point to deliver her emotions, in a voice that was clear, demanding as well as submissive.
      The comparison between these two epoch making actresses, has been the outcome of the writer’s observation, that when Tamil cinema was in the long standing grip of meek and submissive womanhood, subjected to chronic male supremacy, these two women definitely reflected a different profile, one that of an iconoclast, breaking the shackles of traditional womanhood. The point here is that heroines of those days, like Ranjani,[known for her pathetic role play in films like Parasakthi,Devaki and Rathakanneer} Anjalidevi, Padmini,Savithri, Sarojadevi, Devika and K.R.Vijaya could not be thought of playing rebellious roles, celebrating the pride of women’s place in society.
    Whereas these two women time and again, put up a brave face, to reach the audience with the brighter side of belligerence, that women are capable of. Vijayanthimala could also be brought into this category; but she was more a classical dancer of merit and her contribution to Tamil Cinema was comparatively much less than that of Bhanumathi and Jeyalalitha. The other fact that needs a special mention is that, both these female stars, could effectively transmit positive energy, through their sparkling body language and verbal grandeur, with casual ease and a mood of celebration in acting. It is in this respect these two female stars deserve a comparative tribute.
     When it comes to number of films, duration of acting tenure and stable as well as longstanding contribution to Tamil Cinema, Jeyalalitha was certainly far ahead of her senior.The most unexpected demise of Ms.J.Jeyalalitha set in a nostalgic mood in the writer about the dynamic and daring acting caliber of a great star whose acting career culminated long ago, paving the way for her taking up the mantle of the Hon'ble Chief Minister of Tamil Nadu, in the line of her political mentor,MGR.Both her celluloid image and political legacy were factors that influenced the thoughts and imagination of the Tamil society to a large extent. Her unforeseen death is bound to make her immortal, through a striking absence of openness and exemplary courage on the political front, so vibrantly reflected by her attitude and behaviour, throughout her life time.