Ey Sandakkara and India's Foreign Policy.

Since morning, I've listened to Ey Sandakara over 20 times and still it's irresistible. This man-Santhosh Narayanan, impresses almost in every movie with his avant-garde compositions. To quote some of his best strengths : they don't come in the usual 1 Pallavi and 2 Charanams structure and sound completely fresh amidst run-of-the-mill songs. His love with Jazz is evident in his Jazz-soaked numbers. I was stunned by the brilliant Jazz Song which he had used in the Local Bar sequence in Soodhu Kavvum. It was striking to have that kind of Jazz number in a Local Bar ambience. The first love with Santhosh Narayanan songs happened the day I heard the Aasai yoer pulveli. The beautiful Guitar strumming and a fresh feel in the song(which I couldn't have in others) surprised me.

                                                                  **************

Presently, reading Shashi Tharoor's Pax Indica. I bought this one with much excitement, as I loved his previous books : The Elephant, The Tiger and the Cellphone and Nehru: The Invention of India. But unfortunately this one isn't up to the mark. Till now, I have completed 105 Pages (with 250+ pages to go) at snail's pace and I don't know how long it would take to complete the full book. This book deals with India's Foreign Policy - How was it till now but mostly gives suggestions how it should be in in the Globalised World so that it could transform India Politically, Economically and Culturally. There's a big chapter specifically devoted to Pakistan. But he keeps saying the same point over and over as we get bored before we could come to the end of the chapter. I wish the book would have been editing better by cutting short repetitive pages.

Ilaiyaraaja and his Title Scores.

Navin Mozart has pulled off uploading "The Greatest Title Scores of Ilaiyaraaja" which none could imagine. I wonder how much painstaking effort would have gone in selecting the best movies and carefully cutting the Title Themes. This around 2 Hrs of Title Scores gives us some of the best musical experience in our life. Prior to Ilaiyaraaja none of the composer in Tamil Cinema has given a Title Score that is relevant to the movie. His scores are like Preface to a Novel-which helps the viewers to expect what from the movie, by capturing various moods of the movie from the Title Score itself. For Eg. in the Varusham 16: the theme is same but comes in various moods with happy mood in the flute and then gradually moving to melancholy mood in the full orchestration. This gives a picture of the movie's journey to the audience. Take any of Ilaiyaraaja's Title Score. It carries the weight of the entire movie. This is what that makes Ilaiyaraaja a class apart from the rest of the composers.

When listening to these 50 Title scores, all one can wonder at its versatile and rich orchestration conveying apt emotions based on the movie.

Esp.Japanil Kalyanaraman(What a grand orchestration all of a sudden),Nooravathu Naal nail-biting percussions followed by Bass Guitar, Nilavu Suduvathillai(What a Stunning Bass Guitar intro), Kickass and funky Paayum Puli, Ninaivellam Nithya, Netrikan - Solo Violin Piece and the sudden outburst of Violins in Vikram.

Finally, a solo Cello piece was so haunting but I couldn't recollect the movie name. When found it was so surprising that the piece was scored for a Dabba movie like Kannukulle. Ivar Manasukulle Ennapa Irukku.

Visaaranai - Preview.

I had some mild hope that at least in one theatre Visaranai would find a show here in Pune. But sadly, it failed to get even a single show. Literally, it was a heart-breaking moment for a cinephile and Vetrimaran fan like me. A movie which was premiered in major film festivals, got an Amnesty Award in Venice Film Festival but not released here is something I couldn't digest. This is the first Vetrimaran movie I think I'm going to miss it in Theatres. In fact, even in Tamilnadu, Visaranai didn't get many screens in multiplexes, compared to Bangalore Naatkal, Aranmanai-2. All I can hope for now is to wait for an Original DVD with director's cut. And for the guys who are in the cities having Visaranai released in theatres, don't miss it.

And, coming to numerous appreciations, the film got, I consider Priyadarshan and Mani's as genuine of all. This is the first time I am seeing Priyadarshan's speech; I liked his to-the-point comment without a bit of exaggeration.

Mani's comment: Vetri is a COMPLETE director. The word COMPLETE signifies a lot for a director. Although many in the industry carry the tag as a director it doesn't mean they are all directors. Cinema being a Visual Medium solely relies on the director for the execution of the script. Converting a script into an effective film is a heavily taxing task that only a few directors do that like Vetrimaaran. His execution and brilliant film language show enough in his two films - Polladhavan and Aadukalam.

Easy Listening - Title Score of Tintin.

As a father, since last few years, I have been watching cartoons along with my son either I like it or not - In fact, these cartoons are far better than regular TV shows. Additionally, to the existing ones - Motu Patlu, Ninja Hatori, my son added yet another favourite - The Adventures of Tintin. Even if he forgets, the moment it becomes 10 I would switch to Discovery Kids just for the brilliant Title Score.

Actually, I have seen the movie itself for two Masters - Spielberg and John Williams. It was quite good. But now I couldn't remember the score or haven't felt to listen to the score after seeing the movie. But the score which comes in TV series attracted me in just 2-3 days listen. I couldn't imagine just for a TV series the composers have created a rich piece of music with full-fledged orchestra kind of composing a symphony with all brass/woodwind/brass/string section. Nothing gives the pleasure of listening to LIVE instruments.

A Sample of Good Film-Making - 1 - Polladhavan.

Let's observe a scene from Polladhavan.

The scene starts with a voice-over Narration from Daniel Balaji which describes his brother's dominance in North Chennai. Once the scene unfolds, we see Anju serving a heavy meal to the gang; and, in another room, the leader of the gang(Kishore) is thrashing his own guy for breaching the code of conduct in their profession - i.e. his men would have attacked the adversary when he was with his family. In between, Kishore gets a call from a person who urges him to take the goods from the harbour soon, in turn, the task is given to a guy named OUT, who is the right-hand of Kishore. But this doesn't go well with Kishore's younger brother Daniel Balaji. When Anju feels for that guy being thrashed and asks Kishore, he replies it is not correct to attack a person amidst their family. He should have waited for that person when he was alone and then he should have gotten rid of him. Finally, when Kishore is about to enter back into the room, his son comes with hands full of dog-poop. This dialog would be kick-ass in native Tamil.

Appa!

What the hell is this?

Naaipee paa(Dog-Shit, Pa)

Why did you bring this?

You only told me to bring this right, to make Maanja(a very important ingredient in making Kites which are made in North Chennai)

The gangster smiles and replies: that should be dry'da not as wet as you have brought. Go and wash the hands.

The scene ends with this.


The scene shows us many information to the viewers: the henchmen rapport with the gangster leader family; Anju's kind feelings for the guy being attacked; Kishore's strong work ethic philosophy; Daniel Balaji's jealousy; Kishore's bonding with his son.


But everything happens in 1.20+ seconds. This is how a film language should be: audience come to get a panoramic view of villain's lifestyle and his family. Not everyone can do with such a brevity unless he has good mastery over film direction (with some brilliant effort from editing too).

I - Few Observations.

After Boys, Shankar's 'I' takes the credit for getting trashed from fans to media. Pre-release, the movie didn't create much expectation from me. Just for the Brand-Shankar, I (pun unintended) had some hope of watching the film. Luckily or sadly, that too washed off after reading the scathing reviews coming from all-sides. Thankfully, it did save me few hundred rupees. No worries, after all within next two months I could come alive in Jaya TV.

Well, I am writing this piece is to share my angst against certain myths prevailing in Tamil Cinema, which have been brewing in my mind for years :

Tamil Cinema nurtures few absurd myths that I'm wondering who started or where it came from. If I'm not wrong KT Kunjumon encouraged this trend in his films-Gentleman, Kadhalan, Kadhal Desam, Ratchagan- by erecting lavishing sets, rich-milieu, glossy songs, aerobatics done by the cars and bikes in the climax.

1. Influenced by his first producer, Shankar supplemented this trend in each of his films except the ones he produced. Consequently, it has become a custom for both media and fans to go hysterical whenever a Shankar's movie is heading for a release. No complaints but when one closely observes these discussions, he could easily conclude what's the fuss about-filming in the great locations hitherto which weren't explored in the Cinema, CG works, grand sets, glitzy costumes specially made for the heroine.

I really wish to know that how far these extra decorations help a movie in its story-telling? Ultimately, creativity and the art of film-making takes a back-seat when a director tries to capitalise too much on the technical stuffs. Just because a film's budget exceeded 100C doesn't guarantee a bit for its quality esp.when it comes with no aesthetics.

2. Changing a get-up doesn't mean an acting. A great actor justifies his role by appropriate dialog-delivery, body language, underplaying/overplaying emotions based on the sequences. Donning various appearances, shedding 20 kgs or raising six packs are useless when there is no soul in acting. In the name of acting, already we've seen enough fancy dress competitions in the movies like Dasavatharam and Citizen. Some of the great performances that has come of from Tamil Cinema are all simple down-to-earth roles - Varumayin Niram Sigappu,Mullum Malarum, Uthiripookal, Aadukalam.

As Sujatha says in Boys : Don't make music, take it from life. - Don't make movies/acting, take it from life.

The Shadow Lines - an unfinished experience.

Since the time I've started reading English Fiction, hitherto I've left only 5 books unfinished.

1. Madame Bovary.(Novel was engaging, still, I dunno why I suddenly dropped the novel after 40+ pages.I would like to resume some time)

2. Catch 22.(Loved the Black humour but couldn't like to continue after some pages. I really wish to complete this year)

3. Narcopolis. (Tedious read in the Stream-Of-Consciousness style, I would never return to it for few years)

4. The Life and Times of Thunderbolt Kid.(Bill Bryson's humour didn't work for me and I considered the book terribly boring)

5. To Kill a Mocking Bird.(Didn't work for me;in fact I liked the movie better than the novel)

Don't jump into a conclusion that I'm averse to serious literary fiction. I've completed the huge 500+ pages "My Name Is Red" with much interest and its one of my all-time-favt. Another novel which had a strong impact on me was The Remains of the Day. Though I read the novel two years back, still my mind, occasionally, recall the brilliant character-study of Mr.Stevens and the vivid descriptions of his country-side travel in England. But some books didn't work at some time either due to my immaturity in understanding the author's POV or the novel itself turn into a boring read or it might be not be my cup of tea.

Now I'm happy to say that there's a new entry to the above list. And the credit goes to Amitav Ghosh's "The Shadow Lines". Since last few years I've been waiting for the right time to get started with any of his novel. And then came the 25'th anniversary of his acclaimed "The Shadow Lines". From that point my eager doubled but at the same time I was deeply engaged in Non-Fiction titles like "India after Gandhi" followed by gossipy "Durbar" with some occasional deviations from my most loved Ruskin Bond's titles. But predominantly, I stayed on with Non-Fiction.

Throughout the last year, I read some best Non-Fiction books like Patriots and Partisans, The Elephant,The Tiger & The Cellphone, My Years with Apu and most importantly, Gandhi's Autobiography, the book which left me shattered with its profound thoughts on diet and his experiments with satyagraha. After completion, I was wandering in the church street bookshops(Blossom Book Store and Bookworm Store) for my next prey. "Editor Unplugged" caught an interest but the price - 480rs for 288pp - doesn't seem good for me, but compelled to buy any other title. Hence my eyes fell on "The Shadow Lines" which I grabbed at no time thanks to its hefty discount - 350Rs offered at 175 Rs.

Actually, the book started off well with an interesting character Tridib but slowly it turned into a dense read with the past and present coming back and forth in successions through the narration of an young boy; somehow I adjusted and went on but not more than 100 pages where I meekly surrendered to its complex and unenthusiastic prose. When checked for the reviews, I did find many who shared the same response as like me. Leaving a book unfinished makes painful and puts me in guilty but I felt helpless. For the next two days, my mind was so dense as the novel with I couldn't even read a weekly magazine or any other book. Then, I concluded, I should never come back to Amitav Ghosh for some months if not years and should take the risk only when I am loaded with lots of patience and tons of reading experience.

For the time-being, adios Amitav Ghosh.