Wednesday, July 31, 2013

The Racy Film Maker of Action and Family Drama.



       











                  
        Speed and tempo are the most vital segments of world cinema.To mix speed with family sentiment in equal proportions and to provide an action sequence that does not sag at any point is not that easy for a film maker. That too, to produce a quality film with all these attributes for a delicious audio visual treat,deserves special recognition.While people like Dharani, A.R.Murugadas and K.V.Anand have excelled in the action genre movies with revelant speed, they could not be considered for inclusive treatment of substantial family sentiment in their films released so far. But Lingusamy has come out with a sweet mix of action and family sentiment with remarkable tempo in films like Run,Sandakkozhi and Vettai besides giving us a full length family drama interwoven with tempo and quality in Aanadam. Ezhil and Saran have always carried certain amount of juvenile gusto in their direction that hardly ever missed to display a graceful mix of speed and grace.
      Beyond these great names in Tamil film industry, there is one ace director who  has consistently  maintained unfailing speed in all his dozen films released so far, be it a family drama or police story or stories relating to events of rural base. That is the highly energized film maker Hari, who has given us great hits like Saamy,Aaru,Arul,Aiyya, Vengai, Singam 1 and 2.
     The most striking nature of Hari’s films is the fast changing scene sequence that remains as a qualitatively integrated driving thread, without any trace of dragging the events to their natural culmination. The suspense ridden twists that are sprinkled through out the narration, with calculated breaks between each twist ,become the chief attracting component of every Hari movie. The consistent identity mark of Hari’s films is the controlling whip in the hands of good elements, who happen to be the family head or the village chieftain or an honest and rightly determined police officer. The other notable feature is the vigorous team spirit running evenly as a continuous process of the whole action sequence as if it were a grand sports event, say, a tug-of-war between good and evil.One could always notice the team mates cherishing the tempo of the game as the most vital characteristic, adding merit to their involvement in the totality of the progressive course of events.
    When it comes to narration of  police stories, Hari has proved himself as a self starting ignition switch, pushing  from behind the whole process of justice-rendering participation of the protagonists, protecting the victims of wrong doers.Samy and Singam 1 and 2 are the powerful police films he has made and all the three have carried an ISI mark with regard to the qualitative inclusion of the action parameters and the sudden, sensible turn-around  that forms part of a police story interestingly told. The comedy addition in these films, became a strengthening subplot for the main story and it was Vivek and Sandhaanam who intelligently carried on the comedy show, with social messages and personal whims respectively.The stiffness and rage aptly displayed by Vikram and Soorya in Police uniform combined with their stunning action verve in eliminating the evil designs of the opponent, pointedly contributed to the special effect of Hari’s direction of these films.
     The titles chosen for Hari’s films are quite interesting too. Except Thamirabarani, all other films made by Hari carry two syllable titles like Thamizh, Kovil, Aaaru, Saamy, Arul, Singam, Seval Aiyya and Vengai. Barring Kovil and Thaamirabarani,the other titles are hero-centric. The single syllabled Vel is the title of his other movie. His short titles seem to symbolize speed and titles like Singam, Seval and Vengai in particular are a mark of the potential fighting spirit and ferocity in destroying the enemy.The other hidden thrust may be the impact of the underlying rural nature of his themes and story composition. Almost all these titles would reveal the significance of the village order and way of life, prevalent in the interpretation of family and social values focused by the director. One could feel the absence of urban touch in narration, reminding us of the films of K.S.Gopalakrishnan of the last millennium.In most films of Hari the prominent thrust has been the youngsters' reverence for elders with unquestioning submission as one could find in Arul Thamirabarani,Ayya and Vengai in particular.
    A special mention has to be made about Hari’s Aiyya , for treating a noble theme in a classic style, by narrating beautifully the interrelated events of a neat story line, with suitable twists in action, so as to make it an enjoyable movie from beginning till end .It is this film that brought out Hari’s directorial capacity for poignant delineation of characters. Sarathkumar’s distinguished performance in dual roles, made the film an extraordinary hit with Prakash Raj and Napoleon adding substantial support for a grand collective show.The climax of the movie showing redeemed PrakashRaj surrendering himself in all humility, before the ennobling spirit of the old Aiyyathurai[Sarathkumar],was a sweet reminder of the great antique maxim ''nobleness enkindleth nobleness’’.
    As far as family sentiment is concerned Hari has beautifully exhibited the endearing note of family intimacy and filial submission to paternal supremacy in films like Samy,Arul,Ayya and Vengai besides focusing father son attachment in Sami and Vengai. In 'Arul', Hari showed the prejudices of a father against one of his sons based on a circumstantial misunderstanding. Veteran character actors like Vijayakumar,Vinuchakravarthi,Radha Ravi,Rajkiran and Nasser have delivered their father roles with a governing temper of discipline and dignity. 
    Hari's latest hit Singam 2, has also significantly retained the speed factor though most of the characters appear for a short while as visitors, without making any remarkable impact.While Sandhaanam memorably entertains with his comedy support in a couple of scenes Vivek appears a bit late, only to remind us of his better participation in Singam1. This sequel film, stands up only because of the dedicated roaring of Sooriya. The events seem to happen in a hurry not to stay effectively in our thoughts.For me, the earlier version scores a higher ranking on account of the more meticulous narration of scenes and events.The villains in Singam 2 made me long for Prakash Raj and I thought he himself could have donned the role of Rehaman with a different make up.I  have always swallowed with a difficulty the plight of seeing Rehaman as a villain, because in my opinion, he still remains as the chocolate boy of Pudhu Pudhu Arthangal of K.Balachander. But for Sooriya, the speed factor alone would not have given Singam 2 the run that it is eligible for, now. Hari could have also pruned the length of the movie.
   Every film director is made of a qualifying frame of mind to focus life’s cherished principles and perceived realities, through their chosen creative mode of celluloid presentation. Some are passionate about reaching a selective audience base with an artistic perspective. Some are down to earth and keep their approach ever targeting the larger audience, looking for a skit and narration that conquer their imagination at jet speed, so as to make them feel that their time spent at the theatres, was very short .Hari belongs to the latter group of directors,who can hardly afford to ignore the 'speed and tempo concept' of making films.He can be rightly called the consummate maker of action, speed and family drama.
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Wednesday, July 24, 2013

The 'M' Factor of Malayalam Cinema.

















                                           
     

















     The 'M' factor is not about Malayalam being a graceful and musical Indian language;it is about a few salient 'M' themes that Malayalam films have frequently and effectively delved into.More than that it is about the three 'M' Stars,that have added name and fame to Malayalam Cinema.The thrust of this article is meant to give greater credit to the two foremost 'M' stars who have simultaneously risen to sky- high popularity on account of their charisma and creditable career growth, on the ladder of cinema, with its inbuilt rungs of love for roles and labour for delivery, with talent, precision and dedication. 
   It is quite obvious that the intricacies of the human mind have dominated the creative fundamentals of Malayalam film makers, much more than any other regional cinema of the Indian soil.Marxism,Materialism, Masochism,{ self infliction of pain and suffering} Mysticism Medievalism and Modernism as various patterns of the living course,have been vitally disturbing the creative process of the Malayalam film industry for quite long.The Malayalam movies released between the Nineteen fifties and Eighties, would vouchsafe the impact of the struggling mode,with individual and group fixations, on the mind of the Malayalm film makers.With West Bengal alone sharing this legacy of the Malayalee mind, most other Indian languages were moving on the track of film making,with a dedicated approach to entertaining the audience through a process of ‘willing suspension  of disbelief’in celluloid form.In other words, film making was a part of the living realities for Malayalees;whereas, for the larger section of Indian Cinema, it was a journey to the realm of fantasy.
    Malayalam film production houses, directors and actors were never divided in their conviction to interpret realism with its tragic undertones, reflecting the intensity of misery caused, endured and surmounted. Be it man -woman relationship, or interpersonal social networks, the survival instinct of one individual taking the other for granted or for a ride, was subtly focused as an inseparable segment  of the materialistic mindset.The abuse of the fundamentals of Marxism was frequently parodied.As a matter of fact,this trend is predominant even in the recently released films picturing the political class.May be, this will continue so long,left wing tendencies persist in the state that is said to belong solely to God. Mysticism clubbed with supernaturalism, demonstrated through medieval practices,with plain or motivated layers of the psyche, could periodically find a place in Malayalam cinema, in the form of genuine or contrived soothsaying and other types of cult practices to cure dementia or to drive out the evil spirit that is believed to have taken possession of one's body and mind.Though modernism in thought and deed, is meaningfully blended to the creative brilliance of Malayalam cinema,it seems to exist in opposition to the traditionally solid cultural base of the Malayalam soil.
    The creative parameters of film making were ripe and radiant in Kerala with the M factor holding its grip. Eminent directors like K.S.Sedhumadhavan, Ramu Kariat, Thikkurissi Sugumaran Nair,M.T.Vasudevan Nair,M.Krishnan Nair, A.Vincent, Barathan and many other successive film makers such as Fazil, Kamal, Sibi Malayil, Thulasidas and Lohithadas  held  high, the flag of creativity, not giving in to the storm of transition that constantly asked for speed and action and demanded a switch over to the changing scenario.Heroes like Prem Nazir, Sathyan,Sukumaran, Jeyan and Madhu were all more concerned about the plot, the narration and the histrionic content more than their star status. However, the growth of Madhu became steady on a rising scale, that made him an exceptional hero, of course next only to Nazir. The untimely death of the other three contenders, eased the thespian journey for Madhu and willingly or unwillingly, he accepted the star status after Nazir.
     Most unexpectedly, the transition  did happen and the Malayalam film industry was slated for a new look, from the Nineteen Eighties. Speed and action which were kept in a low profile, suddenly became the inevitable ingredients of the new wave thinking, that engulfed the Malayalam film industry. I.V.Sasi, the maker of films like, Yee Naadu and Inspector Balram became the brand ambassador of speed and action.He was followed by a few other speed prone directors like Shaji Kailas,Joshi, K.Madhu Siddique and Priyadharshan,the last two in the list holding a neutral position with their special flair for comedy and family drama.But the ‘M’ factor remained unaffected, in a different way. After Madhu, the Malayalee audience came under the spell of two amazing actors of individual talent and merit.The makers stood for a while for a re- think. The creative imagination of film making was pulled out of the ‘rusted’ ruminations that had enslaved the Malayalee mind for ages. The Malayalam movie world was reborn and rechristened as a Mega Star Circle.Yes.the emergence of Mammootty and Mohanlal as mighty heroes potentially changed the ‘M’ factor.
     How long could an industry weather the storm of stiff commercial competition in the name of exemplary film making? Besides the producers, the audience should be grateful to the changing times that have taken them to a new experience in film watching, similar to that of their other Indian counterparts gloating over the starry cluster of the Bachans,the Kapoors, the Kumars and the Khans.The Telugu and Tamil film makers had already set their foot on the speed track, driving home the fact, that heroes with mass appeal become the heart and soul of the film body .No one can deny the fact that Mammootty and Mohanlal are not mere stars, but great stalwarts in the field of acting,getting into the groove of a perfect fitment formula in any small or big quality performance.Movies like Yaatra,Kazhcha, Madhilukal, Oru Vadakkan Veera Kadha, Pazhassi Raja {both historic fantasies} Pranjettan and Saint, Kireedom, Baratham, Life is Beautiful, Pranayam and many more, will show that Malayalam films are never found wanting in stuff of the highest order.
    But this is not a clean chit for the highly blown up image building that is going on to match similar trends in Hindi, Tamil and Telugu film fields. Leave alone the banners and cut outs.The way heroes  have been handled in films like Spatikam,Roudhram, AnnanThambi, Nasrani, Rajamanickam,Pokkiriraja, Alibhai, Praja, Baba Kalyani ,Narasimham,Thaandavam Chotta Mumbai,Red Chillies, Twenty Twenty and Christian Brothers [to mention a few]would make one believe that the makers have fixed the targeted audience very much in mind. However, any passionate film watcher will say, that there is absolutely nothing wrong in blowing up the image of rightly deserving heroes in order to make the frenzied fans a bit exhilarated.We live in a world of celebrities and every where around the world, such things are going on, both as a matter of hype and honour. 
    As a film lover, I have always looked upon with considerable excitement and admiration, these two heroes, who have surpassed the subdued grandeur of Madhu’s acting mettle, by creating waves of a popularity storm in their favour. The other unique thing about these two big stars is their team spirit, in acting together in quite a number of films.It is very difficult to come across such an equation, fairly displayed on screen, even after both became equally rated with the number 1 position as heroes, in Malayalam cinema. Even Rajini and Kamal were seen as team mates, only during their earlier days and are said to have parted ways with a friendly understanding.
   Barring Suresh Gopi and Prithiviraj, no other Malayalam actor would have smartly fitted into roles of the uniformed service like Mammootty. His sturdy physique, robustness, sense of control and absorption of the level of dignity such roles warrant, speak of dynamism  and depth of an intrinsic, self-made mould. He is chic and smart as an epitome of the truest police force either with fire and fury as found in films like The Truth,Inspector Balram and Roudhram or with poise and dignity as seen in movies like New Delhi, CBI Diary Kurippu and Sethurama Iyer CBI. Mammootty has impressively cast himself in several other kinds of roles that came his way, without vacillating from the norms of characterization, so that ultimately, it would be the  character and not the actor that would last in the memory of the audience.His masculine appeal coupled with a relevant underplay of emotions become special supporting factors to his solid performance of roles as a cop or gangster or a revolutionary.There is absolutely nothing artificial in his histrionic composition, except that the mega star status has joined his personality as an eventuality.
     Similarly, the ever inspiring spontaneity and degree of comfort level for any kind of role portrayal, evincing consummate ease and dedication, have remained as the incomparable traits of Mohanlal. He can sing and dance with his heavy physique and display levity and gravity with infallible conviction. Like Rajinikanth, humour comes to him in its most natural form and his versatility in acting is similar to that of Kamal.As far as dialogue delivery is concerned, Mammootty is known for his direct and open approach towards acquisition and delivery of the local dialects of Malayalam in their most acceptable form.His Pranjiettan and Saint is a monumental piece in this regard.Whereas, Mohanlal has proved himself to be the master craftsman putting language into shape, the way he desires it to be.Very often he could be found playing with words and accent, to suit his variant moods and exuberant delivery zeal.
    It gives us immense pleasure to listen to Mohanlal's gliding,sailing, driving, chasing  trudging, booing and budging voice modulation with an infinite variety of flow and ebb.I doubt if there is and will be, yet another actor of this voice grandeur. Mohanlal seems to be an instinctive performer and most often he keeps us awe-inspired by his astounding spirit of character absorption and identification in an effortless mode.He is fascinating, say,just charming, in any kind of role that he portrays.The audience will, for sure, carry at least a little bit of the verve in his voice, when they leave the theatres after watching any of his films. How much does Malayalam cinema stand enriched today on account of the stable and sustaining contribution of these two mega stars, both in terms of quality and volume.
      In fact, they are not the only M stars in Malayalam cinema.There was a gripping performer like late Murali and  there are beautifully talented other heroes like Mukesh and Manoj K.Jeyan. Among the women actors in Malayalam, we have Meera Jasmine, Manju Warrier, Mamta Mohandas and the old timers Menaka and Manimala who have performed their roles with grace and ability. But these two M stars stand apart as symbols of might and modesty in equal proportion, as actors and role performers. Charisma of personalities can not be purchased; nor can it be earned. It strikes as an image made up of blowing and boggling stuff, meant to rule human hearts with substance and character in a field show. It wields control over passionate admirers through an invisible charm  of dynamism and wavelength.
   The most appreciable fact is that, the film fans and audience in Kerala, have not taken their love and admiration for the stars into a state of obsession, so as to see them as leaders of political outfits as it has been done in  Tamil Nadu and AndhraPradesh;nor do these stars ever seem to cherish political ambitions. But still, the Malayalam film industry on the whole, can hardly ignore the grandeur of this significant M factor, that has creatively as well as commercially,tilted the balance in its favour, so as to transform it into one of the enchanting faces of Indian cinema.This article has been composed with whatever ideas related to the M factor that struck my imagination and it has been written with my restrictive knowledge of Malayalam Cinema.If any factual error or omission of names of valued film makers is felt by the readers,I appeal for being excused.

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Saturday, July 20, 2013

The Lyrical Ladder of Tamil Cinema. { A Homage to Lyricist Vaalee}




                                                         {1931 to  2013}


The throb of Tamil film music beat well
On your trendy thoughts’ literary spell.
It looked as though you lived to write;
Born endowed, with a creative might.
Cutting your roots orthodox, you moved,
To the broader skies, booing your brood.
On the poetic pan of an Ariya-Dravida mix,
Your lines put the parochial notions in a fix.

You learnt to live from the instructive quotes,
Emerging from your contemporary’s notes.
Heroes and heroines of different decades,
Sang your words through lip sync grades.
Lyrically a Ranger, with your radical rhyme,
You freed romance, from its controlled clime.
You knew the commoner by his pulse and beat;
Your ideas propelled his dreams,without retreat.

‘Let us praise those who share what they get’
You said, making the socialist mode, well set.
‘Will the breeze refuse to enter the doors of a hut?’
You asked, hitting the greedy rich, doing your nut . 
‘Will the moon hate to throw its light for the poor?’
You raged, raising your voice with empathy sure.
You outlined values for a kid to become a leader
And said, good children are the country’s ladder

‘When the sky sheds tears, the earth will smile’ you said;
The earth sheds tears now, watching you smilingly dead .
Your loss will make the creative clan profoundly grieve;
But your lyrics will live here long, their hopes to retrieve.

                                                                Prof.P.Chandrasekaran.



Saturday, July 13, 2013

A Burly Comedian of the last century.


{T.S.Durairaj on the left.}Courtesy:- The Hindu Cinema Plus Columns:- Blast from the Past.
                  
    This blog has celebrated the memory of many talented Tamil actors of the last century. But one lovely actor of formidable size and stature was constantly escaping from the list .It was T.S.Durairaj the wonderful comedian and character actor who carved a niche for himself on account of his pot belly and ball like eyes. His voice was made of a singular frame to facilitate easy identification even on being heard and not seen. Structurally and vocally, he would resemble Pulimoottai Ramasamy of his times, to some extent. But he created a tremendous impact  by his impressive timing of dialogue delivery and sanguine sense of humour .
   T.S.Durairaj had acted in MGR films like Kumari, Jenoah and Malaikkallan, the last in the list gaining special attention  because of his creditable performance as a cop creating moments of laughter to a sobre sub inspector played by M.G Chakrabani. Paanai Pidithaval Baagyasaali, a film with a lengthy title portrayed him as a loving elder brother  showering  a lot of love for his sister{Savithri}.The movie was a casual comedy with the memorable song ‘’Purushan Veettil Vaazhappoegum Penne’’ sung vibrantly, by late Tiruchi Loganathan. Durairaj had also appeared as a scheming villain in the film Pangaaligal.
   With Sivaji Ganesan,T.S.Durairaj had acted in Kalvanin Kadhali,Kappaloettiya Thamizhan and Padikkadha Medhai. The way he solves an issue concerning a banana, between Sivaji Ganesan and a fraudulent shop keeper,  became a remarkable scene in the film Padikkadha Medhai. The  other rib tickling comedy show he performed was with Chandrababu in Maman Magal in which he also joined Babu for a song sequence for the ever famous number’ Koevamambazhame’ .
    Durairaj was a fascinating performer with his mellifluous tongue much in contrast to his mighty physique and bulldozing eyes. He was a perfect pair for the comedienne T.P.Muthulatchumi of those days. Both in look and role performance he was the incarnation of  pragmatism and his yardsticks for acting were always with in the realistic mode. Melodramatic  approach to acting was unknown to him. He was a combination of V.K.Ramasami’s banter and Sarangabani’s persuasiveness and he set the right trend for his prospective comedians like K.A.Thangavel who specialized in verbal comedy. He is another Tamil actor capable of creating a nostalgic mood for the movie lovers.
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Sunday, July 7, 2013

Vikraman,The Confirmed Optimist.

















             
     Robert Browning, the noted Victorian poet always believed that ‘’God is in Heaven and all is right with the world’’. He reflected this sense of robust optimism through out his poetic career. Whereas poets like Shelley would fluctuate between moods of hope and despair in their creativity. At times, Shelley would cry ‘‘I fall upon the thorns of life; I bleed’’ Immediately he would philosophize saying interrogatively‘If Winter comes can Spring be far behind?’Film makers also quite often experience mood swings of positive and negative pulls. But there are  some who devoutly and steadfastly vouchsafe the spirit of optimism. Among Tamil film makers, director Vikraman tops the list as an undeterred optimist truly representing himself as the votary of selfless love, built on a base of positive fundamentals.
   Starting from his Pudhu Vasandham it has been a smooth journey for Vikraman driving his well serviced vehicle through the highways of hope, to luminous destinations.His first venture itself revealed the frame of mind of a decent film maker, genuinely attempting to stress the possibility of friendship without perversity, between a woman and four men. As expected, this film got him the best director award from the State of Tamil Nadu, besides getting the best film award too. His Poove Unakkaga with an aesthetic title sense, not only helped Vijay to rise up to a star status but also sang a song of unrequited love with ideal notes blended to melodious tunes. It was a clean love story with a soothing family background, neatly told without the usual cinematic additions, that would have made it a melodrama. Storyline and dialogues carried the kernel note of optimism, through clear headed characterization. It was no wonder, the film saw its silver jubilee.
    Though Vikraman’s other films like Gokulam, Puthiya Mannargal and Naan Pesa Ninaipadhellaam made moderate entries at the box office, focus on emotional well being exhibited as the core principle of the director, made the all  pervading sense of  nobility in characterization, as the feel good factor of  these films. Vikraman’s  committed involvement in unfolding the goodness in individuals as the vital source of a healthy and happy life model, has consistently upheld his film making endeavours. In films like Gokulam, and Unnai Ninaithu, it was a woman’s selflessness and sacrificing temper that provided the ennobling and redeeming stuff. On the other hand, it was the turn of man to be a sacrificing enthusiast in Poove Unakkaga, Sooriya Vamsam Unnidathil Ennai Koduthein and Vaanathaipola. In establishing the supremacy of love between man and woman either in straight or triangular romance  through emphatic exemplification of sacrifice, Vikraman could be compared to veteran director Sridhar of the last millennium.
    Interestingly, in Sridhar’s narration it was a mortifying experience for those who chose to sacrifice their lot for the sake of the one, whom they deeply loved. No one can miss the pain the hero or heroine suffered in films like Nenjil Oer Aalayam, Kalyana Parisu, Nenjirukkum varai, Avalukkenru Oer Manam and Azhage Unnai Aaraadhikkirein. Whereas,Vikraman makes his characters, role models of goodness and empathy, as if sacrifice is a part of life, without the need for brooding over their good nature in a mood of  self-pity or  self-glorification.What makes his protagonists the incarnation of virtue is their unshakable faith in goodness and their steadfastness in doing good to others without claiming any recognition or without compromising  their basic positive approach to the realization of well- drawn  objectives. The fact that Vikraman is one among those who make films without over laden negative sentiment or crude villainy is an authentic revelation of his commitment  to discover more of the positive side of human attitude and understanding of life. Like Poove Unakkaga,Vikraman’s two other films Sooriya Vamsam and Vanthai Pola, became solid commercial hits without taking the audience too much on the action track.
    Meek characters with a mighty base of nobility become the continued assets of Vikraman’s creative imagination. Thiruvalluvar, the illustrious Tamil saint said, one who does not move even a bit from his state of modesty and humility becomes mightier than a solid rock. This is what Vikraman has been trying to prove in sketching the character of his protagonists. Sarathkumar and Vijayakanth proved to be pillars of strength in not projecting themselves as super heroes but in maintaining poise and dignity towards consolidating their nobler perspectives of life. Sarathkumar as a devoted son and supportive husband stood tall as the embodiment of love and humbleness. As a protective and passionate elder brother, Vijayakanth vindicated the strength of silence and equanimity.
   Large families with their interlinked thread of cherished intimacy and affection are the strongholds of a Vikraman movie. Melodious music has ever remained a delightful addition to the aesthetic appeal of most films of Vikraman and the credit in this regard goes to a single music director, none other than S.A.Rajkumar. Awards  have crowned Vikraman with honour and pride three or four times, both for his best direction and for the best quality of his films. Beyond all these merits and awards, a majority of his movies stand apart as the beacon lights of  invigorating hope, solace and the sharing fellow- human spirit. Even in focusing the emotions of a wife occupying the middle position between her husband and his other gender childhood friend, Vikraman took the line of lenience in the sense that he beautifully pictured the character of the wife as an understanding, broad minded and sympathetic woman. It was Jyothika who excellently played the wife’s role and the positively energizing film was Priyamana Thozhi. 
    If director Bala could be called the grandmaster of  negativism with a disturbed mind, probing into the undisclosed morbid side of the human psyche, Vikraman can rightly be named the brand ambassador of optimism, ever ready to go with the flow, spotting out only the good things that come in the way. Hatred and misanthropy are unknown to the film making concept of Vikraman. It is the rosy side of life that he has devoutly tried to present. It is not that Vikraman’s films are devoid of selfish and crooked characters. But at the end of any Vikraman movie such negative elements will feel humbled by the shining nobleness of the loving spirit of humanity that stoops only to conquer. It is the conquest of selfishness by the self surrendering individuals that brings down the curtain. As the curtains fall, the audience would leave the theatres either with a cathartic consolation or with a sense of fulfillment. It is in this respect, Vikraman scores his position as a confirmed optimist.
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Monday, July 1, 2013

Superstar's Super Dialogues .{ English Version }


       Raajathi Raaja.

  1} I will say what I do and do what I say.

     Badsha.

  2} If I say once,it is presumed to be said a hundred times.
 3} God gives the bad in plenty but lets them off his hands;
    God puts the good people to many ordeals but never lets them down.


   Muthu.

 4} Nobody knows when and how I will come.But I'll arrive at time when I have to.
 5} No body knows when Cough or Sneeze or yawning will come.Even if it comes no one can  ask why it has come.
6}Those who get cheated are more foolish than those who cheat.
7} What is due can not be inaccessible;what is not due can not be accessible.

  Padayappa.

 8} There is no history that men who aspire for more or women who get more angry have lived happily.

 Sivaji.

  9}  A lion will  always come alone;it is pigs that will come in a herd.
10} If the date of death is known, the days of living will be hell.