Sort of both. 17th or later.
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Sort of both. 17th or later.
Wish you all the best for a release date that is convenient to you...
I will settle for anything other than 17. 14 24 may 1 whatever
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Thoughts on Guna
Warning: Potentially lengthy read. May end up boring you to death, putting you to sleep or maybe if your stars are aligned with mine, rivet you. Anyway, jump along.
I happened to re-watch Guna recently and as is the wont with any film of intelligence involving Kamal in the ‘90s, it sent me on a trip. On the surface, this is a film about a person with obsessional psychoneurosis who kidnaps a woman who comes under the influence of Stockholm syndrome, likes him but the plot contrives them to death. But there is more to it than this in my considered opinion. I just feel like archiving my thoughts on the film here. So here goes.
I feel it is up there with other Kamal works like Hey Ram and Virumandi as a master-class in Indian film history. The story and screenplay are credited to one Sab John and the dialogues to Balakumaran, while the direction is by Santhanabharathi. Superficially, there is no Kamal other than the lead actor and occasional singer. But peer closely and there are enough filmmaking signatures which tell me subtly that there is quite a lot of Kamal all over the place (for a broader discussion on the same across many films, hattip: Dagalti). Let me broadly focus on the screenplay, scene composition and the music (Ilaiyaraaja; genius bursting out everywhere) which in my opinion makes this film an insanely great achievement by Kamal and Raaja.
Prologue and its Poetry
The first sequence itself is richly conceived. The film’s first shot after the opening credits is a full moon with a man standing like Lord Shiva on a terrace top.
First Shot of Guna
We are then provided a tapestry into a North Hyderabadi settlement (vote for TDP, vote for BJP graffiti on the wall to go with Charminar shown with the opening credits) which houses a brothel. This is kind of evident when a woman, dressed like a courtesan of yore, dances to Inhin logon ne le liya dupatta mera (these folks have taken my Dupatta off) from Pakeezah, a 1972 film about a courtesan! It is even more evident when, as the song fades to the background, Kaka Radhakrishnan, a quack, assures a person he doesn’t have AIDS, followed by telling a girl, “ரெண்டு மாசம் தானே? கலச்சுரலாம்.” There is Ismail, a local dada, extorting from the folks and taking care of the Police. A corrupt yet thriving settlement is made clear in a single sequence of admirable detailing. The shot pans to Kamal, who is revealed to be the guy standing like Shiva, the longshot zooming to him reigning down on a wedding procession and he goes down to the bride and utters a verse from Abiraami Anthaadhi and gets kicked about. Pause.
*Tangent*
Abiraami Anthaadhi was written by one Abiraami Battar. His legend is of interest in context with this film. He was someone who was obsessed with the Hindu female deity Parvathi aka Abiraami, so much so that he was branded a lunatic by the people around him. He was also known to see Abiraami in every woman he saw and went about praying to every girl. One fine day, the King Serfoji of Thanjavur, visits Battar’s hometown Thirukkadaiyur, learns about him and asks him what day it is. Battar answers it is the full moon day, when in reality, it was a new moon day. An argument is supposed to have ensued and the King declares that unless Battar proves that the day has a full moon, he’d be put to death. Battar places himself on a plank strung to a ceiling by 100 strings with boiling oil beneath. He goes on to sing an Anthaadhi, where every verse’s last word is the first word for the next verse and cuts of one string at the end of each verse. At the end of the 79th verse, it is said that Abiraami tossed her earring, moved by his devotion, and the earring manifested itself on the sky as a full moon, stirring the King and everyone around to be thrilled by Battar’s devotion. He went on to sing 21 more, with the 100th verse’s final word being the first verse’s first. Nice symmetry.
*End Tangent*
The full moon makes vague sense as Kamal gets beaten about, with some cruel irony in there with him uttering “சென்னியின் மேல் பத்ம பாதம் பதித்திடவே” (placing your lotus feet on my head) as he gets kicked around [1].
This supposed madman, with his doctor in the asylum as he rages, keeps circling with the camera moving with the circle and the doctor standing still on a tangent, in some superbly conceived scene geometry. The theme music, to dominate the film later, makes its first appearance, a leitmotif of the score that sounded with the opening credits, underpinning a troubled mind. Guna, as Kamal is revealed to be, hallucinates about a mountain which provides the chills. Abiraami is மலைமகள், after all and he ends up jamming on a door, opening the film up to full credits as Raaja sings a brilliantly written Sidhar paadal to cap what to me is among the most poetic prologues to any mainstream Indian film.
General Themes
The film touches upon quite a few themes, handled with varying degrees of finesse, all interesting and some eminently gratifying. To be sure, this is subjective, but with Kamal, it is alright to read in without inhibitions.
The film skirts briefly with effeminate men. Ganesa Iyer, a Guru of sorts to Guna who implants the idea of Abiraami in him and sends him off with a thaali to Kaka Radhakrishnan (Mangalyam Thanthunaane), wears a mark on his forehead and speaks and dances like a woman. The Chithappa, a very engaging Janakaraj, bets on his masculinity, only to immediately flip when confronted by Ismail and unabashedly exclaims he’s a woman. A more direct instance is when an iconic song has the lines, “சிவகாமியே சிவனில் நீயும் பாதியே…”, quite literally invoking the ultimate instance of the effeminate man in Ardhanareeshwara. But the film doesn’t really tell us more than this (edit: the song Unnai Ariven has a shot of Rosy lighting a lamp in front of a photo of Ardhanaareeshwara).
A more evident theme to me was the film dealing with religious patriarchy, which is evident among the characters. Guna is a man of conventional rights and wrongs (“தூங்கறதுக்கு இருட்டு வரலியே”). He can be capable of incredible heart (“அங்க ஒரு குருவிய கொன்னுட்டாங்க குயிலே”). But he also has his shades of grey. He justifies him stealing a car; comparing it with the quasi legitimacy Rosy and his mother receive, indulging in prostitution. To take it up a notch, he chains his woman in his house! This from a man who rages infinitum and even kills another man for a dead sparrow! Why, even his mother, technically Abiraami’s mother-in-law eventually, gags her and throws her into a dungeon initially. Mysskin and Pisaasu anyone? Also, as he lets her bath, he lets us know, “புகுந்த வீட்டுக்கு வந்து பொறந்த வீட்டு பெருமைய பேச கூடாது [2].” Heck, even the doctor, before the climax, to lure Guna, lets him know that “புருஷனுக்கு பாத்ததுக்கு அப்பறம் தான் பொண்டாட்டிக்கி.” However, quite curiously in a witty subversion, he eats from her plate after she finishes (the reason given is lack of plates. But read with these instances from the film, you know where I’d wager my bet on).
Immortality, Divinity and Music
However, the most obvious and gratifying themes were religious symbolism and immortality. The theme, we think is meant for love, also plays very briefly with a leitmotif registering the first few notes when he rushes to see his mother who he thinks is dead [3]. She says “நான் சாக மாட்டேன்”, assuring to him of her immortality. Janakaraj tells Guna before doping him that he is “பாதி சாமி.” This seems important to Guna, to be constantly reassured of his divinity. There is also a wee bit of make believe and a leap of faith necessary where he borders on possessing superhuman strength, to repeatedly recover after falling from a cliff to being shot, that it’s also plausible that the screenplay thrusts some divinity, outside the scope of his hallucinations, on him. Guna tells ‘Rohini’ “எதுக்கு சாவனும்? நமக்கு சாவில்ல” as she wants to kill herself. In fact, he simply walks away after introducing his name with some delight, oblivious of her perilous state [4], almost as if he is assured of her divinity that he doesn’t consider death as a possibility! In fact, he takes her to a mountain top, as is the residence of a மலைமகள், worthy of the name Abiraami.
It is impossible to talk about the screenplay without the music and vice-versa. The depth in this film’s music places it right up there among the top of the table in my experience with Indian films. The numerous leitmotifs to the theme come when ‘Rohini’ is seen as Abiraami by Guna and the ‘divinity’, such an abstract thing/emotion, finds vent in the music so aptly that this author is lost for words. I’d say the music is inseparable from the divinity and immortality in the film. In some breathtaking poetry of scene composition and music, it plays when Guna sees her in the halo of the Sun.
Abiraami
Abiraami
It plays when she is dead, in a gory way. It plays when he first spots her, in a temple. The theme gets fulfillment there. That entire stretch is screenwriting/music composing porn. Allow me to indulge. He is goaded by Janakaraj that Abiraami would come, “pippiripippiripee”, and there materializes a beautiful woman he sees as Abiraami. She spots him, casts a benign smile and walks away. He asks himself if she is Abiraami and follows her in the other direction. His head hits the bell, the signboard he hits points him to her, the screen dislodges a veil to shine the Sun on him and even the security Guard points his finger toward her. The stars, with the deities, animate and inanimate objects seem to align to tell him She is his Abiraami. The theme, playing in raga Sarangatharangini, changes scales to Paavani, as verses from Abiraami Anthaadhi begin. At ஆயகியாதி உடையாள், the camera pans to her feet. The line literally means Abiraami’s feet is the origin of everything and presents Battar there. Ilaiyaraaja and Kamal are firmly in fifth gear now.
The song begins. Stunning melody. Paavani, the raga, literally means remover of sins (interesting, because Guna helps steal from the temple the next day and is immediately repentant. Seeing ‘Abiraami’, he follows her, seemingly wanting her to show him the way out of his sins). The rhythm pattern (thaaLam) operated by Ilaiyaraaja is Kandam (beat of 5, tha ka tha ki ta). Kandam is the beat used for Shiva thaandavam. The interlude is a brief reentry to another verse of the Anthaadhi which praises the jewels that stay firm on Abiraami’s breasts (முத்துவடம் கொண்ட கொங்கை – muthuvadam meaning pearl necklance and kongai meaning breasts) and her vagina that is beautiful like a cobra (நல்லரவின் படம் கொண்ட அல்குல் பனிமொழி வேத பரிபுரையே – nalaravam – nallapaambu – cobra; algul – vagina), she being of speech that cools us (paNimozhi), with all the Vedas present at her feet; and Raaja takes a brief detour to a pleasant Kalyani raga exactly as the film rolls to the filmy Abiraami’s breasts at முத்துவடம் கொண்ட கொங்கை, almost asking to take pleasure, and reverts back to Paavani from நல்லரவின், as Guna goes on a hallucination trip into a Shiva thaaNdavam with this Abiraami, ending with the cheNdai pouring its rhythm; a subversion of a devotion bordering on the erotic in the Anthaadhi to divine love here. Outstanding.
Unnai Naan Ariven is a great song too; a picturization of great symmetry, beginning in the brothel where Guna is put to sleep, travelling across the brothel/settlement to ghazal, Telugu folk and back to Guna with his mother putting him to sleep. But before she gets to her son (hattip: the Dagalti post linked above), there is a rich sequence where she peeps over to monitor business between a client and a prostitute working under her, all the while praying to the Gods, seemingly indifferent to the irony! Also, note how Rosy suddenly looks at the rickety table fan as the song segues to ghazal mode because of the change in the Tabla rhythm, this at the back of Guna telling her “இதுல சத்தம் தான் வரும்”! What detailing man! All round brilliance.
Kanmani Anbodu Kaadhalan is set to Shankarabharanam. The raga quite literally means an ornament on Lord Shiva. Was this deliberate too? Maybe not. But will it stop me from reading in? No. After all, this is Raaja and Kamal we are talking about.
Coming back to the divinity minus music briefly, the crooks who assist Guna and his uncle before they are eventually killed are curiously named as Kaasi and Anumanthu (Guna in fact calls him Anumaar!!), names associated with Shiva and Rudra. To make this more evident, Anumaar is killed by a trident which was part of the loot!
Trident
As a side note, the police officer after Guna is called Moovendar (meaning Lord of the 3 worlds and Shiva having 3 eyes and a trident and all that. You get the drift). There is also a wickedly ironic moment where the villain SK, the only character with trite and clichéd dialogues (more of a nitpick this), gives permission for Ismail to rape Abiraami inside a dilapidated Church! But then, Ismail refers to her as a देवता as he sees her for the first time in the dungeon.
Sekoolar
Above all, there is the presence of Abiraami Battar, his Anthaadhi and legend all over the film. He wants to tie the thaali to Abiraami on Pournami. He is derided as a lunatic. He ends up tying the thaali a day before Pournami, because Abiraami tells him this IS Pournami, a subversion of Abiraami making a full moon when it was not for Battar’s sake.
The end happens when, despite his unshakable belief in their immortality, she dies. Guna’s nemesis is eventually Abiraami’s and his mortality. Not humans, who he disdainfully tosses away. His penultimate statement before dying is stating he is a சாமி, holding Abiraami like the Shiva of lore held Sati.
Naan Saami
The final shot of the film is the full moon that eventually arrives that night.
Final Snap of Full Moon
The first shot of the film was a full moon. So was the last shot. The second shot of the film was Guna standing on a terrace top like Shiva. The penultimate shot of the motion picture is Guna standing in a similar pose with Abiraami. Talk of symmetry! Especially when Abiraami Anthaadhi’s final word is the same as its first word.
What do you do when presented with such high art? Kamal and Raaja are great creators. Together, they are just something else. Every film of theirs where Kamal has been involved in significant degrees as a creator has been absolute magic on screen. This simply stands head and shoulders above even among their best.
We have to wait and watch if there's any truth to this story by BW. He did spend time in Mauritius and that didnt sound like a vacation.
We have some interesting updates on Ulaganayagan Kamal Haasan’s forthcoming film after Uttama Villain, Vishwaroopam 2 and Papanasam.
There were rumors that Kamal Haasan would soon kickstart a film based in Mauritius. Our sources have confirmed that with a YES and have also hinted that this film will be an action thriller which takes place in a single day. Apparently the team has zeroed in on a working title ‘Ore Iravu’ and Raaj Kamal Films International would be producing it.
And composer Ghibran would be teaming up with Kamal Haasan again, for the fourth consecutive time. Other crew details are expected to be announced soon.
Oh nice! Will settle for anything but a remake (read PK) but, this sounds way more interesting!
Kamal Haasan Fans retweeted
Kaushik LM @Lmkmoviemaniac · 6h 6 hours ago
#KamalHaasan's next action thriller set in Mauritius. Story will happen in a single day. Current title - Ore Iravu.
#Ghibran music again
http://movieclickz.com/2015/04/08/ka...be-a-thriller/
No aunthenticity in the news
Ithuku hindi padathuku thaane? Amar hain?
Lets wait and watch .. he was in Mauritius earlier and nobody knows for sure why he was there.
Stumbled upon this series of articles where 'Dhigil' Murugan (PRO) talks about Haasar. This one is about his fitness. Source: The Hindu - Tamil.
"கமல் சார் இன்னும் இளமையாகவும், புத்துணர்வுடனும் இருப்பதற்குக் காரணம், அவரது உடல் நலம் மீதான அக்கறைதான். இதை நான் விவரிப்பதைவிட சூரி சார் சொன்னால் நன்றாக இருக்கும்" என்று கமல்ஹாசனின் உடற்பயிற்சியாளர் சூரியின் பேசச் சொன்னார். சூரி கூறிய தகவல்கள், நம் மொழி நடையில்...
கமல்ஹாசனைப் பொறுத்தவரையில், தனது உணவு விஷயங்களில் மிகவும் கண்டிப்பானவராக இருப்பார். எது கிடைத்தாலும் சாப்பிடுவது, என்ன கொடுத்தாலும் அருந்துவது என்பதை அவரிடம் காணவே முடியாது. உடல்நிலை சரியில்லாத சமயத்தில் டாக்டர் ஏதாவது மாத்திரைக் கொடுத்தால்கூட, அந்த மாத்திரை ஏன், எதற்கு என்பதை தெரிந்துகொள்ளாமல் சாப்பிடமாட்டார். எப்போதுமே அரை வயிறு தான் சாப்பாடுவார். அரிசி வகைகள் மிகவும் குறைவாகவும், பயிறு வகைகள் மிகுதியாகவும் உணவில் சேர்த்துக் கொள்வார். காபி, டீயைத் தொடுவதே இல்லை. தேவைப்படும்போது, ப்ளாக் டீ மட்டுமே குடிப்பார்.
படப்பிடிப்பு எவ்வளவு தீவிரமாக நடைபெற்றாலும், காலையில் ஒரு மணி நேரம் யோகா, இரவு 3 மணி நேரம் உடற்பயிற்சி என்பதை கமல் ஒருநாள் கூட தவறவிட்டதில்லை. அதேபோல, எந்த ஊருக்கு படப்பிடிப்புக்கு சென்றாலும், அவருடைய உடற்பயிற்சியாளர் சூரி கமலுடன் சென்றுவிடுவார். அமெரிக்காவில் 'விஸ்வரூபம்', பெங்களூரில் 'உத்தம வில்லன்' படப்பிடிப்பு நடைபெற்றபோது அவர் உடனே சூரியும் சென்றுவிட்டார். ஒவ்வொரு நாளும் படப்பிடிப்பு முடிந்தவுடன், சூரியின் பயிற்சிகளை தவறாமல் செய்துவிடுவது கமலின் வழக்கம்.
'உத்தம வில்லன்' படத்தில் மேக்கப், உடைகள் எல்லாம் களைந்து படப்பிடிப்பு விட்டு வெளியே வரவே இரவு ஏழரை மணியாகிவிடும். அப்போதுகூட களைப்பு அடையாமல், உடற்பயிற்சி செய்ய சென்று விடுவார் கமல். அந்த அளவுக்கு தனது உடல் மீது அக்கறை உடையவர். படத்துக்கு தகுந்தவாறு உடலைக் குறைப்பது, கூட்டுவது என சூரி சொல்லும் சாப்பாடு அனைத்தையும் தவறாமல் கமல் ஏற்றுக் கொள்வது உண்டு.
ஆளவந்தானுக்காக உடலுழைப்பு
'ஆளவந்தான்' படத்தில் ராணுவ வீரர் விஜயகுமார் கதாபாத்திரத்தின் படப்பிடிப்பு முடிந்தவுடன் சூரியை சந்தித்து உடம்பைக் கூட்ட வேண்டும் என்று கூறியிருக்கிறார் கமல். தொடர்ச்சியாக 4 மாதங்களுக்கு உடற்பயிற்சி கூடமே கதி என்று இருந்திருக்கிறார். முட்டையில் உள்ள வெள்ளைக் கரு மட்டும் தினமும் 30 சாப்பிட்டு உடம்பை ஏற்றியிருக்கிறார். தான் நினைத்த அளவுக்கு உடம்பு ஏறியவுடன்தான் படப்பிடிப்புக்கு சென்றிருக்கிறார் கமல். அந்தப் படப்பிடிப்பு முடிந்தவுடன், மீண்டும் உடலைக் குறைக்க வேண்டும் என்று கூறியிருக்கிறார்.
உடலைக் குறைப்பது என்பது உடனே முடியாது என்றவுடன், சரி.. பரவாயில்லை என்று அந்த உடல்வாகுக்கு ஏற்றவாறு 'பம்மல் கே.சம்பந்தம்' படத்தை ஒப்புக் கொண்டார். அந்தப் படப்பிடிப்புக்கு இடையே உடலைக் குறைத்து கொண்டே வந்திருக்கிறார். 'பஞ்ச தந்திரம்' படத் தொடக்கத்தின் போது மீண்டும் கமலின் பழைய உடலமைப்பைக் கொண்டு வந்துவிட்டார் சூரி. இப்போது 75 கிலோ எடையில் இருக்கிறார் கமல். இன்னும் 2 கிலோ குறைக்க வேண்டும் என்பது கமலின் ஆர்வமாக இருக்கிறது. அவ்வாறு குறைத்துவிட்டால் கமல் இன்னும் இளமையாக தெரிவார் என்கிறார் சூரி.
உடற்பயிற்சியின்போதும்கூட தீராத திரைப்பசி
தினமும் உடற்பயிற்சி செய்யும்போது கூட, சூரியிடம் இன்று இந்த மாதிரி காட்சிகளில் எல்லாம் நடித்தேன் என்று பகிர்ந்து கொள்வார் கமல். படப்பிடிப்பு இல்லாமல் பாடல் பதிவு மாதிரியான நேரங்களில்கூட பாடலைப் பாடிக் காட்டி சூரி என்ன நினைக்கிறார் என்பதை தெரிந்துகொள்வார்.
'தசாவதாரம்' படத்தில் வரும் பல்ராம் நாயுடு கதாபாத்திரத்தை சூரியால் மறக்கவே முடியாது. அந்தப் படத்தின் படப்பிடிப்பின்போது தினமும் உடற்பயிற்சியின் போது அப்பாத்திரம் மாதிரியே பேசிக் காட்டி அனைவரையும் சிரிப்பலையில் ஆழ்த்திவிடுவாராம் கமல். அந்தக் கதாபாத்திரம் படப்பிடிப்பு முடியும் வரை எப்போது கமல் உடற்பயிற்சிக்கு வருவார் என்று சூரி ஏங்கிய நாட்கள் எல்லாம் உண்டு.
அதே போல, உடற்பயிற்சியின்போது கூட நிறைய பேசுவார், பாடுவார், கவிதைகள் கூறுவார்... இப்படி ஏதாவது செய்துகொண்டே இருப்பார் கமல். 'மருதநாயகம்' படப்பிடிப்பின்போது காலை 4 மணிக்கே எழுந்து உடற்பயிற்சி செய்திருக்கிறார் கமல். அந்தக் கதாபாத்திரம் மீது கமலுக்கு அந்தளவுக்கு ஈர்ப்பு உண்டு.
'ஹேராம்' படத்தில் கையில் துப்பாக்கி வைத்திருக்கும் போஸ்டர் டிசைன் ஒன்று இருக்கிறது. அதற்காக, கைகள் போஸ்டரில் சரியாக இருந்தால் மட்டுமே நன்றாக இருக்கும் என்று நிறைய பயிற்சிகள் செய்திருக்கிறார்.
சூரி பார்வையில் கமல்ஹாசன் என்ற நடிகர் எப்படிப்பட்டவர்..? "எல்லாருக்கும் சிவாஜி சார், எம்.ஜி.ஆர் சாரைப் பிடிக்கும். அவர்கள் இருவரையும் கலந்தவர் கமல் சார். அவரை நிறையப் பேர் அடுத்த சிவாஜி என்பார்கள். சிவாஜி மாதிரி நடிப்பு என்றால் எம்.ஜி.ஆரைப் போல எடிட்டிங், இயக்கம் என அனைத்து பிரிவுகளையும் தெரிந்து கொண்டவர் கமல் சார். உடற்பயிற்சி செய்யும்போது அடிக்கடி "நீங்கள் சிவாஜி - எம்.ஜி.ஆர் இருவரையும் சேர்ந்த கலவை சார் என்பேன். சிரித்துக்கொண்டே இருப்பார்" என்றார் சூரி.
http://tamil.thehindu.com/opinion/bl...relartwiz=true
Ohh!! what a gem.. This makes me want to watch this classic again tonight. Thanks a lot for sharing this.Quote:
Originally Posted by dell_gt
Gounder_strike, that article is quite inspiring!!!
Tirisaavaa?? Eksi
Looks like heights of gossips :
http://www.manoramaonline.com/cgi-bi...Id=3&BV_ID=@@@
Kamal to act as villain in Enthiran-2 with Rajini as hero. Aamri Khan was supposed to do the villain, but he backed off.
More on Ore Iravu ...
Actress Trisha, who is currently known as the reigning queen of Tamil cinema, is making headlines again. The latest news is that the actress has grabbed the lead role in the upcoming Kamal Haasan movie, "Ore Iravu".
A still from Tamil movie "Yennai Arindhaal".
Reports are that Trisha will portray a character similar to that of a "Bond" girl.
The movie will reportedly be directed by Kamal Haasan's associate Rajesh, whereas some sources claim that the movie will be directed by the actor himself.
The music of the upcoming flick is done by Ghibran, who has done music for Kamal's "Uttama Villain" and "Papanasam". The movie will be produced by Kamal's production house Raj Kamal Films International.
Kamal Haasan recently uploaded a video while shooting for "Ore Iravu" in Mauritius and reports suggest that the movie is going to be an action thriller which deals with a political subject.
Sources close to the movie claim that pre production work of the movie is taking place in full swing. Apparently, the actor is waiting for the release of his much-awaited flick, "Uttama Villain", on 1 May so that he can completely involve himself in his next flick.
It has also been said that Kamal Haasan will soon be associated with a Hindi movie too.
Besides "Uttama Villain", Kamal Haasan is also awaiting the release of movies "Papanasam" directed by Jeethu Joseph, and "Vishwaroopam 2" directed by the actor himself.
For "Uttama Villain", Kamal Haasan has donned several hats. Apart from being the lead actor, he has also penned the screenplay and dialogues for the film. He has also sung for the film and is the lyricist and the storywriter of the movie. He is also one of the producers of the flick.
http://www.ibtimes.co.in/trisha-star...e-iravu-629662
Or Iravu was the title of a 1951 movie. The story was written by the late Chief Minister of Tamilnadu Anna.
படம் பேர் 80sல வந்த ஏதோ Malayala matter படம் பேரு மாதிரி இருக்கு
Debutant director Mr. Rajesh Selva to direct KamalHaasan sir's Next!
https://pbs.twimg.com/media/CC88Du3UEAAhDPe.jpg
He's the one blast the bomb in the NY building in Vishwaroopam movie
Debutante director Mr Rajesh Selva to direct #KamalHaasan sir's Next!
Debutant director Rajesh, who is a long time associate of actor-filmmaker Kamal Haasan and has worked with him in several of his films over the years, has been handed over the reins of the latter’s next Tamil outing.
Tentatively titled “Ore Iravu”, the film’s story is said to unfold in a single night.
“Kamal had originally planned to direct this project, but he has now asked his most trusted associate Rajesh to helm it. Both have worked in films such as ‘Manmadhan Ambu’, ‘Vishwaroopam’ and the forthcoming release ‘Uttama Villain’,” a source from the film’s unit told IANS.
Written by Kamal, who will also play the lead, the film will be completely shot in Mauritius.
The source added that TrishaKrishnan is most likely to play the female lead.
“Kamal had discussed the story with Trisha recently. Apparently, she liked it and wished to be a part of the project. However, she’s yet to sign on the dotted line,” the source said.
The film is said to be a high-octane action-thriller and Kamal plans to rope in some of the best stunt choreographers in the world.
#Ghibran has been roped in to compose the tunes, and this will be his fourth consecutive project with Kamal after #Vishwaroopam2, #Papanasam and #UttamaVillain.
(Source: Indian Express)
Kamal Haasan says NO to the Rajinikanth film with director ShankarQuote:
Originally Posted by pushpak
http://www.bollywoodlife.com/south-g...medium=twitter
Yes. He only received me in telugu audio launch. Got his oh number. If news is official .... will call and congratulate him
http://indulge.newindianexpress.com/.../chennai/29052
A very good interview from Kamal.
AS I ENTER the 112-year-old bungalow on Eldams Road, I am shown into a spacious hall. While I sit restlessly on a sofa, a massive oil portrait of the legend stares down at me. Every corner of the house illuminates our Ulaga Nayagan. Besides an impressive glossary of books, an antique Matchless bike and a figurine of him as a child actor from Kalathur Kannamma—this world of Kamal Haasan’s boasts his legacy, family, childhood, fame, art and memories. With four National Awards, 19 Filmfare Awards, a Padma Shri and a Padma Bhushan, the 60-year-old has practically donned every hat in his 50 years in the film industry. Having fielded communal controversies with his previous film (Vishwaroopam), the actor is relieved that his latest, Uttama Villain, is finally releasing in two weeks. “Along with freedom comes responsibility. I am responsible. I don’t think those who throw allegations at the wind are half as responsible as they expect me to be,” he begins, before speaking about the film, critics and Indian cinema:
No film falls in place, the way we want it to. It takes a life of its own and becomes disobedient, when so many things go out of hand and then Murphy rules. But we got Uttama Villain under control, out of experience, I guess. Working with director K Balachander (KB) in the film is another angle. I have worked as his assistant, I have given him a story (after joining him knowing nothing), I have done several roles and even dance-composed for him. It didn’t feel strange, or like a special day. It felt like it was long overdue.
Uttama Villain is not a musical. I got a music director, Ghibran, who was itching to do something different; that made two of us. We call every film a musical, but a musical is far more complicated than what most people think. We wanted to attempt something midway, to use music as a narrative tool. I am a great fan of Carl Maria von Weber and Alain Boublil who wrote Les Misérables. They became sort of a template and we started working on those lines. The lyrics of Jesus Christ Superstar and CATS are so surprising and we wanted to bring about that kind of a style.
Qualified critics take themselves too seriously. I think it should be left to the people. Your angst is all about getting them to say good things about your film. So do you expect them to only say good things? What sort of a megalomania is that? I expect them to like and dislike my film. They have sculpted me. This grotesque or beautiful sculpture is thanks to them.
The biggest pleasure is when the film is already a big success and yet they are criticising it. That said, apart from ridiculing the critic for not being part of the major crowd, you might get a clue of the unknown quantum, about the minority that has been thinking. It is nice to know that also. After all, they might be the future audience.
From the advent of independent cinema, there has been no attempt to make a film purely for children. Similarly, we have neglected adults.
To be a film, our films have ended up being juvenile and I don’t exclude myself from this.
We are underestimating or overestimating what the youth want. Directors think they know the demographic. They don’t know that I watched Godfather, not for Michael Corleone, but for Marlon Brando and Francis Coppola. Only later came Al Pacino. I was a young kid myself and that’s how I thought. At that age, you want to look at the other side of the world.
There are so many young filmmakers today. I would rather kill them because I am so envious of them. I don’t even know their names. And if you think of it, they are not all in America.
Hey Ram changed me. Gandhi changed the way I think. I was a hell of a Gandhi basher, just like the rest. Nobody told me that it was wrong or punished me. In my ignorance and under peer pressure I had to say the most shocking things. And claiming he is not my father, was the first step. Then I discovered Gandhi and Periyar. Gandhi became my hero on my own merit.
He pulled off certain things that nobody could till date.
Going to the Oscars is not even a pinnacle, it’s a journey. My aim is to take our films internationally. It has taken me 30 years to talk like this confidently. Perhaps I might even act on it.
It is nice to be with equals because leading can be boring. You have set an example and there is no more to learn. You are all the time teaching and teaching itself is such a sacrifice. You might be a PHD but if you decide to teach undergraduates you are stuck with only undergrads for the rest of your life.
Amitabh Bachchan is like MGR with a grain of Sivaji thrown in. But he kept to his place and played it safe. It is only in recent times that he has done different roles. I still miss Amitabh from a Pukar, Anand and Deewar. Even when it was an Amitabh circus—he was the elephant, the horse and everything— he maintained his grace and never lost his dignity. I have learnt a lot from that.
After a point you lose stage fright, then comes money and fame. What matters to me is losing audiences. That is my greatest fear. You are reading poetry and somebody is yawning; you have lost him.
I attribute my success to my family. Some of them are practitioners, not performers or professionals. My sister, Nalini Raghu, is a very good teacher and is one of the best among the family. What is important is making others dance. Why Kamal Haasan becomes important or KB becomes important is because they make other people instead of putting the spotlight only on themselves.
I never raised children. They just take care of themselves, like a tree. I will see to it that they don’t lean onto a wall or break the wall. I don’t even want to clip the tree, like bonsai. I want to make sure they grow tall. Pretending that I made that leaf sprout is silly. It will happen with or without me. That is photosynthesis.
I’m a proud baapu today with my daughters doing well. I thanked Balki again and again for Shamitabh. Akshara refused to act in Avvai Shanmughi as my daughter. I knelt before her, I kissed her hand and begged her to act in the film. She thought about it and in the morning when I asked her again, she gave me a condition. That she will act with me only for three days. That left me with no choice. So for her, entering films is long overdue. But they have a long way to go. Even today, Shruti told me how she is hollow. She is successful but hollow. I told her it is a good feeling, as being hungry does not make you ill, it makes you grow.
Given a choice, I would be with the least clothes in a public forum. But I need to maintain decorum. I shield my thoughts too sometimes and values. When people ask, ‘it must be driving you mad?’ I say, “I have my sessions. No, I don’t go to a psychiatrist. I do interviews.” (laughs) Indian cinema isn’t going the right way. The industry is run by money bags who don’t think straight because they are constantly palpitating about their money. They don’t need a bag, they need diapers. They are soiling their pants in the fear of what will happen to their money. They don’t think of the film, that’s why the fail.
Inside a young mind
[[We have no clue what films school children are talking about these days, especially the so called critically acclaimed films. My daughter Subbulakshmi and her friends are fond of directors like Roland Emmerich but they look at it from another point of view. Two years ago, I tried impressing her with Robert Graves, and she finished his I, Claudius. They are out reading or playing the piano or understanding photography. What do you think selfies are all about? A selfie will take you away from self absorption and turn the camera the other way, soon.
Daily list
■ I like Chad Kultgen’s disturbing kind of writing which is very honest. It goes to the deep core
■ I am learning cooking, and Gautami helps me. I have learnt to make rasam and drumstick sambar
■ I am sporadically learning piano. I learnt for sometime from Karthik Raja, but he was fed up and told me I was pretending not to understand anything!
■ I have a new app which is not for total public consumption. Called ‘Live,’ it lets me colour correct and work on my edit notes. It is my current toy
I watch about 100 hours of moving images per month, which is at least 30 films.
I see all the European and American television series. I like Borgia, Marco Polo, Peaky Blinders, Breaking Bad, Killing. I watch a lot of documentaries because they give me better ideas than films. I don’t attend film festivals these days. It is too political, and I’m on the inaugurating end. I would like to go to a festival with a bag on my shoulder, take notes, sit in a tea shop, rip a film and then go back.
Few places has it including BW that Prakash Raj has been roped in for the movie Ore Iravu ..
http://www.gulte.com/movienews/37953...in-Hands-Again
I don't think there is any of chance of these 2 doing the films together in the future, kamal could have tried but then there are too many issues similar to viduthalai times I guess who gets more importance, also I don't feel kamal would do movies with any other directors like shankar, he has become too restrictive and has developed his own comfort zone.Quote:
Originally Posted by Cinemarasigan
In this day and age, Shankar can give blade kathai laced with grapicks and still makkal will give aattam and paaratai. Till date Indian remains his best (aside from waste heroines manisha urmilla.)Quote:
Originally Posted by ramdas2005
Shankar knows the pulse and he is still getting revenue because he takes hoy ride of makkal irrespective of criticism.
True, if kamal joins hands with Shankar, may be something good can come out, also I meant kamal being too restrictive about working with other directors.Quote:
Originally Posted by nickraman
ramdas, i'm not aware of this incident. Can we have more info please.Quote:
Originally Posted by ramdas2005
Kamal as villain and Rajini as hero? That sounds so ridiculous! I am glad Kamal turned it down- if at all the rumor was true! :)
Hi Hattori: Qurbani was remade as viduthalai in tamil, Producer balaji wanted to cast rajni in feroz khan role and kamal in vinod khanna's role. Kamal wanted feroz role, balaji did not agree, kamal-balaji had a fall out, kamal went ahead and made vikram. viduthalai was made with rajni-vishnu vardhan.Quote:
Originally Posted by hattori_hanzo
Thanks for that piece of information, ramdas. Happened to watch Viduthalai in Youtube recently. Shoddy movie. I mean, KH's Vikram is not a classic either but it can be watched for several aspects like fast screenplay, melodious songs, picturization and BGM. But Viduthalai had none of them, to sustain your interest. Good that KH was not a part of it. Were Vikram and Viduthalai released on the same day?Quote:
Originally Posted by ramdas2005
By the way, the antagonist of Viduthalai, Naattamai was named Vikram ;) Now I know the reason.
@Hattori: Both were released during the same year, not the same day though.
I doubt this story...after ninaithaalae inikkum they two had agreed not to act together.........may be as hh pointed out, the antagonist name in that movie vachu somebody might have spun a story
This is definitely true story. I remember this one from tamil magazines during those days. The reason they did not want to act together was the money. Balaji was willing to pay but Kamal did not want to accept the rule and he asked for Hero's role. Even in Giraftaar Kamal was the hero. The only time Kamal acted as second fiddle was in Saagar and even then he had more scope for acting than Rishi Kapoor and in fact he won the best actor filmfare award for that.
Can't say second fiddle for Saagar, not just from the point of view of scope of acting, but even otherwise.Quote:
Originally Posted by cinema
ok, but I think i was wrong in guessing the reason for the antagonist's name. Just checked Wiki, the villain in Qurbani was also named Vikram. My bad.Quote:
Originally Posted by cinema
h_h/ramdas,
I am afraid that the info regarding Vidudhalai is not fully correct. While Balaji did have a grand idea of staging a casting coup of the century (imagine NT, Rajini and Kamal acting in the same movie) it never went beyond the initial stage. The fall out between Kamal and Balaji did not happen for Viduthalai. A brief flash back for the uninitiated.
Balaji after becoming a producer was solely dedicated to NT. Except for his first film as producer Annavin Aasai, which had Gemini in the lead and which came out in 1966 and save an exception in 1978 when he made Radhaikketra Kannan with Sivakumar (more to help his long term production manager Krishnamoorthy more popularly known as Billa Krishnamoorthy) he produced films only with NT from 1967 to 1979.
Even during those days (read 1975-76) it was rumoured that he was trying to do a casting which if it had materialised would have been the mother of all casting coups in Tamil Cinema. Sholay got released on 15th August of 1975 and the rumour was like this. Balaji had acquired the remake rights from GP Sippy. While NT would reprise the role of Amithab in the original, MGR will enact the role of Dharmendra and Gemini would don the role of Sanjeev Kumar. But I am sure it was only a rumour with no truth to it.
During October of every calendar year Balaji used to start his movie so that he can release it on January 26th, his lucky date (actually it was his marriage date). At the fag end of 1979 Balaji wanted to remake Sankarabaranam with NT but NT said no. Since no suitable story was available for NT from other languages and since NT was also busy with other commitments, Balaji turned his attention to the next generation. Rajini was roped in and Don was remade as Billa. Next he made Thee with the same combo with Thee being the remake of Deewar and it got released on 26th January 1981. [It is to be noted that the same Balaji had tried to acquire the rights for Deewar way back in 1975 when it was released with NT in mind. But the price quoted by the producer was too high and Balaji left Deewar and purchased the rights of Namak Haraam which he remade as Unakkaga Naan with NT and Gemini].In between Billa and Thee, Balaji also produced a movie called Sujatha (remake of Malayalam Shalini ente Koottukkari) that had the beautiful song “Nee Varuvai ena naan irundhe” which pitch forked singer Kalyani Menon (Mother of director Rajiv Menon) in to limelight.
Coming back to 1981 post the release of Thee, Balaji went to Kamal and produced Saval (July 3rd of 1981- a remake of Haath Ki Safai) after which continued with Kamal to produce Vaazhve Maayam (Jan 26th of 1982 – remade from Telugu Premabishekam). Then he went back to NT and Theerpu (May 1982) and Neethipadhi (Jan 26th of 1983) followed. Then again to Kamal with Sattam getting released in May 1983. After this Balaji spread his wings and he started doing more films with Mohan, Sivakumar and Suresh all coming under his fold.
After Sattam Kamal did Mangamma Sabatham for Balaji in September 1985, which was again a remake of Disco Dancer 2 of Mithun. Kamal had committed another movie for Balaji. But by now Kamal was not very comfortable doing movies continuously for one producer which were again remakes and nothing original. Moreover Balaji’s style of working was completely different. He used to get the call sheets of all artists in advance, chalk out the shooting schedule and then hunt for the story. Once he zeroes on a subject his team of writers would complete the script and shooting would start and proceed as planned earlier. Kamal it was rumoured did not like the working style because since everybody is committed, the producer is not serious about a good story but simply buys whatever is available in the market and proceeds with the shoot.
That’s the reason he was hesitant for another venture and the fact that his movies that came after Khaki Sattai (April 1985) like Andha Oru Nimidam(May 1985), Uyarndha Ullam (July 1985), Mangamma Sabatham (Sep 1985) and subsequently Japanil Kalyanaraman (Deepavali, Nov 1985) did not do well at Box office added to his decision. At that point of time he did not want one more disaster. Therefore when Balaji hit upon the idea of remaking Qurbani and asked Kamal to be a part of it he refused. [He for one had not been keen on multi starrers after 1980 can be gauged from the fact that both Prabhu and Arjun had only brief roles to play in Vetri Vizhaa and Kuruthi Punal respectively]. But by that time Vikram had already started and so was Vidudhalai. In fact Balaji had two films on the floor simultaneously at that point of time both having NT in lead roles. While Marumagal came out on his favourite day of Jan 26th of 1986, Viduthalai was released on 11th April of 1986.
Vikram was released on 29th May of 1986 and if at all Viduthalai had a film competing with, it was Naanum Oru Thozhilaali another Kamal movie helmed by Sridhar that was started in 1981 as Sakthi got rechristened as Meednum Sooriyodhyam that title later getting changed for assumed political colour to Naanum Oru Thozhilaali and finally hit the screens on May 1st of 1986. That is another long story.
Sorry if I had bored anyone with this long narration. Just wanted to highlight that it was the working style of the producer that put off Kamal All other reasons were accidental.
Regards
Fabulous and interesting post
Wonderful post there, Murali Srinivas...:thumbsup:
and Welcome back...It's been a while