Film / Documentary - Recently watched & worthy of some discussion

Plum,
Firstly (I wanted to emphasize this in the first post itself but thought I shouldn't take myself too seriously!), it's just some of the tweets that I've put together (i.e. combined) here just to give the right context for the twitlonger posts. In the process, I've also strung together tweets that were in reply to different tweets. "Let's move on" was in reply to my tweet and the subsequent line was actually in reply to @venkiraja who had then (after he said, "I beg to disagree.") asked if he could elaborate further on the traces of similarity. I've put together some of them. Time illai-nnA "let's move on"-nu dhAn solluvAnga.

idhukku pEsAma nAn as usual verbatim quote-E paNNirukkalAm (with links). konjam relevance pAththu ippadi Ayiruchchu.

Quote:

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Originally Posted by P_R

VantaaryA map pOduravaru :lol2: enakkum sErththu pOduyyA.

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Someone has to do it. :noteeth:

Flu,
:clap: :lol:

Equa, cler me about this - appuRam badhil solREn

That "Let's move on" came immediately after you said "May I come in" - correct or wrong?

Quote:

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Originally Posted by kid-glove

Someone has to do it. :noteeth:

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summAvE naan kaattu kaattu nu kaattuvEn...

நேற்று மறுபடியும் பார்த்தேன்...

இன்று பாலு மகேந்திரா பிளாக் பார்த்தேன்...

Attakathi

- Seamless performances & well controlled mood/tone makes it one of the rare functioning plot-less 'hang out' flicks in TFI..
- Nice musical choices to get 'attakathi' tone without a pitch high or less
- Got the changeover of youth of that period well. The early Alaipayuthey/Ajith-Vijay, then the brief interlude of Gilli/Mounam Pesudhey 'geththu' attempts, then once again, undoing it back to that.
- The film is concious of its tribute(s) to Vijay from predominant 'lous' phase to Gilli, with lyrics, posters or what have you. The ending however is the kind of swipe at 'Shahjahan' I would gladly welcome.. About time too.
- For once, woman not functioning for the male protagonist. Nor is it reduced in to a Mounam PesiyadhE. One of life's big mystery is how post-2000 TFI reward characters like Surya's, rugged behaviour where they're quick to insult and look down.. behave like they're 'so geththu' (without being truly challenged or punctured, with convenience by filmmakers).. behave in a 'arrogant' way.. More likely to turn off women for meaningful relationships.
- A consensual fling in the bus sets a false guilt trap, without having to sermonize or censure that heavily, public indecency aside, it doesn't really make or break things
- For most part, nice set-ups of the period.. except Share Auto (was it a concept of 2000-02 Chennai/Kancheepuram/Chengalpet villages)
- The detailing of the early 00 phase with no Cell phones or head phones, when people actually had to look up, see each other, hear each other out, crack jokes, the songs to get through the elaborate journey and general mundaneness of life. from having to be forced into watching TV shows when women get to swear at the conniving Male twunts. Then the college phase, share auto & then cell phones were OK. (2002 still early, but we had that Reliance 500 offer break out on a mass scale)
- They've been careful to turn on its head, the domestic violence of Kalavaani (which might be more honest but was it right, I'll leave it you), they get the mother of the girl to lash out the broomstick, and the male lead's mother here is pretty much the head of the household. Btw the husband's a riot without being out of ordinary.

Nettrikann again on TV. Our station seem to love this movie.

Alasavendiyathu alasiyAchu. By the by, there was actually one disturbing scene. In the college. Professor would be lecturing, look at Rajini. He'd stare at him like he wants to rape the professor. And when the girl shows her palm to him, showing her interest in him, he glowers at her. What does that suggest to you eh?

Is the professor he or she?

He, Anumanthu I think.

Acting went wrong. Supposed to be "paying attention".

18.50 onwards

http://www.youtube.com/watch?v=_a8Q5...-button&wide=1