Kadumnagai

[complicateur]

பதிவு செய்து விட்டு மீண்டும் படிக்க ஆர்வம் தோன்றியதில் கிடைத்த சில விஷயங்கள்:
சற்று தாழ்வு மனப்பான்மை உடையவனே பெரும்பாலும் நகைசிரமத்துக்கு உள்ளாவான் (பல சந்தர்ப்பங்களில்). இங்கு ராமசம்யின் இம்சை மட்டும் அல்லாமல், ஒரு கலைஞனாக குமரேசன் அடையாத உச்சங்களும், அவனது ஆளுமையில் தாழ்வு மனப்பான்மை கலந்துவிட காரணமாக்கியிருப்பதற்கு ஒரு பேஷ்!

இரண்டாவது பேஷ் படத்தில் வரும் சில காட்சிகளை ஆர்ப்பாட்டமில்லாமல் கதையில் பிணைததற்கு.

In most rock groups the drummer is usualy considered the wild-child, non-conformer etc.. (case in point Tommy Lee, Sivamani who is unconventional by Indian standards etc...). I've always felt that the nature of percussive music appeals to the non-conformers, so it was a singular stroke of genius casting Gounder as a thavil player.

Nerd: This would probably fall under the genre' of fan-fiction. I agree that it is rather new for Tamil cinema.

[P_R]

Thanks anoop, Stanley, rajasaranam and sriman.

Thanks app_engine. I find your reaction is quite interesting.

[P_R]

இது வரை மௌனியாக இருந்த என்னை பேசவைத்துவிட்டது இந்தக் கதை. .

Welcome to 'active' hubbing complicateur.

"கௌண்டேரை மதிக்காத பெண்மணியை கை பிடிப்பதில்லை" என்ற தீவிர முடிவுக்கு வந்த நண்பனை "இதுவல்லவோ லட்சியம்" என்று பாராட்டிய நண்பர் குழுவில் நானும் ஒருவன்.

உங்கள் நண்பரின் லட்சியம் பாராட்டுக்குரியது. உயர்ந்த தர எதிர்பார்ப்பு தான் அது.He would have had to deal with acute short supply. But it is one helluva filter.

கிட்டத்தட்ட எல்லா சிரிப்புக்கும் பின்னால் "butt of the joke" ஆக இருப்பவரின் அவமானம் உண்டு. தோல் வழுக்கி விழுவதை விட பெரிய வலி அது. மறக்க விரும்பியும், மறக்க முடியாமல் நிலைத்து நிற்கும் நினைவு.[/i]

ஹெகேலின் dialectic எங்கெல்லாம் விளையாடுகிறது பார்த்தீர்களா?

அது இல்லாத இடமில்லை என்கிறார்களே.

இந்த தத்துவக் கேள்வியில் திளைப்போம்: அதென்ன தமாசு வெட்டறதில ?

வெட்டுபவன் "நின்னுகோரி வர்ணம்" அபஸ்வரத்தில் பாடிக்கொண்டே வெட்டினால் ?

இங்கு ராமசம்யின் இம்சை மட்டும் அல்லாமல், ஒரு கலைஞனாக குமரேசன் அடையாத உச்சங்களும், அவனது ஆளுமையில் தாழ்வு மனப்பான்மை கலந்துவிட காரணமாக்கியிருப்பதற்கு ஒரு பேஷ்!

நம் போதாமைகளும், அவமானங்களும் ஒரு மொத்த உருவாக (தாக்குவதற்குத் தோதாக) நாம் எல்லாருக்கும் அமைவதில்லையே

உங்கள் கவனமான வாசிப்புக்கு நன்றி.

[P_R]

Thank You Nerd.

[app_engine]

Thanks app_engine. I find your reaction is quite interesting.

Three reasons :

1. I've been a regular reader in all the comedy related threads in TF section (Goundamani, Nagesh, Classic comedian poll etc)

2. I got redirected to this story from your signature (I'm not a regular visitor to this section) while browsing one of those threads and naturally with the 'nagai' in the title, difficult to read without Gounder lingering somewhere in the mind

3. karagAttakkaran music album is one of my all time IR fav (can't count how many times heard, viewed the dvd, youtube etc) and 'muththaiyyan kaNakku moththamum onakku' gets sparked when you mentioned about his 'settu'

Once again, புகழப்போதுமான பதங்களில்லை

[P_R]

Thanks again.

Apart from the songs, the movie itself it quite well written - particularly the first half. I have this theory that well written films may flop but successful/enjoyable films are invariably well written. KaragAttakkAran is one example I like to quote...particularly for friends who think Gangai Amaran just lucked out. A small example:

Some villager tells Chandrashekar that some new set has been arranged for this year.The next shot is Shanmugasundaram saying "appidiyA ?", the next shot reveals they are in the house and Chandrashekar is standing around. We are in the middle of the conversation already.

Then Chandrashekar starts "engitta kooda piriyamA iruppAru....en ippid senjAru-nnu theriyalayE". Next shot is on Kanaga - she knows why -shot of Kanaga slapping Santhabarathy- back to today, all in two seconds !!

No vaLavaLA. In no time, we are told what happened , the motivation, the extent to the entry of a new set is disappointing to the incumbents, the potentially hostile environment for the yet-to-be introduced new settu, the potential villainy - nearly everything that the movie needs.

[equanimus]

Prabhu Ram,
Very well written. Interesting delineations. Really enjoyed reading it.

KaragAttakkAran is one example I like to quote...particularly for friends who think Gangai Amaran just lucked out. A small example:

Some villager tells Chandrashekar that some new set has been arranged for this year.The next shot is Shanmugasundaram saying "appidiyA ?", the next shot reveals they are in the house and Chandrashekar is standing around. We are in the middle of the conversation already.

Then Chandrashekar starts "engitta kooda piriyamA iruppAru....en ippid senjAru-nnu theriyalayE". Next shot is on Kanaga - she knows why -shot of Kanaga slapping Santhabarathy- back to today, all in two seconds !!

No vaLavaLA.

Ha, interesting! I've found this sequence particularly striking too. One small correction though. The two-second flashback comes twice. First when Santhana Bharathi recollects it, and then when Kanaga does the same. What is startling about the two-second scene (besides its economy) is that it's a flashback that opens and ends like that. Usually, in our films, a character's memory is often limited to the audience's, and what the audience gets to know since the film's first frame in progressive timeline is what the characters are conscious of, too. If the character knows something else that had happened before the film opened, it's usually an incident that happened long back, and a very big deal is made out of it. Here, it's something that probably happened only a few weeks (or months) ago, and is also quite an important event. The usual choice, even if the idea is to wrap it up as quickly as possible, would be to show it in chronological order. But then, Gangai Amaran hardly wants to waste any time before introducing the asalUr karagAtta gOshti!

[P_R]

Thank You equanimus.

Ha, interesting! I've found this sequence particularly striking too. One small correction though. The two-second flashback comes twice. First when Santhana Bharathi recollects it, and then when Kanaga does the same.

You are right.
One correction to correction.
SB's flashback is one second (only slap)
Kanaga's flashback is elaborate (hand-grab followed by slap) :P

Usually, in our films, a character's memory is often limited to the audience's, and what the audience gets to know since the film's first frame in progressive timeline is what the characters are conscious of, too. If the character knows something else that had happened before the film opened, it's usually an incident that happened long back, and a very big deal is made out of it. Here, it's something that probably happened only a few weeks (or months) ago, and is also quite an important event.

Nice point about the uniqueness of this 'flashback'.

Reminds me of two GM-Senthil anecdotes.

One where Senthil starts off on a flashback (wants to cut to it..and GM objects)..looking up
GM: unakkellAm oru plAsback-A ?
Senthil: visual-A sonnA thaannEn nallA irukkum

And of course the last word on flashbacks is the one post Santhanamary (nonvisual flashback :P) in Jaihind

GM: flashback ellAm nallAthAngaNNA irukku....aana government oththukkAdhungaLE
Senthil: I don't care
GM: oh !

[thilak4life]

Actually, I read it the moment you posted. But I didn't reply as I wasn't logged in mayyam. There I've said it, Superb.

[amloo]

பரவா இல்லையே..வித்தியாசமான கர்பனை என்று கூட சொல்லலாம்..bravooo

neyway im new to tis MAYYAM..nice to c u al disscussing such a wonderful topics xsply in tamil literature..gd job..kip it up...