Anyway, saw the movie. Incredibly bad. Didn't expect something like this from Selvaraghavan. Bad scenes, bad acting and what not. Only CG work was good. Mayakkam enna was better compared to this at least for Richa's performance.
Anyway, saw the movie. Incredibly bad. Didn't expect something like this from Selvaraghavan. Bad scenes, bad acting and what not. Only CG work was good. Mayakkam enna was better compared to this at least for Richa's performance.
Ponnu Vellai tholah? illai Karuppu tholah?
RE: Aennn.. Puli tholu..
Use short words, short sentences and short paragraphs. Never use jargon words like reconceptualize, demassification, attitudinally, judgmentally. They are hallmarks of a pretentious ass. - David Ogilvy
செல்வராகவனுக்கு வந்த சோதனை!ஒருவழியாக 'இரண்டாம் உலகம்' வெளியாகிவிட்டது. ஆனால், எதிர்பார்த்த அளவுக்கு படத்துக்கு ரெஸ்பான்ஸ் இல்லை.
பட்ஜெட்டை விட பல மடங்கு செலவு வைத்துவிட்டதாக டைரக்டர் செல்வராகவனைக் குற்றம் சொன்ன தயாரிப்பு தரப்பு கடைசியில் எப்படி சமாதானமானது என்பது பெரிய அதிர்ச்சி!
மீண்டும் ஒரு படத்தை தனது கம்பெனிக்கு இயக்கித்தர வேண்டும் என்று செல்வராகவனிடம் ஒப்பந்தம் போட்டிருக்கிறார்களாம்.
இவர் இயக்கித் தரப்போகும் அந்தப் புதிய படத்திற்கு சம்பளம் கிடையாதாம். இப்படியொரு அக்ரிமென்ட்டில் செல்வாவும் சைன் பண்ணியிருக்கிறாராம்.
அடுத்த படத்திற்கு சம்பளம் இல்லை என்றால் அதற்கெல்லாம் செல்வராகவன் கவலைப்பட்ட மாதிரி தெரியவில்லை. ஆனால், செல்வாவை இப்படி லாக் பண்ணியதாக நினைத்துக் கொண்டிருக்கும் நிறுவனம், அப்படியே இவரது தம்பியான தனுஷையும் சேர்த்தே இழுத்திருக்கிறதாம்.
இனிமேல் உருவாக இருக்கும் அந்தப் படத்தை செல்வா இயக்க, அதில் தனுஷ் நடிக்க வேண்டும் என்று ஒப்பந்தமும் போடப்பட்டிருக்கிறதாம்.
எந்தப் படத்தில் ஒப்பந்தமானாலும், அட்வான்ஸ் என்று சொல்லப்படும் முன்பணமும் கொடுப்பார்கள். இந்தப் படத்தைப் பொருத்தவரை யாரும் அட்வான்ஸ் கொடுக்க முன்வரவில்லையாம். படத்தைப் போடுங்க. கலெக்ஷன் வந்தா பிரிச்சிப்போம் என்று கூறிவிட்டார்களாம். - Vikatan
பிரமாண்டங்களுக்கு ஓய்வு... அடுத்து சிறு பட்ஜெட் படங்கள்தான் - செல்வராகவன் முடிவுசென்னை: இயக்குநர் செல்வராகவன், அடுத்தடுத்து இரு சிறிய பட்ஜெட் படங்களை இயக்கப் போவதாக அறிவித்துள்ளார்.
செல்வராகவன் மீது வைக்கப்படும் முக்கிய குற்றச்சாட்டு பெரும் செலவு வைக்கிறார், அதை விட அதிக காலத்தைக் கடத்துகிறார் என்பது.
ஆனால் ஒரு படைப்பாளியாக சுதந்திரமாக இயங்க இவை தேவை என்பது செல்வா வாதம்.
இந்த வாதங்கள் 7 ஜி ரெயின்போ காலனியிலிருந்து தொடர்கிறது. அந்தப் படத்தின் பட்ஜெட்டை மீறி படமெடுத்ததால், படம் வெற்றிகரமாக ஓடியும் தனக்கு லாபமில்லை என ஏஎம் ரத்னம் புலம்பியது நினைவிருக்கலாம்.
ஆயிரத்தில் ஒருவன், இரண்டாம் உலகம் போன்ற படங்கள் கோடிகளை விழுங்கியதுடன், அதிக நாட்களும் எடுத்துக் கொண்டன. இந்த மாதிரி படங்களை எடுக்க இன்னும் கால அவகாசம் தேவை என்பது படைப்பாளியின் பார்வையில் சரியாக இருந்தாலும், தயாரிப்பாளர்களை பயமுறுத்தும் வட்டிதான் இங்கு நடைமுறைப் பிரச்சினையாக உள்ளது. ஆயிரத்தில் ஒருவன் தயாரிப்பாளரால் மீண்டும் படமெடுக்க முடியவில்லை.
பிவிபி காரர்களுக்கு பிரச்சினையில்லை. அவர்களின் பணக்காரப் பின்னணி உலகறிந்தது.
இந்த நிலையில் இரண்டாம் உலகத்துக்குப் பிறகு, அநேகமாக சொந்தப் படம் எடுப்பார் செல்வராகவன் என்று கூறப்படுகிறது.
அதை உறுதிப்படுத்துவது போல, அவரே ஒரு அறிவிப்பையும் வெளியிட்டுள்ளார்.
'குறைந்த பட்ஜெட்டில் சில படங்களைச் செய்ய விரும்புகிறேன். அதில் முதலாவதாக ஒரு ஆக்ஷன் படம் எடுக்கப் போகிறேன். மற்ற விவரங்களை விரைவில் சொல்கிறேன்' என்று கூறியுள்ளார் செல்வா.
Puthupettai was worth the price of 3 or 4 movies so I wouldn't mind watching IU even if it is teriibly bad.
Originally Posted by balaajee
too much
" The real triumph in life is not in never getting knocked down, but in getting back up everytime it happens".
இந்த மாதிரி எல்லாம் ஏன் ஒரு படைப்பாளியை கொடுமை செய்கிறார்கள். செல்வா இந்த மாதிரி நிறுவனத்திடம் மாட்டிக்கொண்டது துரதிருஷ்டம். கறுப்புப் பணத்தை வெள்ளை ஆக்குவதற்கு சினிமாவை பயன் படுத்தும் இந்த மாதிரி நிறுவனங்கள் சினிமாவுக்கு எந்த விதத்திலும் நன்மை செய்யப்போவது இல்லை. செல்வா முடிந்த வரை இந்த சிக்கலில் இருந்து சீக்கிரம் தப்பிக்க வேண்டும்.செல்வராகவனுக்கு வந்த சோதனை!
பட்ஜெட்டை விட பல மடங்கு செலவு வைத்துவிட்டதாக டைரக்டர் செல்வராகவனைக் குற்றம் சொன்ன தயாரிப்பு தரப்பு கடைசியில் எப்படி சமாதானமானது என்பது பெரிய அதிர்ச்சி!
மீண்டும் ஒரு படத்தை தனது கம்பெனிக்கு இயக்கித்தர வேண்டும் என்று செல்வராகவனிடம் ஒப்பந்தம் போட்டிருக்கிறார்களாம்.
இவர் இயக்கித் தரப்போகும் அந்தப் புதிய படத்திற்கு சம்பளம் கிடையாதாம். இப்படியொரு அக்ரிமென்ட்டில் செல்வாவும் சைன் பண்ணியிருக்கிறாராம்.
அடுத்த படத்திற்கு சம்பளம் இல்லை என்றால் அதற்கெல்லாம் செல்வராகவன் கவலைப்பட்ட மாதிரி தெரியவில்லை. ஆனால், செல்வாவை இப்படி லாக் பண்ணியதாக நினைத்துக் கொண்டிருக்கும் நிறுவனம், அப்படியே இவரது தம்பியான தனுஷையும் சேர்த்தே இழுத்திருக்கிறதாம்.
இனிமேல் உருவாக இருக்கும் அந்தப் படத்தை செல்வா இயக்க, அதில் தனுஷ் நடிக்க வேண்டும் என்று ஒப்பந்தமும் போடப்பட்டிருக்கிறதாம்.
எந்தப் படத்தில் ஒப்பந்தமானாலும், அட்வான்ஸ் என்று சொல்லப்படும் முன்பணமும் கொடுப்பார்கள். இந்தப் படத்தைப் பொருத்தவரை யாரும் அட்வான்ஸ் கொடுக்க முன்வரவில்லையாம். படத்தைப் போடுங்க. கலெக்ஷன் வந்தா பிரிச்சிப்போம் என்று கூறிவிட்டார்களாம். - Vikatan
" The real triumph in life is not in never getting knocked down, but in getting back up everytime it happens".
http://www.cinemalead.com/news-id-se...-11-133912.htm
http://baradwajrangan.wordpress.com/...-50675-988375/With just a handful of movies, Selvaraghavan has announced himself a major filmmaker, and it falls on us to look at his latest venture, Irandaam Ulagam, as the (worthy) next installment in a thematically connected oeuvre as well as a (problematic) standalone film. The former, first. At least for a while, the love story here has its polarities reversed. Earlier in this director’s career, the men drove the movies. They were the actors – the women merely the acted upon. And there’s a hint of that quality – sexism? Misogyny? – here when we alight on a faraway world where, a voiceover informs us, the women get no respect and are treated like objects. (The film keeps cutting between two love stories, one on this distant planet, the other on earth – it is, in short, both sci-fi and chick flick, spiced with a dash of action-adventure. Is there another mainstream filmmaker who stomps across genre boundaries as boldly as Selvaraghavan?) There’s no love in this other world – only lust. It’s no surprise, then, when we’re introduced to Varna (Anushka Shetty) and we note that her face is perpetually clenched in a scowl.
And yet, the film provides her the “heroine introduction shot,” a mini-action sequence where she bests a fantastic and fearsome creature of the wild. In the process, she even executes a somersault. No such flourishes await the hero (Arya, who plays Madhu on earth and Maruvan on the other planet). We meet Madhu as he fulfills the traditional heroine-duties. He may not be shepherding schoolchildren across the road by halting traffic on either side, but he comes close – he volunteers for blood drives and spends his spare time with patients in a hospital. Even on earth, it’s the heroine who makes the first move. Ramya (Anushka Shetty again) falls for Madhu’s soft and kind-hearted nature and decides to tell him she wants to marry him. And like the heroine in one of the early Selvaraghavan films, he shrinks away – he says no.
At least Maruvan aligns himself somewhat with our expectations of a Selvaraghavan hero by falling for Varna. He spies on her as she bathes in a river, and, later, pounces on her from behind – only, she turns around and knees him in his man parts. And when Madhu lands up on this planet, she makes him her slave and calls him maadu, cow. She proves she’s better than Madhu when it comes to shinnying up trees and performing tricks and wielding a sword – and she’s the latest addition to Selvaraghavan’s recent gallery of strong women, a turnaround that can probably be traced back to the prostitute in Pudhupettai whose emotional blackmail ensured that the hero conferred legitimacy on her child. Thereon, we’ve had the ass-kicking expedition leader in Aayirathil Oruvan and the steely caregiver of Mayakkam Enna, who bore her husband’s eccentricities with the patience of a saint and determination of a pit bull.
The men, by contrast, are emotional fools. Selvaraghavan really makes the most complicated love stories. (Even when his films aren’t quite “love stories,” they lay out long and torturous routes to happily-ever-after.) After rejecting Ramya’s proposal, Madhu falls for her – and this time, she says no. She’s engaged to someone else now, but she doesn’t fail to tell Madhu that she’s going to Goa for a medical camp (she’s a doctor) and that her bus will leave at 8 a.m. Without these nudges, he’d be nowhere. And unlike in earlier Selvaraghavan films, they’re peers. They’re both educated, they’re both fair-skinned, they’re both “civilised,” and they belong to the same socioeconomic class, as does the man whom Ramya is going to marry. (He backs out eventually due to a shameful reason that does his gender no favours.) This is a drastic change for this filmmaker, this former bard of the brutes. The obstacles to love are different – death, distance, perhaps even destiny. He’s steering away from his comfort zones, and it’s thrilling to watch.
But some things haven’t changed – thankfully, in my opinion, and your mileage may vary. The frankness, for instance, with which we appraise the objects of our affection (and in Selvaraghavan’s films, they’re sometimes really objects). But again, the objectified, this time, is the man. In the film’s most quintessentially Selvaraghavan moment, one of Ramya’s girlfriends notes that Madhu may turn out to be the kind of guy who burns her with a cigarette on their wedding night, and then goes on to evaluate parts of his anatomy, eyes and lips and thighs (thighs!). Though in this respect, Maruvan returns the favour by coolly eying the contents of Varna’s splayed skirt. This film too has a lovelorn dirge sung by Dhanush, and a messianic character like the protagonist of Aayirathil Oruvan. (Here, he’s a prophet of love.) And once again, Selvaraghavan gives us a glimpse into his obsession with father figures, combining this with his obsession with fecal matter. If the protagonist of 7G Rainbow Colony described himself as “therula kadakkara saani,” and if the characters in Mayakkam Enna kept referring to “aai,” we get a scene here where Madhu cleans his wheelchair-bound father’s bottom.
How does this father turn up on a scooter in a later scene, around the midway point? This nicely surreal moment sets into motion the quotes we saw at the beginning, about there being many worlds and that we inhabit many selves. The crux of Irandaam Ulagam is frightfully poignant: it deals with a love lost and the efforts to help this lost lover gain love. We should be weeping buckets – I sat there dry-eyed. Which brings us to Irandaam Ulagam as a standalone film. It’s a love story without a shred of genuine passion. We keep hearing about this grand, exalted emotion that will make flowers bloom, and we see those flowers bloom, but we don’t feel a thing. It’s all abstraction. Or put differently, everything’s on paper, not on screen. A teary-eyed Madhu says, at some point, “Naanga romba sandhoshama irundhom,” that he was very happy with Ramya. The line makes you think of years of bliss, while what they shared were mere moments, and even these moments aren’t quite built up to.
She falls for him, and distances herself from him, and then drops hints, and when he picks up on those hints and comes calling, she calls him a porukki (though he’s far from a loafer in the sense the word usually conjures up in a Selvaraghavan movie), and a few minutes later, he’s her “Madhu baby.” As for Varna, she remains indifferent to Maruvan’s overtures and then she comes to hate him for clipping her wings, and then, without us really seeing why, she begins to refer to him as her husband. Selvaraghavan acknowledges this confusion. He writes a line for Varna about her fluctuating emotions, and he offers visual cues for falling in love (rain on earth, snow on the other planet). But we, the audience, need to feel these things, not just see them or hear about them – and that doesn’t happen. Everything is low-key. The scenes don’t land hard enough. Maybe this is how Selvaraghavan wanted it, without the purple poetry that seeped through his earlier romantic tracks. But I, for one, felt the loss. (And it’s not as if this is a subtle movie, exactly.)
We get purple skies, though. Along with neon green and orange and yellow. We get exotic birds of prey that keep flitting across the landscape. These special effects are nicely done, especially the lion with the head of a Rasta rapper and the tail of a scorpion. But otherwise, we don’t seem to be in another planet, just another country – and not that different a country, either, given that the people there (a bunch of Caucasians) speak the most “local” Tamil, calling each other anney and mouthing such cautions as “Dei innikki nee saava pore.” We could be hearing lines from Pudhupettai, and the Chennai connection is (inadvertently? Deliberately?) underlined by this group of Tamil-speakers that worships a powerful woman they call… Amma. This Gaia-like being is played by an actress who looks too young to be assuming Earth Mother duties (or maybe that was the point) – and the rest of the casting doesn’t work either (though it says something that these foreigners, at times, end up doing better lip-sync than most of our heroines). The king with the silver crown and the velvet-curtain robes kept cracking me up. Everyone looks like they’re playing dress-up in a school play. Did no one giggle on the set? Was no one aware of how far from the writer-director’s vision on paper the film had crawled?
And the leads never catch fire. Anushka Shetty does the warrior-princess duties well enough, but given the vagaries in her character(s), her emotional scenes with her hero(es) just don’t connect. (Some of that class warfare might have infused a bit of push-pull chemistry, without which we’re left with nothing.) And Arya, with his bland urban-boy looks (and with chalk-white vampire makeup in the role of Maruvan), is the most unlikely Selvaraghavan hero – imagine Aadhi from Kaadhal Kondain as that film’s protagonist. When a character returns from the dead, you’d think he’d be surprised (I certainly was) – but he plays the moment as though it was inevitable. He certainly brings physical heft to the part of Maruvan, and I could see why Dhanush, Selvaraghavan’s in-house repertory theatre of one, wasn’t cast, but I missed him terribly in certain scenes, like the one where Madhu pretends to be in love with Ramya’s professor. Dhanush would have made it a golden “porukki moment.” Love it or hate it, the film would have come alive. Here, the scene sits still on screen and quietly dies.
Arvind Srinivasan,
Basically SR had a solid idea. Many feel that it was not handled properly. But what I feel is that he suffocated a bit in stretching it, which is quite normal when you water the seed of such a monstrous movie . It also depends on the measure of his ambition, which I have no say. While making the movie he should have realized that its not going the way he wanted it to, so he skips several aspects of expectations and tries to take the normal track, just to simplify things a bit. For ex : The path to rescue the Goddess had the highest potential for adventure. Its there he struggled to hook it up to the audience pulse. There are few such blockages that made the audience stumble.
Reconstruction of one such scene (just a thought) :
While watching the beast fight, I told myself that there should have been more, not in timing but content wise. It should have been like a BOSS fight with 3 stages. The lions head should have had serpents like the hair around the lion's neck, and the parent serpent should be centered with 2 head in one body.
Stage 1 : These serpents are fierce but they have their weakness - they cannot attack while attached to the head. So when the beast moves his head, some serpents fall to the ground like hairs. 2nd weakness, they cannot bite, but just spit venom. Here is a hilarious action scene where Arya goes around stamping them just like Jack Sparrow would do. So by stamping the serpents to death, it forms a pool of venom on the ground. 3rd weakness, the child serpents die if the parent is killed. Finally he jumps in slow-mo in on the charging attacks of the beast successfully chopping the 2 heads of the parent serpent simultaneously but gets side-thrown by the swinging hit of the scorpion tail.
Stage 2 : After getting butt whipped by the brutal swinging of the scorpion-tail, Arya finds an interesting way to chop of the Tail-End, the "Koduku".
Stage 3 : He picks up the Kuduku and dip it in the venom pool and holding the venom coated Kodukku with both hands, he tears the under belly of the beast sliding like a foot ball player greasing the grass after scoring a goal while the Beast is doing a jump attack.
Final : The distanced beast runs towards him - Arya is grounded, helpless but just manages to meet the dagger just before the beast falls on him - blank - dagger tip coming out of the Beast's body - rest is EPIC !
Similarly you can put 3 such incidents during the Forest Episode, without tampering the growth of Affection between Madhu and Varna. Here you have an universal material, appreciated unanimously - and coming back to my previous line - "he skips several aspects of expectations and tries take the normal track, just to simplify things a bit"
Tree of Life & The fountain Connection :
When you take Tree of Life, you should not forget the tree of knowledge of good and evil. I will try to be clear and short as it involves theology. I think SR wanted to connect the SELF thru the religion he knows. He translates SELF as Love. Tree of life or the Maslow's pyramid can be easily associated to our sage old Padmasana. Watch it carefully, its in a pyramid form, (and skipping several chapters), the top represents the third Eye or SELF. Add in all the chakras - there you go you have the tree of life.
When GOD (which ever religion he belongs to) created man, they were immortals. HE instructed man/women to take guidence from the tree of knowledge of good and evil. But the bad guy (Satan or whoever it is) tricked them. So GOD abandoned humans, but after some pleas GOD accepted them and put them on earth and asked them to find ways to reach him and become immortal again. (Reminder : its just an overview of an overview). Thus man (us) all by himself and with just a grain of memory of who he actually was, tries to explore himself and each stride he takes, he makes sure to join GOD and become immortal again, so on so forth.
Now comes The Fountain movie : I accept that I am yet to decipher this movie completely (also accept that I tried but failed), even Pi is a child before The Fountain, but from what I get is that the movie is about the human struggle for acceptance of life and death. Izzy writes a dairy in her death bed in the present, which becomes the past in the future and according to film maker it takes almost 5 centuries for the common man to finish his search to understand & accept mortality and find the path to become immortal. In IU, when Madhu encounters his dad and the flower at Ramya's death spot, he accepts mortality and begins the search for immortality. The blossom can be crookedly represented as Life after death (he connects it later in the 2nd World). Here we have already come to the climax of the movie Fountain. But SR continues to plant the hope of rejoining with the loved ones by stressing that the actual world we are living in is not alone but there are many such worlds and we are not who we assume to be; only our soul full of love can carry us to destiny. He finishes the movie by making Madhu Immortal, thus completing the circle. Coming to the scene in fountain and IU, I think the above would clarify that there is less to no similarity in the concept.
I can wait for the DVD release and do a comparative note, but from my one view observation that's what I can come up with.
General :
So now you could get the idea about the vastness of IU. Putting it under 180 minutes needs some courage. As I had mentioned, if we as audience put some effort from our end, I think IU would have been received well. In any which way, you have watched the movie and something had definitely registered within you. It may or will take time to start swinging inside you. We will meet again.
Notes (if anyone is interested) :
If you are looking for a good book on Tree of Life, I suggest the one by Witness Lee. There are many spiritual books out there, but Witness Lee's take on this subject was closer to my personal philosophies. Just an added info : that's how you pick up a spiritual books, it has to fulfill your views rather than you accepting whatever it says and try to follow it.
And for Chakras, you got a very simple book : The book of Chakras by Ambika Wauters. Its very good for beginners.
And to complete the structure of IU, its "cosmos" you got to be looking at. My suggestion : Parallel Worlds: A Journey Through Creation, Higher Dimensions, and the Future of the Cosmos by Michio Kaku. Its simple, convincing, hilarious and moreover sticks to the topic.
Happy reading !
Last edited by mappi; 26th November 2013 at 06:37 PM.
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