In the wake of the coronavirus pandemic in March, the film and television industry had suspended all administrative, post-production, and promotional work for the movies to avoid the spread of the deadly virus. Following this, the nation-wide lockdown led to the shutting down of all sectors, leaving all daily wage workers out of an income.
After several extensions, the lockdown that was to end on May 3 was further deferred by two weeks owing to the increase in COVID-19 positive patients. While the film industry managed to support the cine daily wagers by handing over about Rs. 4000 worth of groceries until Sunday, for about 50 days, they are struggling to rack up funds now.
As a result, several Tamil film producers including Bharathiraja, T Siva, Kalaipuli S Thanu, TG Thyagarajan, KE Gnanavelraja, Chithra Lakshmanan, S Kathiresan, Vishnu Vishal, YNOT S Sashikanth, G Dhananjayan, SR Prabhu, Rajasekar Pandian, JSK Sathish Kumar, CV Kumar, Suresh Kamatchi, Manobala, Subbu Panchu, and Radha Ravi have appealed to the Chief Minister of Tamil Nadu, Edapadi K Palaniswami, to pass an order allowing the resumption of post-production activities for the film industry and minimal-crew shooting for the television industry. They mentioned that the opening up of the film industry, just like the other business industries, would help the daily wagers. Prior to this, the Film Employees’ Federation of South India (FEFSI) along with the Federation of Small Screen Technicians had also penned a letter regarding the same.
— Actor Surjith Ansary 🌟 (@AnsarySurjith) May 3, 2020
Together, the associations have requested permission to resume activities like editing, dubbing, VFX (Visual Effects), CGI (Computer Generated Imagery), DI (Digital Intermediary), BGM Score (Background Music Score), Sound Effects, Foley and Mixing that involve only a small group of people working together. They have also promised to undertake all the required safety measures and sanitize the studios/sets while working.
The associations agreed that it would not be advisable to commence with film shooting since Chennai and several other cities have been marked Red because of the coronavirus. They also stated that about Rs. 500 crores of investment has been immobilised due to the lockdown which has, in turn, affected the livelihood of several producers.
The letter also mentioned that the Government of Kerala has permitted the resumption of post-productional activities with certain conditions, thereby allowing the Mollywood industry to work on their films.
தமிழ் திரைப்பட தயாரிப்பாளர்கள், சின்னத்திரை மற்றும் FEFSI சார்பில், மாண்புமிகு அமைச்சர் கடம்பூர் ராஜூ அவர்களை சந்தித்து தயாரிப்பாளர்கள்
T. சிவா, மனோபாலா, G. தனஞ்ஜெயன் மற்றும் M. திருமலை ஆகியோர் போஸ்ட்-புரடொக்ஷன் பணிகள் (டப்பிங், எடிட்டிங், VFX/CGI, DI, Re-recording, pic.twitter.com/kPKNwPZlDP
Meanwhile, several fan clubs of stars like Vijay and Suriya, Rajinikanth‘s ‘Rajini Makkal Mandram’, and Kamal Haasan‘s ‘Makkal Needhi Maiam’ have been constantly helping the people in crisis by providing rice, vegetables, and essentials.
3.05.2020 #MNMSoldiersOnfeild#MNMduringcorona
■ தலைவர் நம்மவர் ஆனைக்கினங்க,
ஒட்டுமொத்த இளைஞர்களின் எழுச்சி நாயகன் , மய்யத்தின் போர் வாள்,அண்ணன் *திரு. சிணேகன்* அவர்களின் அறிவுறுத்தலின்படி,
மாநில செயலாளர்
செய்தி மற்றும் ஊடகம்
பாசமிகு அண்ணன் *திரு.முரளி அப்பாஸ்* pic.twitter.com/1G4oK6sCDq
— MNM 🔦 திருவள்ளூர் மாவட்டம் (@MNMTiruvallurDt) May 4, 2020
Recently, it was confirmed that Suriya will be associating with his popular Singam franchise director Hari for his 39th film titled Aruvaa. While it was announced that Imman will be composing for the film, the rest of the cast and crew’s details were kept under wraps.
On Sunday, the Adanga Maru actress Raashi Khanna spoke to Twitterati with the popular #Ask trend about several topics like movies and books, while also opening up about her upcoming projects. She confirmed that she will be working with the Suriya-Hari duo amongst other Tamil and Telugu projects.
Aranmanai 3 and a film with Suriya sir under Hari sir’s direction in Tamil.. Will give more clarity about two projects in Telugu that are under discussions, once the lockdown is over ☺️ https://t.co/sSIESmG3FJ
Bankrolled by KE Gnanavelraja‘s Studio Green Entertainment, Aruvaa was supposed to commence shoot in April, which has now been postponed due to the coronavirus-imposed lockdown. The movie was also supposed to release in theatres for Diwali, 2020. This 16th film of Hari marks the sixth association of the director with Suriya.
While World Famous Lover did not see bug numbers at the box office, Sangathamizhan was an average hit. The former which also starred Vijay Deverakonda, Aishwarya Rajesh, Catherine Tresa, and Izabelle Leite in the lead roles dealt with a writer who seeks redemption by penning a love story after his girlfriend decides to leave him.
The actress was trolled for her choice of films after the film hit the streaming platforms, Netflix and Sun NXT. To this, the actress said that she was content with her picks and did not regret any film in her career. She also added that every film is a chance to learn and grow as an actor.
I stand by all the films that I have done with no regrets. A film may work or may not work but every film is a beautiful journey where we learn and grow as actors in some capacity.. I stand by them all. Thankyou 🙏🏻😊
Sangathamizhan saw Vijay Sethupathi, Soori, and Nivetha Pethuraj apart from the actress in lead roles. The film is about with an upcoming actor who decides to avenge an industrialist for destroying his livelihood back in his hometown. The film is now streaming on Sun NXT.
From getting his chosen cast on board and creating the characters of Major Bala and Meenakshi, played by Mammootty and Aishwarya Rai, and book adaptations, to the time Irrfan visited him, hear it all from the cinematographer-director Rajiv Menon in this interview with Silverscreen India
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Twenty years ago, a film that might seem an impossible project today, released. It had Mammootty, a top star from Malayalam; Ajith, a Tamil actor who was fast becoming a star; Tabu, an actress who’d made her mark in films by Gulzar and Mani Ratnam; Aishwarya Rai, a Miss World; and Abbas, a Tamil actor whose very presence had girls in a tizzy. Add to this mix, Bharatiar’s poetry, music, and some Sense And Sensibility. That, for you, is Rajiv Menon’s Kandukondein Kandukondein.
Two decades on, a conversation with Menon begins, interestingly, over how the oat, date, and fig crumble he put in the oven at 2 pm turned out in time for tea. But that’s how it is usually with Menon. Some prose, lots of poetry, books, music, films… all make their entrance. Much like Kandukondein, which had its protagonists straddle many identities. There was the soldier turned floriculturist, the educationist turned IT professional, the US-returned engineer turned aspiring filmmaker, a girl lost in a world of her dreams becoming a singer, a poetry-spouting businessman…
Excerpts from an interview:
What was the genesis of Kandukondein…?
During a walk with Mani (Ratnam), I was telling him how different the lives of my brother and I turned out. How our lives changed after the early death of our father, the decisions we took, the consequences. I was a quizzer and into cricket, but decided to be an artist. My brother who was into art and poetry focussed on academics, came first in Madras University in his Masters and became an IRAS officer. Mani told me why don’t you make a film about this.
Long before this, I’d read Jane Austen’s Sense And Sensibility and had seen the film too. I re-read the novel, and while making plot points, wondered if I could move them about a bit and make it about people leaving their home… what would happen. Some scenes and characters entered my head and I kept adapting them. I wondered what kind of character would create great instability in a home, what I could do to replace the landed gentry, and the world of tea parties of Sense… It was not a Dickensian world. Even in Sense, there are a lot of things such as honour, integrity, and goodness… Some characters wrote themselves: the assistant director searching for a location, the poetry lover… producer Thanu said it sounds interesting and that we should go ahead. I dictated the scenes and the dialogues I’d thought of in Malayalam to Sujatha Sir, and he got the first half of the film ready in one burst. Everyone seemed to like that. We knew something felt right about it. Every house has a story of family strife. Everyone says they’ve fallen into poverty. There seems to be a sense of loss of a glorious past and we decided to turn that into a rural-urban story, with a family coping with anonymity in a city after recognition and respect in a village.
I wanted to remove them from a set-up where patriarchy felled their existence and bring them to the city where they change and grow. If you see, everyone is journeying in the film. They’ve all moved.
Do you visualise being able to make such a film now, where you have big heroes and heroines, but no ‘mass’ moments?
Ah, interesting. I think it’s difficult to bankroll a film like this now. It’s not what you’d call a ‘masculine’ film, the principal characters are women, and that must have been a shock even then. I think the enduring appeal of the film is because few hero-driven films have strong heroines.
It was almost like you foresaw a lot of careers in that film… engineers becoming directors, which is commonplace now, the IT industry…
No one then knew software would become so big. I’m so glad it did, because it brought about equality of sexes, thanks to the same pay scales. The sector saw more love marriages, which effectively did its bit to smash caste and class divides.
Both the heroines came with very distinct characters. They had a mind of their own, sought respect.
Yes, they shift from a rural background, where they cross level crossings to go somewhere and move to a place with glass buildings and conference rooms; it’s not easy. One moves from being Principal to a telephone operator. The other becomes a chorus singer and drowns in her sorrow. Everyone asked how I could make a Miss World fall down a drain hole. For me, it was a trial by fire and the sisters emerged stronger people, burnished by experiences. One realised what love means, and the other was willing to move away if she did not get an apology.
I wrote Sowmya and Meenakshi at a time when heroes had still not become larger than life and where a woman was not seen as someone who pulled the man down. I see a general decline in women characters now; filmmakers can have their reasons. However, I believe a strong drama needs strong women characters to work. Be it Satyavan and Savithri, the Mahabharata, The Ramayana, or Nala Damayanthi, women are central to the narration. So, when you write a family drama, it is important to see both the female and male points of view; modern Tamil dramas are no longer about the man and woman.
If there’s something you could change in the film, what would that be?
I’d probably write the poetry-speaking Abbas’ character with greater depth. Some were angry with him, for leaving Meenu. But, he had his reasons. He had integrity. Thomas Hardy’s tragedies will always have an outside element, an act of God that will result in a great change, unlike the tragic human flaws in Shakespeare’s works. I was inspired to write that character because I would see people queue outside the offices of the then-defunct Royapettah Benefit Fund and Alwarpet Benefit Fund. To see old people waiting for their money did something to me.
The film is probably one of the few to speak about someone who served in the IPKF in Sri Lanka…
Our cinema has become very jingoistic and nationalistic. And while army action in Uri and Kargil is celebrated on-screen, our people dying in a foreign land is not even acknowledged. IPKF was our Vietnam moment. I wanted to examine what happens to a forgotten soldier from a forgotten war; they too die in honour, show valour, experience pain and sacrifice (A dialogue in the film says: what’s worse than death is being forgotten: Maranatha vida mosamanadhu ennadhu-nu theriyuma? Marakkapadradhu). I wanted to speak about the human side of that conflict, about the emotional damage that happens to those who go to war. The film discussed PTSD before it became a thing in movies.
The inspiration for the Army angle was a young Para commando I met on a train back from Kochi. He was telling me terrible stories of the war, he expressed sadly, that the war was going badly, he could come back in a body bag. He would call me when he would pass through Chennai.
One day, the phone rang. My commando acquaintance had been injured and I went to visit him at the St Thomas Mount Military Hospital. He had a lot of pellet injuries and lacerations. Next to his bed was a jawan from his unit who was also injured; his leg had been blown by a landmine and amputated. The Para commando was lucky to be alive, I was shocked and speechless.
The sum of those experiences was Major Bala. Mammootty really enjoyed playing that raspy character.
You’re one of the few new-age filmmakers who attempted to adapt a book to film, and successfully. Are you looking at something similar again?
I keep trying to read and see what I can do with the material. Great literature is not easy to translate. You need to condense a story into three acts and see the graph of the characters clearly. The modern novel is actually pretty anti-filmmaking because the three-act structure with a happy or sad ending is boring for most people. Writing the screenplay for a film is very different vis-a-vis writing a novel.
Eight years ago, I tried adapting Fiddler On The Roof, with a focus on the Kashmir situation and the exodus of Pandits. Amitabh Bachchan was to play the old man, but it fell through. The production company in Bombay folded up.
I still feel that there is a good film in Aravind Adiga’s The White Tiger (it’s already slotted to be a Netflix film, by someone else!) I found Srinivas Reddy’s Raya (about Vijayanagara’s Krishnadevaraya) absolutely fascinating. You can’t put it down; it’s like seeing the man in flesh and blood and there’s a great emotional connect. I am constantly looking for a deeper insight into a fictional character, which is why I like Malayalam writer Syam Pushkaran of Kumbalangi Nights fame. A lot of Indian cinema has taken a complete U-Turn from the kind of progressive middle-class urban sensibility it once promoted; there’s no balance between the feminine and the masculine.
(This brings us to speak of the late Paul Kalanithi’s When Breath Became Air, and how I always imagined Irrfan playing the role if it ever got made as a film, and then…)
In the early 2000s, Asif Kapadia’s Irrfan-starrer The Warrior was on a British Council tour of cities, and I told him I really liked it. Two weeks later, Irrfan landed in my office saying he wanted to work with me. I was then writing Spin, about Anil Kumble and his beautiful bond with a boy with muscular dystrophy. He said he would do it. And then, Sanjay Leela Bhansali wanted to do Kandukondein in Hindi, and we thought Irrfan could do Major Bala’s role. He sat one whole afternoon in my office discussing it. Both did not eventually work out. Then, Life of Pi happened and he became a huge star. I felt terrible that an actor came to me to work with me, and I could not use his talent. It was my ‘Sowmya’ moment. Sometimes, some stories don’t work. Due to some reason – self-doubt, being too critical, or because you’re not desperate for money because you have some other source (Rajiv has revenue from advertising). That time will never come back. Some nights I wake up in cold sweat, castigating myself for not working on something. Then, when dawn breaks, I tell myself I can never make a film I don’t believe in. Like Somerset Maugham says in The Razor’s Edge: “Death ends all things and so is the comprehensive conclusion of a story, but marriage finishes it very properly…”
Stories like Kandukondein conclude in marriage, which is a very cathartic feeling. I’ll always feel sad I never worked with Irrfan. In my book, Irrfan and Dhoni represented meritocracy in India, who rose to the heights from adversity and behaved in an exemplary fashion.
You’re also one of the few directors who’ve gone beyond Aishwarya Rai’s stunning beauty, which the camera usually captures, and peeped into the performer in her…
Meenakshi had to be beautiful and tempestuous and the Aishwarya I know from advertising is someone who is Meenakshi in many ways. I share a good equation with her thanks to some commercials we shot together, and when she had to choose between Minsara Kanavu or Iruvar for her debut, I told her to choose Mani’s film, because he was a better filmmaker, and I was making my first film. She was grateful I did not put her in a dharmasangatam (moral quandary) and when I went to her with Meenakshi, she said she would listen to her heart and told her mother to somehow fit in the film. In real life, she’s a very curious impulsive person and not the diva you see on screen. She had a normal middle-class existence. She would remember and warmly ask for Rosy, our cook, who made aapams for her when she shot for a scene in our flat for Kandukondein, and hug her. She usually stiffens when the camera rolls, and I had to keep telling her to relax and be casual. She got into that vibe very fast. Ajith, for instance, is very relaxed in front of the camera. Hurt and pain come naturally to Tabu. Each artiste has a quirk and when it goes with the character and if they get that right, the film works.
Did you expect to see the #20YearsOfKandukondeinKandukondein hashtag?
Oh no. In fact, I never expected to get this old. I can’t see myself as a 55-year-old. My father died at 41, and a doctor told me that I might take after him. I was convinced I would die at 40! Glad I’ve lived.
Several stars and celebrities from Hindi film industry will be uniting with stars from Hollywood, in a first, for a concert that aims to raise funds for the frontliners and those struggling due to the coronavirus pandemic. The concert titled ‘I For India’ is an initiative by GiveIndia Foundation, an NGO and donation platform that strives to alleviate poverty and help people through nonprofits.
After partnering with several organisations like Marico India Limited, Flipkart, Child Rights and You India, WWF India, Shadowfax India, redBus, Airbnb, MakeMyTrip, ActionAid Association, Helo Hindi, PepsiCo, NGO Sapna, UBS, Prop Tiger, makaan.com, Housing.com, Humsafar Trust, and Ashirvad Pipes to provide the poor with meals and necessities, GiveIndia has taken to the film fraternity to raise funds.
From 24 April to 1 May, the foundation announced a ‘Social For Good’ Live-athon Week which saw over 150 celebrities, singers, and musicians like Milind Soman, Mir Safir Ali, Mohan Kannan, and Kusha Kapila go live on Facebook to create awareness about the situation and raise funds while entertaining audiences. The ‘I For India’ collaborative concert set to happen on May 3 will be the grand finale to the ‘Social For Good’ Live-athon initiative.
From Hollywood, Bryan Adams, Jack Black, the Jonas Brothers, Jay Sean, Kate Bosworth, Youtuber Lilly Singh, Mick Jagger, Mindy Kaling, Russell Peters, Sophie Turner, and Will Smith will be joining the concert.
While the fundraiser is already open for donations, the four-hour-long event will stream live on Facebook on May 3 at 7.30 pm IST. Viewers can tune into the ‘Facebook App India’ page to witness the concert while also contributing their bit to GiveIndia’s ‘India COVID Response Fund’. Produced by Fountainhead MKTG, it is anticipated to be one of the biggest virtual events to take place in India. Through this, they plan on helping out more number of transwomen, migrant workers, bus drivers, and daily wagers all over India.
Ajit Mohan, Vice President and Managing Director, Facebook India said, “As a company, Facebook is committed to being an ally for India as the country fights the coronavirus outbreak. Our efforts so far have been focussed on providing access to accurate health information and supporting communities around the country. We recently launched Facebook Fundraisers, which allow people to leverage the full scale and power of the platform and their passion to direct resources to initiatives that can protect and save lives. We’re grateful to the creators, celebrities, and publishers participating in the ‘Social For Good’ Live-athon to drive the fundraisers. The ‘I for India’ concert is the grand finale of these efforts, featuring well-known artists and influencers.”
Atul Satija, CEO, GiveIndia, said, “The ‘I For India’ fundraiser concert, backed by a fabulous line up of stars, really feels like a nation coming together. Though we are isolated, we are united in our efforts to win this battle against COVID-19. We have already received tremendous support for our missions to provide humanitarian aid to those most affected by this crisis, particularly migrant workers and daily wagers. But with the concert going live on the world’s largest social media platform, it will help reach the millions of people who want to contribute to this war-like effort. We are extremely grateful to the organisers for putting their trust in us as the donation partner.”
GiveIndia is also associating with Common Roots, a social cause music festival, for spreading hope and positivity through music in these difficult times. About 25-30 performing artists would go live on Facebook and Instagram from 2 pm to 2 am, every Saturday in the month of May starting from 9th. Funds raised from these concerts will also go to the needy.
Meanwhile, the Bollywood and Hollywood industry have also been personally contributing to the various relief funds being raised. They have also been collaborating with various organisations to support the people in crisis.
May 1 marks Labour day that celebrates the working class across the world. With Taapsee Pannu starrer Thappad hitting Amazon Prime (pun unintended), ‘Thala’ Ajith turning 49 and Anushka Sharma turning 32, also today here’s a quick streaming recco to mark the beginning of May.
Thappad, 2020 – Streaming on Amazon Prime
This Taapsee starrer is about a woman who decides to file for a divorce after being slapped by her better half, as the slap leads her to realise that she wasn’t considered an equal in the relationship to begin with. The film’s biggest triumph is in showing the ways in which women are stifled, without any words ever being spoken by anyone. At least not harsh words. The lead cast Taapsee and Pavail Gulati offer striking performances as Amrita and Vikram in this Anubhav Sinhaa film.
A remake of Aniruddha Roy Chowdhury‘s blockbuster Pink, the character of Amitabh Bachchan in the original is reprised pretty much perfectly by Ajith Kumar. His innocent yet sharp countenance suit the character of the mentally disturbed lawyer with his hoarse voice adding to the impact. Given his stature, the willingness to be a part of a project that allows only for limited screen space is something he deserves appreciation for. Despite the pinch of masala to cater to his fans, this is definitely not a typical ‘Thala’ film. The H Vinoth film also starred Shraddha Srinath, Abhirami Venkatachalam, and Andrea Tariang in important roles.
In Pari, Anushka really gets into the character and owns every frame, every dialogue, giving it her all. No cheap theatrics, just plain horror and the fear of the dark giving her enough edge in this story about a demon-child in this big, bad, regular world of humans. This Prosit Roy film, in my opinion, joins the league of a section of selected Indian horror-psychological thrillers that don’t beat around the bush. Also, unlike most Indian horror films with garish makeup and loud scenes, Pari relies a lot on sound making it stand out.
The perfect film that portrays the reality of workers – how they’re manipulated. It is about how indigenous tribes whose daily bread comes through plantation crops, turn out to be in jobs that are completely off their track. The slow-paced Lenin Bharathi film has Isaignani Ilayaraaja to bring in the right amount of emotion required right through.
On Thursday evening, renowned Indian-American filmmaker Mira Nair among several other international filmmakers decided to jump on the #Ask bandwagon tying up with ARRAY, an independent international film distribution and resource collective founded by American filmmaker Ava DuVernay.
The trend which is all the rage, especially during this lockdown, allows Twitterati to tweet out questions whilst tagging their favourite filmmakers and the hashtag ‘ARRAYNow’, who will then answer it for. The initiative called ‘Filmmaker Tweet-a-thon’ also managed to acquire a custom emoji for its hashtag, the classic film camera.
The list of filmmakers apart from Mira included Guillermo del Toro, Lulu Wang, Alma Har’el, Malcolm D Lee, Patty Jenkins, Julie Dash, Robert Townsend, Patricia Cardoso, Nisha Ganatra, Michael Schultz, Yance Ford, Lisa France, Radha Blank, Roger Ross Williams, Chris Eyre, and several others.
Today is the day! Welcome to @ARRAYNow’s Film Fellowship.
60+ film directors tweet directly with filmlovers all day!
All your q’s about movies. Answered by the folks who make them. Use hashtag #ARRAYNow.
Mira started by picking questions that were about her craft, her choices, and takeaways from being the wonderful filmmaker that she is today. She seems to look out for challenges and turn them into opportunities instead of walking away when denied something. She believes that there is no single element that helps a script move forward.”Every script should bind in layers – never just one thing – humor, loss, desire – it all comes together so long as there is purity of intention,” she said.
Instead of beating around the bush, she was crisp and straightforward with advice for first-time directors. “Learn your craft. Prepare to be lonely. Cultivate stamina,” she said. She follows the advice of her Bengali sitar teacher, everybody should focus their energies on one thing deep down. While the Salaam Bombay director prefers the synergy of truth and visual story-telling on screen, she does not prefer going back to her films and amending it. “You can’t step in the same river twice,” she said.
Mira mentioned that she keeps herself constantly updated with nature and politics, thereby staying ‘sick’ with the ‘disease’ of filmmaking. The filmmaker who debuted in the industry with her documentary Jama Masjid Street Journal, added that the inspiration to get into the industry came from not being able to see people like herself on screen. With yoga and love by her side, she mentioned that she would make films that only she could make.
Actor Irrfan Khan, who passed away a few days back, was known for his exceptional performance as Ashoke Ganguli in Mira’s TheNamesake. When asked about how she decided to cast the actor for the role, she replied by saying she owed him a lot for cutting down his screen time in her first, Salaam Bombay. Actor Vipin Sharma also pulled her leg by saying she forced the cast and crew of The Namesake to practice yoga, early in the morning.
To end, she revealed that her next, Monsoon Wedding The Musical, will hit London in July 2021. She also added that she is picture locking (a process in editing) her other film, A Suitable Boy, and bid goodbye to her fans.
Ok cutie pies I’m off to soldier on with our great craft. Locking picture on my new #ASuitableBoy today! Thank you #ARRAYNow – keep on keeping on
I hate RIP posts. And I don’t do tributes. But the collective outpouring of grief for Irrfan Khan on social media struck me as real. I felt Indians – the fakest race in the universe – were actually mourning a personal loss. It felt real maybe because he was a talent of such proportions, an artist about whom there could be no two opinions, he ended up uniting us, if briefly. Or maybe because of what everyone is going through right now, his demise made us realise, yet again, our own vulnerability.
Somehow, an actor’s passing getting this kind of intense national attention, especially at a time like this, didn’t seem too wrong to me. But this tribute, if you can call it that, is for Rishi Kapoor.
Many will disagree with me, call me names even, but, in my opinion, Rishi Kapoor was no less a talent than Irrfan. There. I said it.
If Irrfan Khan’s monster talent lay in doing the different things he did like no one else could, making it all utterly believable, effortless, Rishi Kapoor’s talent was the precise opposite. In the ’70s and ’80s, Rishi Kapoor did the same thing – wearing colourful sweaters and dancing with yet another new heroine — in breezy musicals, again and again, and again, and made that look effortless. And, harder still, believable.
While Vinod Khanna refused to allow Bachchan to be the One-Man-Film-Industry he so desperately wanted to be, little Chintu Baba, doing three shifts a day, sang and danced his way – through the gaps between the legs of these two towering men’s men – straight into the hearts of anyone who wanted a little less angst and a little more romance.
He was, is, and will be the brightest light from the Kapoor Film Factory. Shashi may have been by far the loveliest, Shammi had his divine lunacy, and Raj the pencil-moustache showmanship, but, boy oh boy, Rishi was without doubt not just the best actor among them, but one of the finest practitioners ever of Commercial Indian Film Thesping, if there is such a thing.
Let’s take Saagar, for example, where Kapoor is pitted against the terrifyingly scenery-gobbling Kamal Haasan.
Watch Kapoor’s reactions of mild indulgence coupled with that I-know-there-is-a-little-more-to-this-than-is-being-let-on look on his face in ‘Sach Mere Yaar Hai’, that Bollywood song-staple where hero mouths lyrics, the glaringly obvious import of which only he and one other person (Nadira aka Miss Joseph, in this case) get in a crowd of clueless supporting actors and extras.
Or look at him in the scene where he confronts his grandmother (played by Madhur Jaffrey) and tells her: ‘My life may be in your hands but my death sure isn’t.’
Watch him again in Hum Kisise Kam Nahin, Amar Akbar Anthony, Jhoota Kahin Ka, Karz, or anything from the ’70s and early ’80s.
See what he brought to his performances.
If you are not convinced like I am that what he did in the ‘70s and ‘80s is enough evidence of his effortless ease as an actor, try his performances from his second coming, starting with Luck By Chance and Agneepath to Do Dooni Char, Kapoor & Sons and Mulk. Or D Day, perhaps, where he shares screen space with the always mesmerizing Irrfan Khan. Not bad, eh?
Rishi Kapoor, you will continue dancing forever on that giant LP in the hearts of anyone who grew up in the ’70s.
Pikchar With Rita is a fortnightly column on cinema by Rita Kothari. She’s a Professor of English at Ashoka University. She does not “do” film studies.
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Some days ago, when it seemed too purposeless to do anything for yet another time, I went into the kitchen armed with songs of Kishore Kumar. His voice infused into the chores a lyricism that I can seldom resist. One particular song stood out, ‘Tere bina jiya jaye na..’ which translates as ‘[Simply] can’t live without you…’ I had heard this song several times in Lata Mangeshkar’s voice; but it was different listening to Kishore Kumar.
A grainy image from a distant past appeared before my eyes when as an eight-year-old I must have spotted the poster of the film Ghar, with Rekha in a saree that went around her bun and the pencil-thin eyebrows which in the subsequent years became thick and prominent, adding to the Rekha trademark beauty. The film was rated “A” when it appeared, and so clearly did not form a part of childhood staple. The notes of this song buzzed in my head through the day and the film drew me to itself. It may not generally be advisable to watch films of all the songs we like, the visual effect can be quite staggering and ruin the songs for us for the rest of our lives. But with this one, I was willing to take chances, with the added testimony provided by the duo RD Burman and Gulzar, who collaborated in good films and created immortal songs. Also, in one of her most disarming and straightforward interviews Rekha mentioned how she was always surprised to receive the praise she had, for she had not thought of herself as a great actor. Ghar, she mentioned, was exceptional.
The Lata Mangeshkar version of ‘Tere Bina Jiya jaaye na…’ plays in the film as Arti (played by Rekha) visits every nook and corner of home picking up lingering traces of passion-filled nights. Evocatively the song says, ‘Jab Bhi Khayaalon Mein Tuu Aaye/Mere Badan Se Kushbuu Aaye/Mehake Badan Mein Raha Na Jaaye’, which translates as ‘Whenever you enter the thoughts, my body gives out a fragrance, and the fragrant body is hard to live with.’ This is intense desire in a married couple that finds hard to have a dwelling in which love-making could find its full expression. The sensuality of the soft nights has been witnessed by the walls of the modest and rented home that they have finally managed to find. This ghar, or home, and this song with an aching longing, stay in the film as a background score against which little things happen.
The legitimacy of love-making (even) in a married couple is sometimes suspect in India; watched now by the police, now the joint family and neighbours. But the notes of haunting songs take the spectator through these surveilling hurdles with a promise of an intimacy that seethes quietly. However, when an enormous tragedy strikes their life and Arti is raped by four drunken men on the street, the texture of home and desire and relationship changes.
Ghar is one of the early films about rape, and one that focuses upon the afterlife both of fulfillment and ruptures in marriage. This may also explain why the film has gone unnoticed for it was doing the harder job in Hindi cinema; the job of dwelling slowly, of lingering, of an unhurried pace and unresolved ends. When the relationship is corroded, gestures second-guessed the notes grow faint, for Ghar manages to show the sheer difficulty of being normal with a traumatised self and body.
The Kishore Kumar version I heard plays at the end of the film, the last sequence, when Arti is found at the railway station and has not taken a train to leave Vikas, while he has not stayed home and let her go, instead run helter-skelter to bring her back. The song ‘Tere bina jiya jaye na…’ plays again, but evokes an ache to belong and own, and the voice of desire is now a voice of brokenness. This version is played against the clamour of a railway platform, for it is not about the longing of the body, but of the soul and this longing has survived the brokenness. It evokes far more solitude in the street than the one experienced at home, in the ghar. As we come to the end of this rumination, it is to remember the not-remembered films that slipped through cracks and take chances on tracing the song to the film. May melody unlock you.
The constant need for updates from big stars’ films, especially those of actors Ajith and Vijay, is by now a common occurrence in the Tamil film industry. Fans trend to start a hashtag on Twitter, comment on every post of the production house or the cast and crew of the film, or jump to their own baseless conclusions with the titbits they gather. If the lead actor’s birthday is approaching, then fans go haywire with tweets, repeated posts of common DPs (Display profiles), video and poster tributes, and queries about the film on social media.
Likewise, with actor Ajith’s birthday approaching, fans have already begun celebrations by trending the hashtag ‘Valimai’, his upcoming film with director H Vinoth, bankrolled by Boney Kapoor‘s Bay View Projects and Zee Studios, among several other hashtags.
While Boney Kapoor refrained from responding to fans all these days, on Thursday morning the director put out a statement announcing that his production house will not engage in any promotional activity until the coronavirus pandemic comes to an end. Though the statement, put out in Tamil, Hindi, Telugu, and English was meant for all three of his upcoming films – Maidaan, Vakeel Saaband Valimai, it was quite obvious who it was aimed for.
While the statement has left fans slightly disappointed, it hasn’t dampened the spirits of those who have been awaiting the actor’s birthday for more than a week. They had earlier brought in about 14 celebrities from the industry including Hansika Motwani, Yashika Aannand, and Shanthanu Bhagyaraj to release the ‘Common DP’ for the big day and have replaced all of their profile pictures with the photo.
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Recently, the actor had also announced that he does not want any celebrations on his birthday. Adhering to his words, fans have decided to limit their celebrations to social media only.
Got a request frm #Thala Ajith sirs’ office that he req personally not to release any CDP¬ to celebrate his bday during dis pandemic!
I Respect his request,
the ‘Gentleman’ that he is💛✊
Nevertheless,we will all def wish him on his bday&personally celebrate 😊💛 https://t.co/AEGgqk4aOX
— Shanthnu 🌟 ஷாந்தனு Buddy (@imKBRshanthnu) April 26, 2020
Valimai marks the 60th film of ‘Thala’ as fans fondly call him. It is the second collaboration of the actor-producer-director after the 2019 drama hit Nerkonda Paarvai, the official remake of Aniruddha Roy Chowdhury‘s Pink. The team recently completed the second schedule of the film before the lockdown where the star is believed to have been injuried after a stunt sequence. They will next head to Hyderabad for the third schedule.
Recently, rumours were rife that Yami Gautam will be seen playing the female lead in the film. Although, there is no official confirmation yet.
Ajith Kumar will be seen donning the cop uniform in Valimai once again after Gautham Menon’s Yennai Arindhaal. It is reported that the actor will have a makeover and will not sport his now famous salt and pepper hairdo. The movie will have music by Yuvan Shankar Raja and cinematography by Nirav Shah.
Veteran actor Rishi Kapoor passed away this morning in Mumbai succumbing to Leukemia after a two-year-long struggle. The 67-year-old actor who made his debut as a lead actor with Bobby in 1973 alongside Dimple Kapadia was admitted to the HN Reliance hospital on Wednesday morning after his health had reportedly deteriorated.
In 2018, the actor fondly referred to as ‘Chintu’, was diagnosed with cancer and went to New York for his treatment. In September 2019, he returned to Mumbai after reportedly recovering from the same.
The news broke on Thursday morning with a tweet by his 102 Not Out costar Amitabh Bachchan. The tweet read, “T 3517 – He’s GONE .. ! Rishi Kapoor .. gone .. just passed away .. I am destroyed !”. Although, Bachchan deleted the tweet after a while.
The actor’s family – Neetu Kapoor, Ranbir Kapoor and Riddhima Kapoor Sahani, also confirmed the same with a note about how the actor always kept the people around him happy even while he was struggling.
“Our dear Rishi Kapoor passed away peacefully at 8.45 am IST in hospital today after a two-year battle with leukemia. The doctors and medical staff said he kept them entertained to the last.
He remained jovial and determined to live to the fullest right through two years of treatment across two continents. Family, friends, food, and films remained his focus and everyone who met him during this time was amazed at how he did not let his illness get the better of him.
He was grateful for the love of his fans that poured in from the world over. In his passing, they would all understand that he would like to be remembered with a smile and not with tears.
In this hour of personal loss, we also recognise the world is going through a very difficult and troubled time. There are numerous restrictions around movement and gathering in public. We would like to request all his fans and well-wishers and friends of the family to please respect the laws that are in force,” read the note.
The Indian film industry and several other personalities, shocked by the news, have been pouring out their emotions through obituary tributes.
Multifaceted, endearing and lively…this was Rishi Kapoor Ji. He was a powerhouse of talent. I will always recall our interactions, even on social media. He was passionate about films and India’s progress. Anguished by his demise. Condolences to his family and fans. Om Shanti.
This is a terrible week for Indian cinema, with the passing of another legend, actor Rishi Kapoor. A wonderful actor, with a huge fan following across generations, he will be greatly missed. My condolences to his family, friends & fans all over the world, at this time of grief.
Cant believe it. Chintu ji @chintskap. (Mr.Rishi Kapoor) was always ready with a smile. We had mutual love and respect. Will miss my friend. My heartfelt condolence to the family.
Grief-stricken by the demise of the charismatic actor Rishi Kapoor ji . A Versatile Performer… who I always admired . An actor from a legendary family entertaining us for decades gone too soon . Condolences to the entire family . RIP . #Rishikapoorpic.twitter.com/Q0EbEXADZm
This is unreal and unbelievable. Yesterday Irrfan Khan and today Rishi Kapoor ji. It’s hard to accept this as a legend passes away today. My condolences to the family and may his soul rest in peace 😟💔
One blow after another. Rishi ji’s passing away is nothing short of a stab to my heart. We associated in Raju Chacha (2000) and stayed in touch through…until now. Condolences to Neetuji, Ranbir, Riddhima & Dabbooji 🙏
#RishiKapoor से ज़्यादा ज़िंदादिल, बेबाक़,ज़ोर ज़ोर से ठहाके लगाने वाला,एक बच्चे जैसी जिज्ञासा रखने वाला मैंने अपनी ज़िंदगी में कभी नहीं देखा।भगवान ने उनका साँचा बनाकर तोड़ दिया था।दुख इतना गहरा है, आँसू निकल ही नहीं रहे।NY में उनके साथ आख़िरी वीडियो।आप हमेशा रहोगे।Hello!Hello!🙏 pic.twitter.com/OxfH7nvWbL
Been trying to write something n I can’t put my mind n hands in sync. More like the heart in between is just not able to comprehend this. That laugh, that sense of humour, the honesty and even the bully he was , will be missed. No one like you #RishiKapoor
With tears in my eyes I bid this adieu..to an actor who played my brother,father n also my hero eventually..whose songs I grew up loving n dancing to..my most favourite n versatile actor..what a pity never got to meet him after his return n now never will
RIP Rishi kapoor 🙏🏼
You will always be in our hearts sir. Your charm your warmth and your unforgettable performances will give light to us all in the darkest moments. Deepest condolences to Neetuji , Ranbir and the entire family. pic.twitter.com/QsLYZ9ee0B
Kya kahun? Kya likhu kuch samajh mein nahi aaraha hai.Rishi ji ke nidhan se mujhe bahut dukh ho raha hai.Unke jaane se film industry ki bahut haani hui hai. Ye dukh sehena mere liye bahut mushkil hai.Bhagwan unki aatma ko shanti pradan karein.
No no no no …. this is not happening …!! This is sad …………… … very very very very very sad…!!! 🙈…. I’m shocked beyond words …..!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Rishi was also seen as a child actor in films such as Mera Naam Joker, his debut for which he received a National award, and Shree 420. The son of legendary actor Raj Kapoor was last seen in Malayalam director Jeethu Joseph‘s 2019 mystery-thriller The Body alongside Emraan Hashmi. In January, the actor was shooting for Hitesh Bhatia’s Sharmaji Namkeen costarring Juhi Chawla.
so devastated and heartbroken again💔The man of love laughter & joy a symbol of humanity and dignity a gentleman of complete integrity such an honor to know you closely and learning about life,you are a true https://t.co/8DDAVeyn5t will be missed Largely #RishiKapoor🙏Respect❤️ pic.twitter.com/DHRxyeBzwO
On Tuesday evening, Vaibhav starrer RK Nagar finally saw a direct release on the OTT platform, Netflix. The long-delayed film helmed by Vadacurry fame Saravana Ranjan was supposed to hit screens about a year back but could not, owing to several financial constraints.
The film had earlier premiered on Netflix, its digital partner, before it hit screens, but was removed within 6 hours stating that a misunderstanding had occurred. But to their dismay, the infamous Tamilrockers website had already uploaded the film on their site, making it available to audiences.
The non-political film, as the makers claim it to be, features four narratives with commercial elements weaved in. Venkatesh S has handled the camera, editing is by Praveen KL, music is by actor Premgi Amaren and art is by Videsh. Don Ashok has choreographed stunt with Kalyan choreographing dance. Vasuki Bhaskar has designed the costumes for the film.
Amidst the ongoing issue regarding the direct release of Jyotika starrer Ponmagal Vandhal on the OTT, the release of RK Nagar has left audiences furious. While the Tamil Nadu Theatre and Multiplex Owners Association have not opposed the direct release of the latter, film buffs are curious to find out why the former isn’t being supported.
The association had stated a few days back that they would not release the films of actor Suriya or his home banner 2D Entertainment, that has bankrolled Ponmagal Vandhal, hereafter because of their refusal to comply with the appeal made by the association to release it in theatres first.
While support has been pouring in for Suriya and the film, there hasn’t been a response from the Tamil Nadu Theatre and Multiplex Owners Association to the issue. Several producers have also requested all film associations to support the decisions taken by small producers in order to help the industry grow.
Recently, the Madras High Court had issued an interim order against the streaming of Sivakarthikeyan starrer Hero on the digital platform, Amazon Prime Video.
The PS Mithran film that has been embroiled in controversy for a while now owing to similarities with the script of writer Bosco Prabhu, has been removed from the platform for a period of six months starting April 10, 2020. The court had announced that the film will be back for viewing once the case was resolved. In addition to this, the film has also been banned from satellite telecast. However, if the film is broadcast on television, it will need to include Bosco Prabhu’s name under the ‘Written By’ card.
The latest is that the court has suspended the interim order issued for the removal of the film from the platform. The 2-judge bench has asked the producer, Kotapadi J Rajesh of KJR Studios, to deposit a sum of Rs. 10 lakhs and give accounts for the income from Amazon Prime in a sealed cover.
This comes as a result of director PS Mithran filing an appeal against a single judge order restraining the streaming of the film on OTT platforms. The case which has been going on since December 2019, will next be heard on June 3, 2020.
Hero is an action-thriller that speaks of the business of education and the destruction of intellectual property. It saw Sivakarthikeyan playing the role of a superhero with Kalyani Priyadarshan, Arjun Sarja, Naachiyaar fame Ivana, Robo Shankar, and Abhay Deol in important roles.
Grief has been on my mind now for a while. How can it not, we are surrounded by it, locked up. Separated from loved ones. Trying to get used to a new normal where the things we took for granted — a stroll, the dipping of our feet in the cold water at a beach, the warmth of a hug from a loved one — they all seem out of grasp now.
Not just now, over some years, I have been trying to wrap my head around grief. The idea of it. Its constant presence. The ways in which to deal with it. And the manner in which it reminds me of my own mortality. It has not been pleasant.
When I heard the news of Irrfan Khan’s passing, and I looked at the pictures people shared of him, I expected to feel that familiar ache, once again reminded that the end comes and it comes for some sooner than later. I went back and read what Khan had written when he was unwell, and when he was coming back to India after treatment. Both, the pictures people shared and Irrfan’s own messages, surprisingly, released me even if briefly from the grief I have come to recognise as a constant in my life.
Mortality, when it strikes at someone who hasn’t lived a ‘full life’, as we call it, can have a dreadful effect on others. But what is the measure of a full life?
Not all of our stories have to be nor will they be the same. Some stories have different endings. That does not have to mean that they are not full. They are full in their own way. And Irrfan Khan exemplifies this fullness.
Khan is gone too soon, no doubt, but it in no manner diminishes the time he was here. His command over his craft; his ability to make us want to know more about the men he played, his laughter, the dard his eyes seemed to carry, even as his lips laughed, giving him that wordly wise look, like he has been here for longer, he has seen much… All of these he leaves behind. All of these remain, despite him not being here. Is this perhaps why great actors are so big in our societies? Is this why cinema holds such a sway over us?
If it is, then Irrfan Khan exists as so many men. And in many of the movies, in his iconic roles, he’s processing grief of some sort. Or helping someone process it. That dard.
As Ashoke Ganguly in Namesake who takes his son on a journey, where there is nowhere left to go. When they forget the camera, he says, “You will just have to remember this”. For those of us who are not lucky enough to be immortalised in cinema, there’s the comfort of a loves one’s memories.
As Saajan Fernandes in Lunchbox, showing us grace in solitude. And grace in company too. As he stands alone in his balcony, smoking, and drinking, in the quiet of the evening, watching the family across the road, sitting around a dining table and eating. And then he returns the friendly wave of the girl from the table, before going back to his drink.
But it would be an injustice to the many other Irrfans of our screens to stop here. Even if these seem to overwhelmingly, somehow, represent the actor he was and what he meant to so many of us.
He was just as incredible, for instance, as Rana in Piku and the chemistry between the two actors remains somewhat of a mystery, otherworldly, even now. Their eyes did the talking in the film, there was really no need for words. (Except of course for making scatological jokes.)
It was a similar chemistry in Qarib Qarib Single as well, in which he played Yogi. An utterly underrated romantic comedy that was all charm, and all fun. (Speaking of charm and fun, who can not love the Irrfan-Konkana track in Life in a… Metro? Irrfan was Monty.)
And as Miyaan, the man overcome by guilt in Vishal Bhardwaj’s Maqbool, imagining almost the resurrection of a dead man. If you needed a man who was hiding a secret, who better than Irrfan? But also if you needed one fighting guilt, who better?
Working with directors Ang Lee and Wes Anderson, Irrfan made sure his talent did not go unnoticed internationally, either. His Inferno costar Tom Hanks, said, “Here’s what I hate about Irrfan Khan… I always think I’m the coolest guy in the room, and everybody’s hanging on to every word I say and everybody’s a little intimidated to be in my presence. And then Irrfan Khan walks into the room. And he’s the coolest guy in the room. And everybody’s intimidated to be in his presence and everybody’s hanging on to his every word.”
Born as Sahabzade Irfan Ali Khan in Rajasthan to Saeeda Begum Khan (who recently passed away) and Yaseen Ali Khan, Irrfan nursed dreams of playing cricket as a young boy. In the late 80s he joined the prestigious National School of Drama, when his cricketing dreams were not to be.
Acting in television and in cinema through the late 80s and 90s (Kamla Ki Maut and Salaam Bombay! being the highlights), Khan kept showing up to work, until it became impossible for the world to stop on its tracks and notice him.
When in the late 2000s Namesake and Life in a… Metro came finally, Irrfan was on his way to becoming in some sense, as Kareena Kapoor once said famously, the biggest Khans of them all in Bollywood. On the way he picked up a national award for acting, and a Padma Shri.
His last film was Angrezi Medium in which Kapoor co-starred.
Khan is survived by his spouse, writer Sutapa (who was also his classmate at NSD) and two children.
Actor Irrfan Khan passed away today, fighting a colon infection in Mumbai’s Kokilaben Hospital. The actor had been unwell for atleast two years. In 2018, news of a rare neuro endocrine tumour came, and Irrfan headed to the UK for treatment. He acted only in Angrezi Medium, a sequel to Hindi Medium, over the last two years.
The actor, who spent time away from limelight, undergoing treatment, sent out a message in 2019 about his health.
A spokesperson for Irrfan’s family released the following statement:
““i trust, i have surrendered”; These were the some of the many words that Irrfan expressed in a heart felt note he wrote in 2018 opening up about his fight with cancer. And a man of few words and an actor of silent expressions with his deep eyes and his memorable actions on screen. It’s saddening that this day, we have to bring forward the news of him passing away. Irrfan was a strong soul, someone who fought till the very end and always inspired everyone who came close to him. After having been struck by lightning in 2018 with the news of a rare cancer, he took life soon after as it came and he fought the many battles that came with it. Surrounded by his love, his family for whom he most cared about, he left for heaven abode, leaving behind truly a legacy of his own. We all pray and hope that he is at peace. And to resonate and part with his words he had said, “As if I was tasting life for the first time, the magical side of it”.
Condolences have been pouring in from his friends, colleagues from the film fraternity as well as fans.
My dear friend Irfaan. You fought and fought and fought. I will always be proud of you.. we shall meet again.. condolences to Sutapa and Babil.. you too fought, Sutapa you gave everything possible in this fight. Peace and Om shanti. Irfaan Khan salute.
When we thought nothing could make us feel worse,this happened. I think I will refuse to believe you are no more by watching all your work time n again n again n again. I have known you that way n shall continue to know you that way for ever. You ARE the best we have #IrrfanKhan
T 3516 – .. just getting news of the passing of Irfaan Khan .. this is a most disturbing and sad news .. 🙏
An incredible talent .. a gracious colleague .. a prolific contributor to the World of Cinema .. left us too soon .. creating a huge vacuum ..
Prayers and duas 🙏
I’m sorry to hear about the passing of Irrfan Khan. A versatile & talented actor, he was a popular Indian brand ambassador on the global film & tv stage. He will be greatly missed. My condolences to his family, friends & fans at this time of grief.
Thank you for those indelible movie memories….thank you for raising the bar as an artist …thank you for enriching our Cinema….we will miss you terribly Irrfan but will always always be immensely grateful for your presence in our lives…..our cinema….we salute you🙏❤️😪
Movie: Server Sundaram
Song Name: Avalukenna
Singer: T. M. Soundararajan, L. R. Eswari
Lyrics: Vaali
Release Date: 11th December 1964
Music: Viswanathan–Ramamoorthy
Starring Kamal Haasan, Jayaprada, Geetha, Sarath Babu, S. P. Sailaja, Chakri Toleti
Directed by K. Viswanath
Produced by Edida Nageshwara Rao
Music composed by Ilaiyaraaja
Release Date: 3rd June 1983
At what point in history did man think of enslaving another man? At what point in human history did the suffering of a man become a matter of joy for another man? Several theories have explained this. But liberation? These theories have never been fully able to explain the dynamics of the liberation of a human mind. It is poetry in which we find the answers to these questions. Why, where most theories fail does poetry succeeds? Perhaps, because it is the only act of the human mind that elevates our feelings and ability to reason at the same time.
Fandry is a Marathi film, directed by Nagraj Manjule, who is also a distinguished poet. The film was a sensation, well-received by audiences as well as critics when it released in 2014 in India, after receiving applause across the globe, in 2013. Today, Fandry is hailed as a benchmark in Marathi cinema. In fact, the Marathi cinema I grew up watching seems so immature, compared to Fandry. What makes this movie so distinguished? Each frame is poetic, each emotion in it reflects the poetry of life.
The movie is the story of Jabya’s (Jambuwant Kacharu Mane) pursuit of knowledge, love, and his dream. Belonging to the Kaikadi (ex-untouchable) caste, Jabya stays with his family in the fringe of a village. Despite the hardships his family faces, the struggles to meet ends, working at a construction site, weaving baskets, catching pigs, Jabya is eager to attend school, partly to see Shalu, a girl from a dominant caste.
But he is very cautious of the society he lives in. So here is Jabya, sitting in school. Out of the window from the classroom, he sees his mother and sister collecting wood to use as fuel for cooking. He looks at them and feels insecure and ashamed. But in the next moment, he glances furtively at Shalu, who sits a few benches ahead of him in his side row; he feels innocently rejuvenated; he blushes. In what society is a son is made to feel ashamed of his mother and sister who are Dalits, and made to forget his harsh life in an infatuation towards a dominant-caste girl? The answer lies in the subtext of this scene: mother-sister= humiliation, insecurity, shame; savarana woman= rejuvenation, aspiration, desire. If someone argues that at his age, love has no boundaries and sees no caste while desiring someone, then another haunting question arises. Where does the feeling of shame towards his hard-working sister and mother come into him, as he sees them in the school premises? This is the dilemma of a Dalit man in a caste society. He is made to hate everything which is his. He is made to aspire for things and ideas, constructed for him by brahmins. He is an inevitable part of this dilemma, this abnormal condition. While being a part of this abnormalcy, he also desires to live his dreams at the fullest.
Jabya does his homework on time, despite the fact that he has to bunk a few classes to work alongside his family, and has no lights in his home. His handwriting is elegant, his thought process is poetic when he writes a letter to Shalu. Jabya is a dreamer. But the caste society is a formidable force, as it forces him to do his caste-work, to catch pigs, which he rejects. Therefore, at least in his dream, he must be consoled. This is the law of nature. You must find consolation in order to desire, and have which you can not have in real life. Here, a black sparrow comes into his life. Chankya, the owner of a cycle repair shop whose wife left him and now empathises with Jabya for his ‘love’ for Shalu, tells Jabya that if he catches a black sparrow, burns her and throws her ashes on Shalu, then Shalu will become his. This is a myth; but it is the only way to break the boundaries of caste between Jabya and Shalu. If a Dalit man follows the myth, his wishes will be fulfilled; his wishes, fundamentally defined by caste society. In pursuit of myth, his own reality is compromised and made secondary.
Jabya lives a dual life; one real, surrounded by the abnormalcy of caste; another surreal, in which he is free, loving, and being loved, and in which his dream is seemingly possible. From time to time, his surreal life is interrupted by his real life.
During the yearly religious procession (Jatra) in the village, Jabya dresses in new clothes, and is happy that he gets to see Shalu in it. He and his friend Pirya (also Dalit), enthusiastically participate in the dance alongside people of all castes, partly to impress Shalu who is looking at the dancers from the top of a nearby building. Jabya is thrilled to see her. Chankya also starts dancing with the crowd, lifts Jabya on his shoulder so that Jabya can have a clear glimpse of Shalu. At that moment, he is living a free life, celebrating it. But then his father, Kacharu, calls him and makes him carry the gasoline light on his head, to provide light to the procession. At this moment, from celebrating life, he is pushed to darkness, ironically by the act of carrying the light on his head. The gasoline light is a metaphor for the ‘burden of the society’ on a Dalit man. Light is there, but not for him. He cries, and he hates himself. The rage is being slowly built in his mind.
By the end of the procession, a pig (the ‘Fandry’) passes by the religious chariot, and the chariot falls. It is considered inauspicious. Jabya’s father is summoned by the Patil of the villages and ordered to take care (kill) of the pig at the earliest. Being old and having trouble with his knees, his father is unable to catch the pig himself. So he pushes all of his family, including Jabya to catch the pig the next morning. Jabya is ashamed to catch it as it is just next to his school where he would expose himself doing this job, considered as ‘dirty’ and ‘polluting’ by the villagers. Yet, his father’s temper makes him participate in it. Then he thinks of Shalu, he sees her and he looks for a place to hide. He can not afford to appear doing this ‘dirty’ job in front of her. He keeps on hiding and at one moment, he sees a black sparrow, his dream, hanging on to a wall. He cautiously moves his hand to catch a stone, but then his father hastily appears. Seeing him idle, he beats Jabya in front of all the village, gathered to see his entire family catching the pig, and making fun of this.
Somehow, the pig is caught, tied to a wooden pole, and is being carried outside the village. But on the way, his mother and sisters are teased by upper caste men of the village. They mock Jabya and his family. They even despise his family for the ‘smell’ they have. Jabya loses his mind. Relentlessly, he starts pelting stones at the upper caste men. One of them is injured and comes back to retaliate. Being unable to face constant humiliation, instead of backing off, Jabya determines to carry a bigger stone, and with all energy in his body, he throws at an upper-caste man who comes towards him to retaliate. The stone fills the entire screen and everything becomes black. Silent. This is the climax.
Many critics consider this as a stone, thrown at the caste system. True, but Fandry is not only about assertion. It is also the journey of a Dalit boy towards his dream and aspirations, which is made impossible by society. Fandry is also a normal, beautiful dream begotten in this abnormal, ugly society of castes. And Jabya is not a protagonist only when he pelts stones at upper-caste men. Jabya lives a life before pelting the stone, and Jabya will definitely have a life after asserting against caste-goons. Jabya dreams, smiles, writes, works, studies, loves, and stands up for himself. The violent reaction which is the climax of the movie is a metaphor, a prerequisite for his liberation in a caste society. If we assume this scene of assertion as the only purpose of a Dalit man, then we will make the mistake of reducing him to be a mere stand-in for assertion. Look at Jabya, at least in four scenes/frames he is shown with pen and letter, amidst words, writing his mind, writing about love, perhaps thinking of poetry. If we forget the Jabya who writes Shalu a graceful love letter that is never delivered, then we will end up seeing only one aspect of the story.
Fandry is poetry; we will need time to understand it; because in the truest sense, it is a requiem for life which we have long ago ceased to live, share, and appreciate.
Recently, it was confirmed that Jyotika starrer Ponmagal Vadhal will be directly hitting the Over-The-Top (OTT) platform, Amazon Prime, without seeing a theatrical release. This decision came in the light of financial constraints of the makers, Suriya‘s 2D Entertainment, and for the simple reason that it would not be allotted enough screens once the lockdown ends and theatres open up, given the number of big-budget films that are awaiting a release.
The confirmation came through a video statement from the General Secretary of the Tamil Nadu Theatre and Multiplex Owners Association, R Panneer Selvam. He announced that the association has decided to not release any film involving actor Suriya or his home production banner 2D Entertainment hereafter, after its appeal to the production house to release the film in theatres before making its digital debut went unheeded.
While the first to react to the video were fans who were also concerned about the bigger releases of the year, a group of producers from down South followed with a statement supporting the decision taken by 2D Entertainment.
A statement from 30+ film producers supporting the direct release of small and medium budget films on the #OTT platform.
They have also requested all film related associations to extend their cooperation and to not take decisions that would hamper the business of any producer. pic.twitter.com/7gbytMGtDq
They said that it is in the hands of the producer to decide where a film should be released and it is the duty of other film-related associations to support the decision made instead of opposing it vehemently. They also added that in difficult times like these, it is better for such small budget and medium budget films to hit the digital platform directly instead of struggling for screens in theatres.
They also listed out the benefits of the OTT platform and mentioned how other industries are welcoming the change to help investors who chip in a great deal of money. “Already film producers in Hindi, Telugu and other languages are trying to sell their films for direct OTT premiere in order to somehow recover their investment. If small and medium budget films get premiered through OTT, the number of such films waiting to release in theatres shall reduce. The other films can release properly too. Like that there are so many benefits we can enjoy by allowing the OTT premiere of small-medium budget films and hence this step by OTT players must be welcomed by all of us. We must request OTT players to acquire many small and medium budget films, which are struggling to release or stuck due to this lockdown(sic),” read the statement.
Premier Alert 📢 : First Tamil feature film to get a Direct OTT release, #PonMagalVandhal (Tamil) streaming rights bagged by @PrimeVideoIN. Streaming from 1st week of May.
It added, “We also request that, once this lockdown due to Corona is lifted, all the stakeholders and office bearers of all associations must meet, discuss and arrive at a feasible solution for all the issues before us, including on OTT release of new films, for the benefit and welfare of the Tamil film industry.”
It is noteworthy that JSK Sathish Kumar, who is also a part of the list of producers, had tweeted prior to the release of the statement that he supports the decision taken by 2D Entertainment. Rajasekar Pandian had thanked him for the same.
Ponmagal Vandhal helmed by debutant JJ Fredrick is reportedly about Jyotika’s character’s revenge on the perpetrators of some sort of wrongdoing. It was to hit the screens on March 27 but was postponed indefinitely due to the coronavirus outbreak that has caused the shutting down of theatres. The 4-crore budget thriller is believed to have been sold to the digital platform for a sum of Rs. 9 crores, becoming one of the few films to book high profits through the digital medium.
The songs of the film are being launched online, after the audio launch of the film was cancelled. ‘Vaa Chellam’ by Brinda Sivakumar, ‘Vaan Thooralgal’ by Chinmayi, and ‘Kalaigiradhey Kanave’ by Govind Vasantha have dropped so far.
Listen to the most recent ‘Kalaigiradhey Kanave’ here: