Asuraguru Cast & Crew:
Cast: Vikram Prabhu, Mahima Nambiar, Yogi Babu, Manobala, Subbaraju
Director: A Raajdheep
Music: Ganesh Raghavendra
Producer: JSB Sathish
Banner: JSB Film Studios
Label: TrendMusic
Asuraguru Cast & Crew:
Cast: Vikram Prabhu, Mahima Nambiar, Yogi Babu, Manobala, Subbaraju
Director: A Raajdheep
Music: Ganesh Raghavendra
Producer: JSB Sathish
Banner: JSB Film Studios
Label: TrendMusic
Tamil cinema has come a long way since its inception. The industry has transitioned from silent films to dialogue-oriented ones, working with actors picked off streets to trained talents and of course, black and white to colour films. This colour gradation too went through several transitions and continues to find new ways, and technological aids to look more realistic and rich.
Here’s a look back at five colour motion picture processes as we celebrate the festival of colours.
Geva Colour
“Gevacolor, established in 1948, is originally based in Belgium and an affiliate of Agfacolor (a series of colour film products made by a German-based MNC Agfa-Gevaert),” Wikipedia informs us. The process and company flourished in the 1950s as it was suitable for on location shooting. Gevacolor was among the cheapest reels of colour film that encouraged Tamil filmmakers to produce colour films.
Gevacolor made its debut in Tamil cinema through the film Kalyaanam Pannippaar, “a 1952 Indian bilingual Tamil-Telugu satirical comedy film directed by L. V. Prasad and produced by B. Nagi Reddy and Aluri Chakrapani under their company Vijaya Vauhini Studios. The film’s credits state the presence of Gevacolor sequences. However, the simultaneously shot Telugu version, Pelli Chesi Choodu, did not have any sequences in colour”.
Alibabavum 40 Thirudargalum made history in Tamil cinema by being the first Tamil film to be entirely shot and released in Gevacolor.
Here’s a look at how Geva Colour was:
Technicolor
Technicolor, dating from 1916, was not popular in Kollywood as it was “the world’s most expensive colour process”. Only three Tamil films were associated with Technicolor.
Athisaya Penn, a 1959 remake of the Hindi film Aasha was entirely shot in Gevacolor with dance portions in Technicolor. This is the first Tamil film to contain sequences shot and released originally in Technicolor.
Here’s a look at how Technicolor was:
Eastman Colour
Eastman colour is a trade name used by Eastman Kodak for a number of related film and processing technologies associated with colour motion picture production. Introduced in 1950, it was one of the first widely successful “single-strip colour” processes, and eventually displaced the more cumbersome Technicolor.
It also has several other names like Deluxe color (20th Century Fox), Warnercolor, Metrocolor, Pathecolor and Columbiacolor.
Eastman colour made its debut in Tamil cinema in 1959 through the films Raja Malayasimman and Deiva Balam. Both were simultaneously shot in Telugu with the same titles and were “partly coloured”.
Here’s a look at how Eastman Colour was:
ORWO Colour
ORWO (for ORiginal WOlfen) is a brand of photographic products and magnetic recording tape. Mostly used in the 80s, the Kannada industry was the first to make use of it.
It was established in East Germany as a brand for photographic film and magnetic tape, mainly produced at the former ORWO Filmfabrik Wolfen (now CChemiepark Bitterfeld-Wolfen|Chemical Park Bitterfeld-Wolfen).
ORWO Colour was among the cheapest methods back in the 70s. Pattina Pravesam, a 1977 film directed K. Balachander, was Tamil cinema’s first film to be shot in ORWO colour. Colour films after 1978 were mostly shot in ORWO Colour. It gave a similar colour quality as Eastmancolor.
Here’s a look at how ORWO Colour was:
Digital Intermediate (DI)
A motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics.
All films today adopt this process given the ease and output. The first film to apparently use this method is Selvaraghavan’s Pudhupettai.
Take a look at it here:
The teaser of Arya–Sayyeshaa starrer Teddy is out now. Helmed by Shakti Soundar Rajan, the film is being bankrolled by KE Gnanavelraja and his daughter Aadhana Gnanavelraja under their Studio Green banner. The film marks the third association of the real-life couple after Ghajinikanth and Kaappaan.
The teaser begins with the bold voice of Magizh Thirumeni and a glimpse of him comparing his profession to a watch. What follows is Arya in action, action and only action with a brief breezy introduction to the teddy which surprisingly has a feminine voice. There’s also talk about the abduction of girls and a shot of Sayyeshaa with Arya. The rhyme at the end, though catering to children, could’ve been avoided.
The makers took to Twitter to release the teaser marking the director’s birthday and the first anniversary of the lead pair.
The wait is over! Here it is!! The exciting #TeddyTeaser!!
On the occasion of director @ShaktiRajan‘s birthday!! And the First anniversary of @arya_offl and @sayyeshaa!! @kegvraja @immancomposer @K9Studioz @thinkmusicindia @proyuvraaj
— Studio Green (@StudioGreen2) March 10, 2020
The film is touted to be a fantasy entertainer, aimed at children and youngsters. Apart from the lead pair, the film also stars Bigg Boss Tamil fame Sakshi Agarwal, Sathish, Karunakaran, and Masoom Shankar in important roles. Magizh Thirumeni makes his acting debut with the film. He had earlier dubbed for Anurag Kashyap in Ajay Gnanamuthu‘s Imaikkaa Nodigal.
The film wrapped up the shoot in December and is now in the post-production phase owing to a great deal of graphics involved. The work has been taking place at NextGen Media and Arunraj who was in charge of the graphics in his previous venture Tik Tik Tik is helming this too.
Speaking about the title, Shakti Soundar Rajan said, “There is a deep connection between the teddy bear and Arya in the film. We shortlisted various names for the title and finally decided to go with Teddy. A teddy bear is something known and enjoyed by all generations and thus we felt it would be apt for the film. We’re striving to make the movie an enjoyable one for all generations.”
After films like Naanayam (dealt with a bank heist), Miruthan (dealt with zombies), and Tik Tik Tik (dealt with space) the director who is known for delving into unique plots says the idea of a computerised teddy bear is a unique aspect in itself. “The genre of the film can’t be described in one word. This teddy bear which is entirely built with graphics travels with the actor throughout the film serving like a second-hero. It will act, fight and perform just like any other character.” said Shakti.
Speaking about the real-life couple Arya and Sayyesha, “I was apprehensive with the thought of approaching them. Despite the fact that they had worked together before and after their wedding (Ghajinikanth and Kaappaan respectively), I wasn’t sure if they would agree to pair up again. But fortunately, both of them agreed to work on the script and allotted dates for the shoot within a week.”
While Yuvraj will be handling the camera, Imman will compose music for the film, SS Moorthy will helm art and Sivantheeswaran will edit. Sakthi Saravanan will choreograph stunt sequences. The film has been shot in Chennai, Hyderabad, and Baku.
Recently, two songs from the film were released – ‘En Iniya Thanimaye’ (rendered by Sid Sriram in the lyrics of Madhan Karky, has already 1 million views on YouTube) and ‘Nanbiye’, also in the lyrics of Madhan, has been rendered by Anirudh Ravichander.
Watch the teaser of Teddy here.
Sibiraj starrer Walter is releasing this Friday and the cast and crew of the film met the press recently to discuss the film. The film is directed by Anbu and produced by Shruthi Tilak for 11:11 Productions. This film marks the debut of actor Yamini Sundara, and also the debut of art director Elayaraja.
Walter deals with child trafficking, which the makers say is quite prevalent in Tamil Nadu. Anbu wanted to make a film on this subject, he’d said earlier, “I often came across news articles and stories about missing children and babies. It affected me a lot, and that’s how I decided to make this movie.” The research on the film led the director down a dark path. Some of the facts and statistics really surprised him he said. “I have tried as much as I could to share some of the facts that I unearthed through my film, they really shocked me. I feel that this will be a milestone film, especially for Sibiraj who has done a wonderful job.”
Executive Producer Prabhu Tilak said, “As a producer, I decided to make films that have a social impact too. Walter is a film that has a message, and also some commercial elements. Our team has had some debates, but that is how the creative process works. We have made something we all believe in.” The female lead in the film is being played by actress Shirin Kanchwala. She was all praise for her co-stars. She said, “I have a good role in this film, and I am really thankful to my team for the effort they have put in.”
Actor Natty who plays an important role in the movie, said, “This is a film with a good, engaging script. I am sure that the message in the movie will be appreciated by everyone. I hope that the movie creates awareness and some good omes out of it.”
At the helm of the movie, is director Anbu, he said, “Sibiraj chose this script out of the two that I had taken to him. I am really excited about Walter’s release. Everyone has worked hard towards making this film a reality, and I hope that our effort pays off.”
Playing the leading man is actor Sibiraj. Speaking of the social angle of the film, he said, “Walter is a good script, with a good message. And when you put good out into the universe, it attracts more good. The film has been on an interesting journey, and is finally ready for the audiences.”
It was revealed at the pre-release event that Sun TV has acquired the satellite rights of the film.
Ritu Varma is thrilled with the success of her latest film, Kannum Kannum Kollaiyadithaal, and in this interview with Silverscreen India, says that this year, she’s going to make up for the long absence from Telugu cinema…
Soon after the release of Kannum Kannum Kollaiyadithaal, her debut film in Tamil, Ritu Varma saw the film in a cinema hall in Chennai. It was a moment of truth to check if she had made the right decision and if her faith in the story will resonate with the audience.
Until the film had released, there was hardly any news about the role that Ritu was playing in the film, which also had Dulquer Salmaan in the lead. For that matter, the film’s release itself had been delayed by several months. Her other major Tamil film, Dhruva Natchathiram, starring Vikram, has been in the making for a while. And all through the journey, she didn’t know what to tell her family and well-wishers about where her career was heading.
Having made her mark in Tharun Bhascker’s Pellichoopulu, which went on to win a couple of national awards, Ritu says she was growing anxious about what’s next in store for her. The long wait, the hopes that she had pinned on the film, all the questions that she had faced about her career, the long phase of self-doubt about whether she’s doing the right thing or not… the pressure was immense. But an hour and a half into Kannum Kannum Kollaiyadithaal — when a key twist changes the course of the story just before the interval — everything changed. “The reaction from the audience was so good that I still get goosebumps thinking about it. I would do anything to relive that moment and experience it again,” Ritu Varma says.
Directed by Desingh Periyasamy, Kannum Kannum Kollaiyadithaal has Dulquer Salmaan and Ritu Varma playing lead roles, along with Rakshan and Niranjani Ahathian. It’s a romantic thriller with plenty of surprises, and Ritu recalls being as surprised as the audiences were when she first heard the twist at the end of the first half. “I’m a huge fan of Dulquer’s work and loved Ok Kanmani. When Desingh called me to narrate the script and said that Dulquer is playing the lead role, I thought that he was going to pitch a romantic drama. But this turned out to be even better because I was delighted with the character graph he had etched for my role. I could do so much with it, play around with the look, body language, and explore something that I hadn’t done before,” Ritu says. That sense of relief and delight is unmissable in her conversation. “The best thing about the film’s success now is that it broke the mould that I’ll only fit into a certain kind of role — something like what I had done in Pellichoopulu. I think I was stereotyped after that film and I got plenty of offers similar to that film. Someone even asked if I’ll only take up characters that are morally right! But that’s never been my priority. Something has to click, whether it’s the script, the character, or the team you are going to work with. With Kannum Kannum Kollaiyadithaal, everything fell into place.”
About Dulquer, Ritu says, “He’s so easy to work with. There are no starry airs and he’s very secure in his space. In fact, he wanted Rakshan along with him in several scenes, even though it wasn’t there in the script, and it was quite refreshing to see a star like him do that. Another time, in the middle of a scene, he asked me if his reaction was appropriate in that shot. He didn’t hesitate to seek an opinion from his co-star. I have nothing but good things to say about Dulquer. And the same goes for Desingh too. He has immense clarity about what he wanted to do, and the whole shoot was so much fun that, at times, Desingh had a tough time controlling us to get work done.”
And then, there’s Gautam Menon’s Dhruva Natchathiram, which has been in the making for a long time now. Admittedly, Gautam Menon, who had bought the remake rights of Pellichoopulu, was quite impressed with Ritu’s performance in the film and decided to cast her in the film. “A week after my look test, I was shooting alongside Vikram sir. It felt so surreal and I couldn’t believe it was happening. Gautam sir has a different style of working and he makes the actors feel quite comfortable, and rarely goes beyond one-two takes because he likes the spontaneity that the actors bring in. On the first day of the shoot, I just listened to what he wanted me to do, and once he was okay with it, everyone clapped. That was such a big boost to my confidence,” the actress adds. The duo collaborated once again in Kannum Kannum Kollaiyadithaal in which Gautam Menon played a cop, and Ritu is all praise for him. “He’s so classy in the film, isn’t he? I can’t imagine anyone doing the role now. We shot for just one scene together, but he took all of us by surprise with his spontaneity when we were trying to recreate the Vinnaithaandi Varuvaaya scene. All those lines in the scene…were all created by Gautham Menon! He’s such a good sport to do that,” she says.
This year, she has a slew of Telugu and Tamil films lined up for release, and she says that she’s going to make up for her absence. There’s Nani’s Tuck Jagadish, a film with Ashok Selvan, another with Naga Shaurya, and her yet-to-be titled film alongside Sharwanand. However, there’s a tinge of disappointment, when she traces how her career has shaped up over the years. Prior to Pellichoopulu, she had acted in films like Baadshah, Yevade Subramanyam, and Prema Ishq Kadhal. However, post-Pellichoopulu, she didn’t find anything challenging to do. “In hindsight, I think I was too naive at the beginning of my career. I didn’t even have a manager and my mom was doing all the talking on my behalf. Also, so many people were giving me plenty of suggestions and I might have taken some wrong advice. I think, over the years, I’ve groomed myself and gained confidence. Each film has been a learning process, and with experience, you also earn a certain amount of respect. Now, I deal with things in a better way,” Ritu says, adding, “I’m an accidental actress and I need something challenging to push me to do better. Maybe that’s why I didn’t even want to strategise about what I have to do to go to the next level in the film industry. It was a little disappointing to not find interesting roles post-Pellichoopulu, and I wasn’t in a rush to sign whatever came my way. People kept questioning me about my decisions, but I had faith in myself. But, if you ask me if I’ve figured out what to do next or what I could have done differently in the past, I wouldn’t know.”
Movie – Bhoomi
Starring: Jayam Ravi, Nidhi Aggerwal, Ronit Roy, Sathish, Thambi Ramaiah, Dato Radha Ravi, Saranya Ponvannan & Others
Director Lakshman
Producer: Sujatha Vijaykumar
Co Producer: Yalini Manoharan
Writer: Lakshman & Chandru
Music: D Imman
Cinematographer: Dudley
Editor: Ruben & John Abraham
Art director: Durairaj
Lyricists: Thamarai Madan Karky
Stunt master: Stun Siva
Project Designer: Anusha Vijaykumar
Choreographers: Brinda, Sheriff
Costume Designers: Anu Parthasarathy, Nithya
Sfx: Sethu
Dolby Atmos Mix: T Udhaya Kumar
Vfx: Fazil
Production Executive: Sakkarathalvar
Production Controller: V. Srinivasan
Makeup: Ramakrishna
Making & Stills: Amir
Costumer: Selvam
Promotions: Shiyam
PRO: Nikil
Designer: NT Prathool
Executive Producer: S Sudharshan
Music Label – Sony Music Entertainment India Pvt. Ltd.
It’s official. Rajkummar Rao and Bhumi Pednekar will feature in the sequel of the 2018 hit comedy-drama Badhaai Ho. Helmed by Hunterrr fame director Harshavardhan Kulkarni, the film will be bankrolled by Amrita Pandey’s Junglee Pictures.
Badhaaiyaan ji Badhaaiyaan. Iss baar do baari kyunki, #BadhaaiDo ✌🏼
Starring @RajkummarRao @bhumipednekar, directed by #HarshavardhanKulkarni and written by #AkshatGhildial @sumadhikary pic.twitter.com/cjDXqbaPMb
— Junglee Pictures (@JungleePictures) March 9, 2020
According to a report in Mumbai Mirror, the film revolves around an unlikely relationship between a Delhi cop and a school PT teacher essayed by the two lead characters. It is about the goof-ups that follow when they meet.
Badhaai Ho dealt with the struggles a 25-year-old faces when he finds out his 40-year-old mother is pregnant. Helmed by Amit Ravindernath Sharma it stars Ayushmann Khurrana and Sanya Malhotra in lead roles with Neena Gupta, Gajraj Rao, and Surekha Sikri in important roles. It opened to great reviews from critics and audiences and bagged two National awards, ‘Best Popular Film Providing Wholesome Entertainment’ and ‘Best Supporting Actress’ for Surekha Sikri in 2018. It also won four Filmfare awards.
“For me, the script is one of the best that I have ever come across and I immediately wanted to do the film. My character again is strong, independent and author-backed and it gives me a lot of scope to bring a very different and cool character to life. This time too, the film will say something extremely relevant and relatable but in the most hilarious manner. The film has its heart rooted in family values,” said Bhumi to Mumbai Mirror.
Rajkummar who has associated with Junglee earlier for Bareilly Ki Barfi said, ” I look for layered characters in all scripts and this one is a perfect match. My character is surrounded by strong women at home and at work and that adds immense depth to his personality.”
“Just like the delightful Badhaai Ho, the milieu of this film remains the same but with a fresh set of characters and a completely new zanier situation,” said director Harshavardhan.
The teaser of actor Jayam Ravi’s next film Bhoomi has just dropped. The film helmed by director Lakshman is being bankrolled by Sujataa Vijaykumar’s Home Movie Makers which also commissioned director Karthik Thangavel’s Adanga Maru also with Jayam Ravi in the lead. This is the actor’s third outing with director Lakshman, after Romeo Juliet and Bogan.
Sand, tillage, wells, and crop fields along with a scraggly haired Jayam Ravi struggling for a group of farmers and their livelihood… This is what the teaser is all about. We even find happy glimpses of Saranya Ponvanan and Nidhhi Agerwal. There is a lot of resemblance to the teaser of his Adanga Maru, be it the presence of the national flag, or the immolated individual or even railing against cops. Maybe a sentiment for the actor?
The makers took to Twitter to release the teaser:
Here it is @actor_jayamravi’s most expected #BhoomiTeaser
Watch and Cherish : https://t.co/nxf3ek6GX7#BhoomiFromMay1st
An @immancomposer Musical @dirlakshman @theHMMofficial @sujataa_hmm @AgerwalNidhhi @Gdurairaj10 @actorsathish @dudlyraj @SonyMusicSouth
— Home Movie Makers (@theHMMofficial) March 9, 2020
While Nidhhi Agerwal debuts in Kollywood with the film, comedian Sathish is reportedly featuring in an important role. D Imman will be composing music, Chennai Express fame Dudley will be cranking the camera and G Durairaj will helm art. While John has edited the entire film, Ruben who is known for his trailer/teaser edits has edited this teaser. Stunt Shiva will be choreographing action sequences with Brinda and Sheriff choreographing dance. The rest of the cast is yet to be announced.
A source privy to the film told Silverscreen that the movie deals with agriculture and its collapsing stature because of the corporate world. The film was originally titled Sarvaadhikaari reportedly but was later rechristened Bhoomi.
The team completed shooting the opening song ‘Thamizhan Endru Sollada’ recently, choreographed by Brinda master and her assistant Prashanna Babu. Imman had also announced a while ago that he had roped in Yogi B to render a song with lyrics by Madhan Karky.
Recently, the makers announced that Sony Music had bagged the audio rights of the film.
The Successful Formula Continues yet again, @SonyMusicSouth Holds the Audio Rights of @actor_jayamravi‘s #Bhoomi !
An @immancomposer Musical #BhoomiTeaserOnMar9@dirlakshman @theHMMofficial @sujataa_hmm @AgerwalNidhhi @Gdurairaj10 @actorsathish @dudlyraj @onlynikil pic.twitter.com/VUzWJhzrcI— Home Movie Makers (@theHMMofficial) March 6, 2020
The film is slated for release on May 1, 2020.
Meanwhile, Jayam Ravi who was last seen in Pradeep Ranganathan’s Comali, will next feature in director Ahmed’s film alongside Taapsee Pannu. He is also a part of director Mani Ratnam’s Ponniyin Selvan (its title font was recently revealed). He is said to play Arulmozhi Varmar/Raja Raja Chozhan in the film. Nidhhi Agerwal was last seen in Puri Jagannadh’s iSmart Shankar.
Watch the trailer here:
“Fuck normal,” Eileen, i.e., Candy Renee, played by Maggie Gyllenhall says in David Simon and George Pelecanos’ The Deuce. She would know. In the Deuce — New York’s red-light district in the 1970s and 80s — there is no normal.
Prostitutes, drug dealers, mafia don or city official — everyone is part of this story. The Deuce begins in 1971. The flesh trade — while illegal — is alive and flourishing. We are introduced to Candy, a veteran streetwalker who steadfastly refuses to have a man, while others — Ashley, Darlene, Lori and Ruby — are content to let the pimps handle their finances. The pimps in this case, the smooth-talking CC, the rough around the edges Larry and the abusive and violent Reggie, are content to sit around Leon’s café, watching their women go out and make money. Vincent Martino, played by James Franco, who also plays his twin brother Frankie, begins negotiations with mob boss Rudy Pipilo to manage a bar. Abby Parker, a student at New York University, chooses to drop out of university, leave behind her life of wealth and country clubs, and work at the Hi-Hat, Vincent’s bar.
Over the course of three seasons (2017-19), set over fifteen years, we watch these far-from-normal characters grow, as the city around them changes. Obscenity laws are relaxed, and pornography is peddled openly. Candy, mentored by the fast-talking, potty-mouthed pornographer Harvey Wasserman, becomes known as a director of “high quality femme erotica,” the kind her dates are proud to boast of. Abby Parker grows from entitled student, to helping women escape their pimps and life on the streets, to speaking up for the voiceless folks who stand to be displaced by New York’s redevelopment plans. Paul, the polygamous gay bartender suffers a personal tragedy, and finds himself at the heart of the movement on AIDS awareness and gay rights. We cheer as Larry Brown — Gbenga Akinnagbe, or Chris Partlow to The Wire fans — learns that he can act and finds himself a career in the adult film industry, just as we do when Darlene finally makes it through college and finds another job.
But these are the successes, and Simon and Pelecanos are not the type of guys to shy away from telling difficult stories. The flesh trade and pornography industries, while liberating for Candy, can — and do — destroy lives. Take Lori Madison, the sweet midwestern girl who finds rapid success as an adult film star, finds that fame and recognition aren’t quite all that they’re cut out to be, or Bobby, whose “massage parlours” occupy an uncomfortable intersection between the strictly illegal and a blind spot in the law. Or take the AIDS crisis, the big story of Season 3, which provides a convenient excuse for the closeted city administrator Gene Goldman to shut down the bathhouses and gay bars of Midtown, even as gay men are dying each day. The Deuce, like The Wire and Treme tells all these stories — those that give us hope, and those that tell us that some things never quite change.
And try as I might, it’s hard not to compare the The Deuce with The Wire. Like The Wire, the city — New York, in this case, is the real star of the show. It provides the platform for all the characters’ lives to intersect and to make the stories come alive. No good guy is completely flawless — Detective Alston, say, — nor are the bad guys like Larry Brown or Melissa without any hope of redemption. The Deuce is just as deeply political as The Wire, forcing us to confront our views on cleaning up the city, on pornography and if the flesh trade or adult film industry can ever be feminist. Simon and Pelecanos are not afraid to impose these choices on their characters, many of whom are based on real people. And of course, so much of the cast is familiar — I counted Chris Partlow, D’Angelo Barksdale, Cheese, Frank Sobotka and Slim Charles from The Wire, and even Jackie Aprile from The Sopranos.
Of course, The Deuce ‘isn’t’ The Wire. I felt invested in Candy — the emotional and moral centre of the show, and Abby, whose character grew as the show went on. But the show’s eight episodes per season format didn’t allow for the kind of character building that made The Wire such compelling television. James Franco’s Vincent and Frankie Martino, for instance, never felt like characters that I could care about. Vincent’s bar might be the setting for all the many debates the show throws up, but the characters themselves felt more and more like placeholders in each episode, taking up valuable screen time from more interesting characters. It doesn’t help that James Franco faced allegations of sexual assault even as he acted in a show on the exploitation of women in the entertainment industry, or that watching Frankie Martino making an adult film feels a little too real for comfort. Candy admits that she might need to hear that she was profiting off the exploitation of women in her films — is the something the show’s creators needed to hear too?
But all said and done, The Deuce really, truly is compelling television. We live in a world where HIV/AIDS is eminently treatable, and where meeting same-sex partners doesn’t have to be the preserve of seedy underground bathhouses. But we also live in a world where, as the #MeToo movement showed, the debates on the exploitation of women in entertainment remain alive and well. We would do well to remember, as Vincent does as he walks off into the subway in the show’s final sequence, that some things really haven’t changed.
The Deuce is streaming on Hotstar in India.
Cast: Kiara Advani, Gurfateh Pirzada, Akanksha Ranjan Kapoor
Director: Ruchi Narain
In the opening scene of Ruchi Narain’s Netflix film, Guilty, Tashi, a college student who’s visibly frustrated, finds himself sitting in a lawyer’s office in New Delhi. He’s vexed about the barrage of questions coming his way, about a Valentine’s Day party on his college campus nearly a year ago; however, by the end of the interview, he knows what he must do — stand up for his friend, VJ, even though the latter has been accused of raping a fellow student, Tanu Kumar.
“Look, it’s quite simple. Our bro’s a decent guy and that bitch is a whore. This is #MeToo being misused to its full power,” Tashi tells the lawyer nonchalantly. And that confession sets the tone for the rest of the film, which dabbles with the #MeToo movement, the moral dilemma people face, privilege, and how the powerful always seem to get away despite the severity of accusations.
The film, written by Kanika Dhillon and Ruchi Narain, is set in St Martin’s, a college in Delhi, which is a melting pot of people from different backgrounds. VJ, aka Vijay Pratap Singh (Gurfateh Pirzada), is the son of a politician and his mother is a prominent socialite, his girlfriend Nanki Dutta (Kiara Advani) is the daughter of two professors, although she seems to be more comfortable talking to her local guardian who’s also a professor at St Martin’s.
Then, there’s Tanu Kumar (Akansha Ranjan Kapoor), a ‘merit’ student from Dhanbad, trying to find her place in the college where VJ and his cohorts are at the top of the social pyramid. And one fine day, at the height of #MeToo movement, Tanu accuses VJ of raping her after a college party. The drama revolves around these three characters primarily, and like VJ’s friends, writer and director Ruchi Narain pushes us to take a stand. Is VJ is guilty or not?
As much as Ruchi Narain tries to give a balanced perspective of what happens when a person is accused of sexual assault and harassment, Guilty is also too conscious about the complex subject that it tries to explore. And this manifests itself in different layers, where one’s cultural and socio-economic background is used as a target. In VJ’s case, it’s his privilege, masculinity, and the fact that he’s the son of a rich politician, and in Tanu’s case, it’s the fact that she hails from a small town and dresses in a manner which makes others think that ‘she’s asking for it’.
It’s all loud and clear right from the beginning that Ruchi wants us to overlook these aspects and understand that it’s more about entitlement and power — power over one’s body; power over one’s will and desire. In one instance, VJ defends himself saying, “Why would I rape anyone? I already have a girlfriend.” And he’s absolutely convinced that he’s being blackmailed and humiliated on purpose, and he believes in it without a trace of guilt. Perhaps, that’s what the film also expects us to understand that people, who are guilty of such crimes, will never accept their mistakes because their status and name is at stake in such cases.
The narrative, at least for the most part, hinges on the emotional turmoil that Nanki goes through. From being in denial to coming to terms with the truth, Nanki’s emotional spectrum encompasses the debate about #MeToo movement which we have seen over the past couple of years.
Nanki’s character graph is beautifully written, and Kiara Advani delivers a compelling performance as the central character who wants to find the truth and also tackle the ghosts of her past. More than the rebellious streak that you see in Nanki, what stands out even more is the way Kiara internalises the emotional rollercoaster that Nanki goes through.
In one brilliantly enacted scene, she suffers a panic attack, which is triggered after a confrontation with a lawyer, and Kiara surprises you with what she brings to the film. Gurfateh Pirzada delivers a fine performance as VJ, and Akansha Ranjan Kapoor makes her mark in some of the most emotionally-charged sequences. One of the best staged sequences is set in Dean’s office where Tanu knows that she has been cornered and she tries to retaliate, despite knowing that no one is going to listen to her.
For a film which is so honest with its intent, it’s baffling that Tanu Kumar’s perspective isn’t explored in detail. We are expected to judge her, based on the way she talks and how she is dressed, and then in the end, we are forced to question our own prejudices. So far, so good. However, the story doesn’t quite focus as much on the emotional turmoil that she has gone through in the timeframe before she names her rapist, and even when she’s in the limelight as calls for justice grow louder, she’s still portrayed as an opportunist. That is the biggest problem with Guilty. In its attempt to make us question our immediate reactions to the #MeToo movement, where we don’t listen to victims and believe their story, the film itself loses track of how it wants to narrate the story.
The good thing about Guilty is that it highlights the necessity to keep the discussion going about how we treat sexual assault victims, and what can one do to let the scars heal. But then, Guilty also feels like a missed opportunity because it falls short of saying what it really wants, about the importance of consent. If only the film itself was as deep as the poetry that Nanki writes.
The Guilty review is a Silverscreen India original article. It was not paid for or commissioned by anyone associated with the film. Silverscreen India and its writers do not have any commercial relationship with movies that are reviewed on the site.
07 March 2020, Saturday, marked the cross-examination of director Susi Ganesan in the 9th Metropolitan Magistrates court in Saidapet, Chennai. Susi has filed a criminal defamation case against independent filmmaker Leena Manimekalai, about her Facebook post accusing him of sexual assault published during the #MeToo movement. The case reached trial stage last week, presided by Judge Mohanambal S. Susi Ganesan himself took stand as prosecution witness 1.
Last Friday, 28 February 2020, was the first day of cross-examination. Leena Manimekalai’s lawyer Advocate Ramalingam questioned Susi Ganesan on the claims he has made in his complaint pertaining to his past accomplishments and film credentials. This included Susi Ganesan’s assertions about his position as a student leader while at university, his credentials as a journalist in Vikatan, and later as an assistant director to Mani Ratnam. Ramalingam received explanation and clarification of these claims on record. The next hearing was posted to 07 March 2020.
Yesterday, Ramalingam continued his cross-examination of Susi Ganesan, questioning him about Leena’s social media posts which he has presented as evidence. This includes posts criticising the BJP government for imprisoning Lois Sophia, condemning governor Banwarilal Purohit’s unwelcome physical contact with journalist Lakshmi Subramanian, participating in the #GoBackModi hashtag etc.
Susi Ganesan stated in court that he presented these as evidence to show Leena Manimekalai’s ‘mananilai’ (state of mind). He said that these documents are proof that Leena is the kind of person to call a constitutional authority — referring to the Governor — a sexual predator and the Prime Minister a thodanadungi (a derogatory term meaning coward).
Ramalingam established that Leena is simply one of the thousands of people who have raised objection to the Modi government and the Governor. Others who have done so include the DMK and MP Kanimozhi. These posts merely show that Leena is a politically conscious person who registers her comments boldly and openly. The court took this on record.
At this point, Susi Ganesan raised objection that Leena’s lawyer was being one-sided, offering explanation if convenient to them, but not listening to his own clarifications. The judge intervened to explain that during court proceedings prosecution’s lawyer will speak for their side, accused’s lawyer will speak for theirs, and she will review all matters in detail.
The cross-examination moved to the next evidence Susi Ganesan presented — a meme shared by Leena on her Facebook account. The judge asked the audience for the right Tamil translation of the word ‘meme’. After considering translations like “geli padam” and “geli chittiram” — often used as Tamil equivalent for the word ‘cartoon’ — she decided to accept ‘meme’ as a Tamingilam (Tamil + aangilam) word and took it on record.
The meme Leena had shared shows Russian film director Tarkovsky kissing Swedish filmmaker Bergman, with Goddard watching. Ramalingam asked Susi Ganesan what his objection is to the two men kissing. Susi responded that he has no objection, but presented this meme as evidence to show that Leena is the kind of person who enjoys watching two men kiss.
Also in evidence was an essay written in Vinavu, a Tamil magazine, critiquing Leena’s poems. When asked why he has submitted them as evidence, Susi argued that it is proof that Leena writes “aabaasa kavidhai” (pornographic poems), which the magazine found unpalatable. He also said that these are the same poems that Hindu Makkal Katchi protested against.
Ramalingam asked if Susi Ganesan believes that “aabaasam” is in the eye of the beholder. He replied, no. And added that Leena’s poems are “kangal koosugira aabaasam” (so obscene they irk my eyes). Ramalingam asked if he is aware of sculptures in Hindu temples featuring nudity and intercourse? Susi Ganesan admitted that he is aware of them, and then argued that in his eyes those are also obscene.
Finally, Ramalingam asked Susi Ganesan if he has published any formal denial of Leena’s accusations? He first said he does not remember. But later clarified that he has given several interviews to the press denying her accusations. Ramalingam asked if he has submitted them to court. Susi said he hasn’t, but he will if needed. The hearing ended here.
The court has posted the next hearing on 27 March, 2020, when Ramalingam will continue his cross-examination of Susi Ganesan. Advocate Alex from Susi Ganesan’s legal team said that they have five more witnesses to present. Their statement and their cross-examination will follow.
Featured image courtesy: DTNext
Director Ranjit Jeyakodi of Ispade Rajavum Idhaya Raaniyum fame has announced the title of his next film, Yaarukkum Anjael. Touted to be a thriller, the film is being bankrolled by Devarajulu Markandeyan under his Third Eye Entertainment banner. The title was announced by actors Vijay Sethupathi and Harish Kalyan (on behalf of Simbu) on Twitter.
#யாருக்கும்அஞ்சேல்
Happy to announce the title of my beloved director @jeranjit ‘s next movie #YaarukkumAnjael
My wishes to @thebindumadhavi @DarshanaBanikProducer @thirdeye_films @devarajulu29 & @SamCSmusic @Kavin_raj15 @DoneChannel1 @CtcMediaboy pic.twitter.com/lTCxBJcK0E
— VijaySethupathi (@VijaySethuOffl) March 5, 2020
On behalf of my beloved brother Silambarasan TR, I’m super happy to present the title look of director @jeranjit ‘s next film #YaarukkumAnjael starring #BindhuMadhavi & produced by @devarajulu29 @SamCSmusic @DarshanaBanik @thirdeye_films @SamCSmusic @DoneChannel1 @CtcMediaboy pic.twitter.com/kTkCTpqBOR
— Harish kalyan (@iamharishkalyan) March 5, 2020
The poster features the blood-red print of a squashed butterfly on a creasy yellow paper. There’s also a quote that reads “Allavai Vella Nallanavatrin Amaidhi Mattum Podhum” meaning to win over evil, the silence of goodness is enough.
Yaarukkum Anjael is touted to be a psychological thriller. The film revolves around two sisters and the problems they face and tackle while they visit their hometown to sell their land.
Actors Bindu Madhavi and debutant Darshana Banik will be essaying the sisters. Sam CS is composing for the film with Bavan Sreekumar on the edit. The rest of the cast and crew are yet to be revealed.
“I must say that the greatest challenge in the project was finding a fitting title. We wanted to convey the essence of the entire premise through the title and considered several names and finally zeroed in on Yaarukkum Anjael. I am sure that after watching the film, audiences will find the title to be apt,” said Ranjit Jeyakodi.
He added, “We completed shooting the entire film in 30 days in Ooty. Currently, the post-production work is on and we will be winding up with it soon.”
Congrats to my dear dir @jeranjit & friends #Bindu Dop – @Kavin_raj15 on ur filming completion #RJ3 Best wishes to the production house #ThirdEyeEntertainment pic.twitter.com/nIdodI0egM
— Harish kalyan (@iamharishkalyan) January 2, 2020
Meanwhile, Ranjit’s previous film Ispade Rajavum Idhaya Raniyum starring Harish Kalyan and Shilpa Manjunath did not open to good reviews from critics and audiences. The thriller love story saw Harish play an ill-tempered youngster owing to a bad childhood. The film is streaming on Hotstar.
Read: Ispade Rajavum Idhaya Raniyum: Yet Another Twisted Male Fantasy
Watch the trailer of Ispade Rajavum Idhaya Raniyum here:
Cast: Anna Ben, Sreenath Bhasi, Roshan Mathew
Director: Muhammad Mustafa
Actor Mustafa’s Kappela begins as a remarkable account of girlhood in a mountain hamlet. Jessy’s (Anna Ben) house is on a slope, a little away from the village center where a textile shop is coming up. She and her friend (Nijila), who lives next door, are excited. They hope the village will soon turn into a bustling town where they have things to do and people to meet, as against their dreary present life led under the watchful and strict eyes of parents and the close-knit village community.
There is little condescension or an attempt to draw pity in Mustafa’s depiction of Jessy’s life. She isn’t particularly bright ﹣she quit her studies after failing to clear plus-two. Her lower-middle-class parents have nothing left to contribute to her future other than finding a groom and marrying her off. But she is a cheerful person, the kind of character Anna Ben can liberally project her off-screen persona onto.
Mustafa bases the rest of the film on this well-staged, well-shot and well-acted portion which establishes that women like Jessy have no place to run away to. Later, when she is drawn to a stranger — a young man who came into her life through a misdialled phone call — we understand her. Her curiosity stems from her naivety, but it is also her way of rebelling against her colourless routine. The visuals (Jimshy Khalid) and Sushin Shyam’s score give the viewers that delicate and atmospheric sense of the first flush of love. The discreet phone calls and text messages at night, the playfulness in their conversations and the excitement on telling her friend about his gorgeous voice. Instead of a typical romantic song, Mustafa uses an adorably childish song, Kaduku Mani. Nature — the hills and the lush green forests that surround her village — is used as a stand-in for her innocence.
Mustafa uses similar tropes to introduce Vishnu (Roshan Mathews), the stranger on the phone. He is an autorickshaw driver who is known among his fellow drivers as a model hardworking youth, who is kind towards those suffering. Just about when the plot comes to the edge of being an inter-religious love story or the tragic tale of star-crossed lovers, with a touch of Lohithadas’Sallapam which was set in a similar milieu, Mustafa shifts gear, brings another character into the picture and turns the narrative into an impersonal cautionary tale that lacks the charm and honesty of the opening scenes.
Roy (Sreenath Bhasi) belongs to 80s’ cinema where unemployed young men, enraged by the injustice and hopelessness spread around them, chose to operate outside of the law. In the age of under-employment, Roy’s predicament looks so made-up, as though he was airdropped from another era.
The film sets up an elaborate ploy to convince the audience that the two young men are foils to each other, and then poses a question to the viewers — whom do you trust more?
Cinema and literature have always taken interest in drawing a contrast between two such men. Vishnu has a sunshiny exterior, coated with a million-dollar smile. Roy has a roughness that he’s built to shield himself from a nagging society and growing despair. The easily desirable vs the easily despicable/ignorable. In Sai Paranjpye’s Katha, an official adaptation of SG Sathye’s Marathi play, a town community learns the hard way that an honest and shy man is better than a charming liar. In Sallapam, the lone and desperate Radha is abandoned by her lover, a likable singer, and is rescued by another man whom everyone had passed for a rogue.
Mustafa’s use of this story-telling device is flat, without room for further interpretation of the characters. The film, in the latter half, is as predictable as a Public Service Announcement video directed at young women who want to break their shackles and embrace the big world. Jessy loses the individuality she possessed in the early sequences and the men take charge of the proceedings; how it might happen in actuality when a girl falls into a big city trap and becomes absolutely powerless.
But shouldn’t a good movie go beyond the objectives of a government-sponsored PSA video, and find new ways to narrate a story like this? Mustafa, in the latter part of the film, deals with the subject in a high-handed fashion, devoid of the curiosity and fervour of an artist to find new meanings and possibilities to the reality.
The audience’s perception of the two male characters transform towards the end, but it is done so hastily that the viewer might feel cheated. The man, who had been leading a reckless life, finds meaning to his life by redeeming a hapless woman. The woman decides to make peace with her fate and return home, in spite of the fact that it is the cage she wanted to escape. Another woman, content with her life as a provider to an irresponsible man, asks her to forget and move on without getting into legal hassles, for she’s the one who erred by trying to break the cage. A perfect material to screen to the students in a moral sciences class in convent schools.
Anna Ben is a powerhouse performer who has great control over her facial expressions. She makes even the smallest change in emotion perceptible. Like how she let the viewers feel the deadly cold inside a freezer in Helen, she helps the audience sense the fear that Jessy undergoes upon landing in the city bus stand for the first time unaccompanied. Mathews and Bhasi do a neat job in their weakly-written roles that have a foreordained nature.
Sometimes, films as this, which start off by showing great promise and end up on a conforming note, are more awful than a badly-made potboiler. Clearly, Mustafa has a great understanding of how to stage a scene, handle the actors and use images to tell the story. But his technical grasp is overshadowed by the narrow span of his view of the world and human beings. He looks at his characters as petty beings and uses cinema to issue parental guidance, and this, in turn, makes his film shallow and forgettable.
The Kapella review is a Silverscreen India original article. It was not paid for or commissioned by anyone associated with the film. Silverscreen India and its writers do not have any commercial relationship with movies that are reviewed on the site.
Cast: Varalaxmi Sarathkumar, Ramesh Thilak, Prakash Raghavan, Kasthuri
Director: Manoj Kumar Natarajan
Velvet Nagaram, in my opinion, is a great title. Given the fact that the film talks about (or at least claims to) how forest fires and the deaths associated aren’t mere accidents but are created by people in authority, Velvet which can serve as a symbol of wealth and power is suggestive of how our city is in the hands of wealthy people who misuse power. Great thinking and kudos to Manoj for that. But I only wish the same amount of effort and thought had gone into the screenplay. All is well till the 40th minute of the film and then bam! You’re in the middle of a high-school squabble.
Gauri (Kasthuri Shakar), an actor and social activist based out of Chennai is trying to seek justice for a forest fire that happened in Kodaikanal. She takes the help of reporter Usha (Varalaxmi) who happens to be her schoolmate and colleague too. Gauri ends up being killed while on a phone call with her. Usha comes to Chennai to find the reason behind her death and to seek justice on behalf of Gauri while staying with her friends Priya (Malavika Sundar) and Mugilan (Pradeep Benetto Rayan).
After a tiring series of ‘farmer’ films, sports dramas with no sport at all and delusional women empowerment films, there finally comes a movie that had potential but decided instead to be just the pioneer of a new series. Until half of the film, I didn’t understand what was happening. While Varalaxmi’s and the parallel random gang of goons led by Michael’s (Arjai) motives are understandable, the clues and people they talk about aren’t comprehensible. Though it irked at the beginning, as it progressed I couldn’t care less because none of it had any importance later. I think the director knew it wouldn’t be of any use, so he just decided to fill up the narrative with whatever he pleased. And there is no end to this. A two-minute conversation about a ‘Kara’ between Mugilan and Varalaxmi’s brother Deepak (Prakash Raghavan) with the question who is Gautham Vasudev Menon, a random revelation that Deepak is a porn star is made, among many other such things.
The ‘sketch’ Selvam (Santhosh Krishnan) makes for a quarrel at the pub is in itself too farfetched and it only seemed like they wanted to stretch the film as much as possible so that you forget there was another plot. And to avoid the question of what happened to Gauri, you’re given a connection at the very end. By then you’re already waiting to walk out from the terrible mess. What should’ve been a struggle for justice turned out to be a struggle for escaping from a bunch of over-the-top goons, inturn being a struggle for me to watch.
Varalaxmi hardly does anything in the film. I have not seen an extraordinary performance from her yet and in a film where she is supposedly the titular character, she fails to carry the film. She is either tied up, angry or attempts to cry when she’s required to show an outburst of emotions. I honestly believed Ramesh Thilak, who had good screen space, would turn out to be the hero of the film. But he does just a little more than Varalaxmi. His grey-shaded character could’ve been put to much more use but was wasted completely.
Just like how the film didn’t have any focus, the shots too had absolutely no focus. All shots had bad framing and poor lighting with shadows falling everywhere. An already poor story was only disturbed further with bad camera work by Bhagath Kumar.
The Velvet Nagaram review is a Silverscreen India original article. It was not paid for or commissioned by anyone associated with the film. Silverscreen India and its writers do not have any commercial relationship with movies that are reviewed on the site.
Cast: Jiiva, Natasha Singh, Lal Jose, Sunny Wayne, Sushila Raman
Director: Raju Murugan
A baby is born in Kashmir amidst gunshots, missiles, and bombings. The father, a Hindu, and the mother, a Muslim, are hiding under a bridge with a horse-riding, nomadic musician – a gypsy – with them cowering and the horse, calm and motionless, just outside the tunnel. What happens next is anybody’s guess. The parents are killed. The baby is adopted by the gypsy and grows up to become one with the horse. He is literally called Gypsy (Jiiva).
He is not only the product of a religious union but because he was born in Kashmir, he is also a son of nowhere land (the censors have surprisingly left out a “Free Kashmir” sign written on a wall. Small victories). He claims multiple times that he has no religion, at one point, during a cricket match, he says India and Pakistan are one and the same to him, while he is also aware of every tenet in each of the prominent religions named in the film – Hinduism, Islam and Christianity.
Here too, like his previous film, Raju Murugan embraces the federalism of India and shows up its fractured status in an early scene, where Gypsy has to play a bipartisan role to assuage disingenuous politicians, on either side of Hosur road, agitating for the Cauvery water dispute and causing public nuisance. This quality of Raju Murugan’s films also rears his head when the script traverses the length and breadth of the country, where Hindi seamlessly blends with Tamil and with a character like Gypsy, the indulgence is almost natural.
The film has all the Raju Murugan staples of political discourse – the communist party posters (and later, an office of the CPI(M) in Kerala), Gypsy rescuing a manual scavenging worker, name dropping several issues that can come across as performative and inorganic. It also has simple-minded, unsophisticated stretches, delivering a polemic on religion replete with only platitudes. Like his previous film Joker, here too, the film’s track is shaped by the personal becoming political. Gypsy is essentially a romantic tragedy, an inter-religious couple who face a crisis not in the form of families but in the form of a larger socio-political force that is reshaping the country.
There are in fact two relationships at play here. One between Gypsy and Waheeda (Natasha Singh), a track where the latter holds the upper-hand and gets to make the moves despite living in a stifling, orthodox Tamil Muslim household in Nagore. It begins in an innocuous fashion but feels overlong.
There is another relationship, the second one between Gypsy and his horse Che. The horse and Gypsy are framed in centre with Gypsy’s face hidden behind the horse’s, and in another instance in the beautiful composition from Santhosh Narayanan, Kaathellam, Gypsy is dancing on top of a wall and framed from just beneath the horse, to make it look like he is on top of it. Raju Murugan keeps insisting that they are one and the same, both entertainers, significant to each other for their physical survival. It’s also why the emotional gut-punch works later.
I am not entirely sure about this but at the outset, Raju Murugan’s drawing of the orthodox Muslim family seems problematic, the father played by Lal Jose, staunch in his beliefs, who sends his three children only to the madrasa. He is also taught a thing or two about the Quran by Gypsy, a topic the Muslim man believes to be an expert in.
A communist party worker refers to him as a “fundamentalist”. It’s not clear what exactly is established by this framing, except that he belongs to a demographic that very much exists. It is essential to the film that they are from Tamil Nadu and when they must move, they go to Kerala. Two states that boast of large, mostly peaceful Muslim population. It’s also why when Waheeda elopes with Gypsy and becomes a fellow vagabond, she is displaced from a relatively sedate southern part of India to the cow belt where Hindu fundamentalism rules the roost.
The censors have heavily chopped the film with the saffron colour completely bathed in black and white, where Raju Murugan recreates a Gujarat 2002 like pogrom in Uttar Pradesh. The riots are decontextualized in the script of the film, but Gypsy couldn’t have found a better time for a release, with the violence in UP and the violence against Muslims in Delhi. It also needs to be said that the visuals Raju Murugan goes for are coloured by a voyeuristic gaze that is dangerously close to sexual violence porn.
Yes, it is real, and yes, power and domination are expressed through sexual violation in these instances but visual grammar is not confined to just one kind. The second half of the film meanders all over the place – like its hero – as the story moves to Kerala.
Jiiva hits all the right notes as the happy-go-lucky singer who loses everything he’s known in one night. It helps that Jiiva can switch between an urban accented English and street-smart Tamil with ease, for Gypsy is a character who has seen it all and grown up around different sects of people, including tourists.
Waheeda is in a state of PTSD after witnessing events of extreme violence during the riots, planned and orchestrated by Hindu organizations and the ruling political party. The film has its heart in the right place, it wants to point fingers at the masterminds and ideologues rather than their instruments (the raised hands of a Hindu fundamentalist who does their bidding is an interesting touch considering a big reveal later on), and calls for forgiveness and peace.
The film also forsakes Waheeda’s trauma to achieve its larger aim. She is reduced to a mere victim whose mental health is never considered by anybody, including Gypsy. That’s, of course, another film but it sticks out here because that too is as real as the violence she witnessed.
The Gypsy review is a Silverscreen India original article. It was not paid for or commissioned by anyone associated with the film. Silverscreen India and its writers do not have any commercial relationship with movies that are reviewed on the site.
The first look poster of actor Santhanam‘s next film Biskoth is out now. Helmed by director R Kannan, the film is being bankrolled by his Masala Pix banner in association with MK Ramprasad’s MKRP Productions. Though the actor has worked with the director in films like Jayam Kondaan (2008) and Kandaen Kaathalai (2009), this will be the first time Santhanam is working as the director’s leading man.
The poster features Santhanam in an 80s black disco costume wearing a cap and shades, leaping from an 80s motorcycle. He’s also got a suitcase in one hand and a gun with a rose in the barrel in his other hand. We also find bullets all around the vehicle. The poster in itself is also a little worn out on the sides adding to the whole vintage vibe.
Santhanam took to Twitter to share the poster.
Here it is the first look of my next rom-com #BiskothFirstLook produced & directed by @Dir_kannanR
Hope u guys love it 😊
@maslapixweb @mkrpproductions @TaraAlishaBerry @tridentartsoffl @EditorSelva @johnsoncinepro @radhanmusic 👍😊 pic.twitter.com/F0RBWHtbMI— Santhanam (@iamsanthanam) March 4, 2020
The film talks about a young boy who works in a biscuit factory and eventually reaches the top of the ladder. The title is a nod to the Chennai slang for biscuit. Santhanam is playing three characters in the film. One of them will reprise actor Kamal Haasan‘s role from his 1982 film Sakalakala Vallavan. Another character features an 18th-century setting, and the shoot was in Hyderabad where a huge set of a palace was made.
Very happy birthday my dear friend @iamsanthanam 😘😘😘🤗🤗
Have a rocking year ahead👍Our movie post-production final works going on, #Title & #FirstLook will be announced soon! @masalapixweb @mkrpproductions @johnsoncinepro pic.twitter.com/PEmwX9iHMx
— kannan (@Dir_kannanR) January 21, 2020
Tara Alisha Berry who paired opposite Santhanam in A1 will be seen with the actor in this film too. Debutant Swathi Muppala will play the second female lead.
Sowcar Janaki will be essaying the actor’s grandmother in the film which marks her 400th film. She was last seen in the Karthi starrer Thambi. Apart from her, Anand Raj, Motta Rajendran, Sivashankar, and ‘Lollu Sabha’ Manohar have also landed important roles.
Arjun Reddy/ Adithya Varma fame Radhan is composing music, 96 fame Shanmuga Sundharam is handling camera, Selva RK is editing and Rajkumar is helming art. Hari is handling stunts and Sathish is choreographing dance.
The film currently in the post-production phase will hit screens in April.
Here is the first-look poster.
Meanwhile, Santhanam’s previous film Dagaalty did not do well in the box office, and his long-pending release Server Sundaram helmed by Anand Balki which was to release on Valentine’s Day has been postponed due to financial issues. The actor will also feature in debutant Karthik Yogi’s Dikkiloona which recently wrapped up shoot.
Watch the teaser of Dagaalty here:
Sometime in November 2018, when news filtered in about the much-awaited Gypsy’s release, I spoke to Jiiva. There was much excitement in his voice; the kind that actors, despite being good at their craft, cannot hide, because they love what they were made to do in a particular project. He spoke about the politics in the film, the anti-establishment tone, and how it was a mirror to society, as it were. The film never released that year or the next.
It is now March 2020, the film is finally releasing, after a prolonged battle with the censors, and the timing could not have been better. (The initial reviews are good too). The Delhi riots and the brutality that ensued are still fresh in our minds, and the country has reached a stage where religious divide is the new normal.
In such a situation releases a film where the lead, who goes by the name of Gypsy, does not know caste or religion, and who celebrates only life and living.
From the beginning of his career, Jiiva has opted for the mixed bag model, with a Raam and Katradhu Tamizh for every Thenavattu and Kacheri Arambam. Who can forget his class act in Neethane En Ponvasantham, Gautham Vasudev Menon’s lovely ode to love? Gypsy, will hopefully break the lean patch Jiiva has had since 2018 (nothing really clicked after the hit Kalakalappu 2. Kee, Gorilla, and Seeru opened to not-so-positive reviews), and headlines a year that’s full of hope. He has the Hindi 83 coming up later this year, based on India’s audacious triumph at the 1983 Cricket World Cup. He plays Kris Srikkanth in that film. But, for now, Gypsy rules his mind, and he’s able to summon the same enthusiasm as in 2018 when speaking about it.
Excerpts from an interview:
Usually, when we watch films that speak of people’s rights, there’s a deep sense of catharsis in the audience. You feel the hero is fighting your battle, and you feel like you’ve got justice. You’ve done quite a few of these roles. How do you relate to them as an individual?
After all these years, when you watch Katradhu Tamizh, you feel the anger against the system, a sense of injustice. Similarly, here, a carefree person lands in trouble due to circumstances and finds the odds stacked against him. Will we not get upset when someone takes over our private space? When our individual freedom is disturbed due to internal strife? That’s what I felt when Raju Murugan Sir narrated the script to me.
In real life, you love humour and like to be carefree. And then, you are part of films that showcase white-hot fury. How difficult is it to cross over to that space?
I am someone who is rooted, and someone who tries to lead as non-starry a life as possible. My fans were telling me that I’m no longer doing these realistic characters and that I should, but no one was bringing those subjects to me. I know I do well in these films because I like roles with some meat, characters with some detailing. I liked Raju Murugan’s Cuckoo and Joker and thought we could do something nice together.
Comedy sells, and I know that. In a year, if 200 films release, almost 150 have a comic angle to them. I could do more of those films, be treated like a king on the sets, and take home a hefty packet knowing the film will do well commercially. But I crave challenges. And, Gypsy grew on me. I travelled across the country for six months with this film, and it was transformational. I got a new soft-rugged look, I learned the guitar, everything worked out well. It helped that Raju Murugan had his facts in hand. So, all emotion was backed by data. It was easier to build on a statistics-based framework. He had a logical explanation for every scene, and, despite the delay, the film is as current as it can be. As we say, it will appeal even to those who read newspapers.
You’re one of those actors with a body of work that won critical acclaim and even cult status, but which fared badly at the box office. And you mentioned the innumerable release delays too. How do you make peace with that?
Even today, when Neethaane plays on television, I get calls and tweets and messages telling me how much they loved Varun and Nithya’s story. Raam suffered from a lack of audience love, as did Katradhu. You cannot predict the fate of films at the box office. Neethaane’s loss hurt a lot, because it was a film that should have worked. Many, I think I’d like to call them chauvinists, did not know how to deal with a girl/woman who was vocal about her choices, and a boy who was soft. Youth, fed on a diet of fairy-tale stories, did not like to see that realistic side of love, which is about squabbling over nothing, coming together over a simple thing.
When a film does not release, you need to back-up your confidence, convince yourself that your craft is not at fault. Yes, people will come by and rub salt in your wounds, but by now, I think I’ve got used to it. It helps that I come from a film family (his father is producer RB Chowdhry). I have learned to put my head down and work. Imagine the director’s plight; he cannot come out of the film until it releases. He cannot move on.
At what stage of your career did you decide you will do performance-oriented films along with commercial fare?
From the beginning, I’ve worked that way. However, with age, I think the realisation dawned that while I’m good, I should work towards excellence in my craft. I can cater to kids, young adults, older adults, but I should also cater to the audience that expects a little extra from cinema. I sound like an old guy, no? (laughs). Some years ago, we actors did not worry about anything but our performance. Now, we have a stake in every pie. We have to concern ourselves with marketing, promotions… We need to make sensible calls as actors.
Coming back to Gypsy, does the fact that the film is even more relevant today worry you as an individual?
Yes. Nothing has changed. In fact, things have gone worse. What I thought was just something in the script has played out in real life in the past two years. This film speaks about understanding and acceptance. I studied in the Punjab Association School in Chennai and never knew anything about religion or caste or lifestyle or which god who prays to. Today, that insulation has been stripped away. This is worse than Coronavirus. Everyone seems so ready to be swayed by what anyone says. Everyone is busy justifying violence. Sense has flown out of the window. So, we need a Gypsy to tell us to look within, to turn humane again.
The film really suffered at the censors, did it not?
Yes, they wanted 45 cuts. We now have 25. Some deleted scenes are on YouTube.
Let’s talk about something that gave you great joy, being part of 83…
Oh yes, it made 2019 worthwhile. The team worked with a vision and total conviction. Everything is planned to the last minute, and I think we need to learn that here. We also need to respect the medium called cinema better as also everyone’s time. When you’re part of a disorganised set, your craft gets diluted. You are fighting other fires. In fact, I call 83, an Indian film — the cast came from all over the country, the film is about unity, about achieving the impossible, together.
I’ve also learned the art of promoting a film. Promotions run on a parallel scale and come with their own planning and budget. Everything, including the supposedly spontaneous crazy stuff, is planned and executed well.
You’ve also started playing the guitar?
Yes. After photography, this is a passion now. I started learning it for Gypsy, and I really like the process of learning. For someone who grew up to be a shy kid who was afraid to speak on stage, I’ve not fared badly, no?
You could not have escaped the gush of fanmail for your look in this film, and the prefix of ‘eternally youthful’ that has been following you for more than a decade now. In our conversation, you referred to 18-year-olds as chinna pasanga…
(Laughs) I thought I was a young guy, and then I realised my son is going to be 10. They call me to cookery competitions, and there I see other fathers my age. Their hairline is receding, they’ve started colouring their hair, fitness levels are not great… and then it struck me that “Cha, naanum ivanga category than. Vayasaachu”. In my case, it has meant more family time, and using every opportunity to bond with them. There’s father-son time, father-mother time, father-mother-son time… I’ve realised I can’t talk anything in my films without thinking it through. My son will be judged, trolled. My SMS (Siva Manasula Sakthi) days have long gone.
That said, I do agree I don’t look my age. I’ve stayed healthy, happy and taken care of how I look. But I also understand that I can play certain roles only in this phase.
Gypsy is releasing today, March 6, 2020.