Sunday, December 19, 2010

Easan - some thoughts ...

So many spoilers !

Easan, for the most part, expresses the wrath and fury of Sasikumar towards the city youth and the pub/ discotheque culture. We couldn't quite ascertain if it is "personal" but the kind of turbulence with which the title character Easan is charged with, stands proof for the above. As Easan clobbers Chezhian's (Vaibhav) head and spine with a huge jack hammer/gear rod or whatsoever, you feel that chill down your spine and that moment summarises the movie for you. Sasikumar's eye in detailing blood/gore/flesh finds an expression in Easan too. 

There is a very natural dimension to the political/capital power - the contagiousness. A mere existence in its environment is sufficient enough for one to fancy power. Yes, I am very much referring to that tricky and elusive feeling - being the son of a big-shot, be it a big businessman or a politician, affordable only by the Mallyas and Marans though. It's something that has been exploited to a good extent in rendering a dramatic value to the script, with the characterization of Chezhian and his dudeism. That said, the acting and the dialogues in these areas are pathetic - the dudes are not cool and the dialogues are very artificial. The dudes could only manage constipated looks on their faces, trying to project themselves as ultramodern studs. 

Easan, in the first half, exhibits a lot of promise, picking up a lot of engrossing stuff on it's way - business lobbying, corporatisation of politics, politicization of business, the night life in Chennai, a helpless and desperate policeman etc but when it all boiled down to an individual vendetta in the second half, you just feel a bit let down. Many a scenes hang in the air when you try to sync the first and second halves of the narration - especially, the Vijay Mallya stunt. Still, the aspiration itself, to depict the nexus between business and politics, is very much valid and appreciable. A couple of interesting diaogues were floated upon, during the conversations between Deivanayagam, the politician and Shivaraj, the businessman.

Abhinaya - being a handicapped woman, there has been (or will be) an intentional bias with which Abhinaya's performances has been (or will be) approached, which kinda makes sense. There will always be a "constant of integration" summed up with her personality while evaluating her performances. She plays a mute girl who becomes a rape victim in the movie. There is always a serenity and gloominess in her face even during the "happy-family" sequences. There is a fundamental dynamics based on which the anti-hero/villain & victim characterizations are constructed in movies - the differentiation in characterizations - they will be portrayed as completely alternate psyche's. The victim, who is a woman almost all the time, will be an embodiment of good virtues and will be associated as somebody who is pure, divine and beautiful.  The anti-hero/villain will be presented with a sharp contrast with the former - with an unconventional/ awkward face, stern/rough voice, drinker/womaniser etc. To put it simple, the victim is 100% good and the offender is 100% bad. This is very important so as to invoke an intrinsic sympathy from the audience and to justify the hero's final combat with the villain. The victim's character need to be very strong to reinforce this and the quintessential examples of this phenomenon are Sridevi in "Sigappu Rojakkal" and "Moondru Mudichu", Ashwini in Uthiripookkal, Shobana in Mahanadhi etc. Abhinaya's character in Easan is one such portrayal.

There is an age-old sacred rule in tamil cinema - with respect to the physical assault on the female protagonist or any female character for that matter - Any degree of verbal or physical   aggression on the rapist is simply justified by itself. In a patriarchal society, where all the socio-economic powers are vested with the men, men intentionally attached a "larger-than-life" importance and sanctity to the virginity of a woman. It not only helped men confine women within the houses but also let men free of these rules. Easan is the latest entrant reinforcing this social psyche - all those horrendous flesh-mashing by Easan on Chezhiyan is justified by itself.

That Sasikumar is severely critical of the pub and discotheque culture is evident at many places in the film. During the first half, the camera spins into a pub every tenth minute and it's a kind of condescending outlook that Sasikumar stamps on the western way of life and the modern youth. DJ, drugs, lust, moral degradation is all he portrays. Contrastingly, in a true Mahanadhi style, he shows how the life in a village is so calm, peaceful and satisfying in a flashback narrative. And, the "Nattar theivangal" are to be seen extensively in tamil cinema these days. It provides ample scope for detailing in a village atmosphere for the film makers. Vamsam did a whole lot of it recently and Easan budgets a good deal of time for the same.

The film also reinforces the healthy chemistry between Samuthirakani and Sasikumar. Still, what Easan lacks, for me, is that clarity in narration and good performances. For atleast the first half of the film, you keep yourself engaged in trying to identify the direction of the drama - you simply can't single out a protagonist-antagonist pair. Though its not mandatory to have the same, it has been the way our cinema has worked all these years and on the negative side, it will only diminish the curiosity that the audience has on the narration. You follow the engrossing drama on-screen and realise that Chezhian is a dude, Sangaiyah is the frustrated but helpless policeman, Reshma is a good looking babe, Deivanayagam is a kingmaker politician etc. But, that "so-what, what-next" feeling lingers. 

Sasikumar commands a good fan following for himself which itself is a healthy trend - fans for a film director sounds good .. right ?. Of late, he is being viewed as the Midas of the tamil filmdom - all his previous ventures - as director, producer and actor are all stupendous successes both commercially and critically. Easan would be a tiny speed-bump on his otherwise illustrious career so far. 

Sunday, November 7, 2010

priynka chopra bollywood actress

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Bipasha Basu Bengal Bomshell

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Bipasha Basu was born on January 7, 1979. Bipasha Basu insists that she wasn't beautiful as a kid. She studied in Bharatiya Vidya Bhavan in Kolkata and was the head girl. Later she gave her studies for modeling!
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adah sharma

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hot ans spicy bollywood actress

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The Super star Bollywood actress

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The Super star Bollywood actress “Shilpa Shetty” is reportedly one of a number of Indian actors expected to lend Bollywood glamour to British MP Keith Vaz’s campaign trail.The former ‘Celebrity Big Brother’ winner has known Vaz since he invited her to meet then Prime Minister Tony Blair at the House of Commons after she won the reality show in 2007.
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Saturday, October 30, 2010

Hot Mamtha Kulkarni with Bollywood Actors

Mamtha Kulkarni is one of the most hot and glamors actress in Bollywood cinema late 90s decade. She acted her first film in 1992 and in 1993 year she won her first award for her performance of Aashiq Awara movie. She is very famous in mid of 90s decade and became successful commercial film actress.She is much famous for appearing glamor and hot photo shoots and once she had to fined and appeared in court because of her glamors pictures. I have already posted so many pictures and details of this actress and in this post I am more consider to images which she appear whit Bollywood actors.

Mamta Kulkarni
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Monday, October 18, 2010

Vetty Post #2

Sweet fumes of Nostalghia

A trip back to the Alma Mater is always special. It's been just 22 months away from her but the intensity of the Nostalgia was already sky-high. Six of us decided to make it to the "Waves", the cultural festival of the Institute ... If not all of us, I was not bothered much about the culturals. You just need a pretext to be there again - The very idea of walking through those familiar frontiers is always an excitement. 

There is something very strange about Nostalgia - Only Nostalgia can transform the most mundane of the memories into very special remembrances, Only Nostalgia can render that special halo romanticizing the dullest moments of the past. Nostalgia, in a way is a very "selective" memory - You tend to relive and relish things which with some reason (for that particular individual atleast) are meaningful, sentimental or inspiring or whatsoever.

For me, Nostalgia about the institute was multi-diamensional ... Personal, Nostalgia about the places, the sense of social cohesion which the whole setup provided etc. Visit to the library, being under the Insti-roof , walks through the Shopping complex and the hostel corridors, breakfast at the Monginis - Very special moments they are - Longing for the past was just aggravating over time. As always during the "odd-sems", the campus was sparkling green.

Vasco da Gama occupies just three parallel streets and will look very ordinary in terms of the tourism value and the social life it offers but the kind of experience and memory that each of us carry with respect to Vasco is enormous. Dining at the Vasco Inn and Ginza's, snack at "The Temptations" were a part of the wish-list of all of us ... We ticked the boxes one-by-one. How can you travel to Goa all the way and not visit a beach at all ? - Bogmalo it was and a carefree four hours there.

This will well be incomplete if it doesn't carry a reference towards the perennial raconteur of the group - Cheenu. Cheenu's storytelling expertise is something which will age like wine - He did recall some of the evergreen bullet-points of our times there. We covered everything starting from Physics 1, Computer Programming exams, Mechanics of Solids project submission, duels with the profs, notoriousness at the labs, check-posts infront of BH1, Birthday parties and so much more  - we had an additional audience for the above - the junior guys.

Those are "Good old days" ... {Read the paragraph 2 aloud again}  :)

PS: "Nostalghia" is a 1983 film by Andrei Tarkovsky, one of my personal favourites.

Saturday, October 2, 2010

Rajinikanth and his Endhiran


Not a complete Review.


Rajinikanth is not a mere mortal cinema actor - he is a fantasy, he is an emotion, he is an impact, he is an impression, he is an experience, he is a perception, he is a sensation, he is a marvel, he is a mystery, he is a phenomenon in himself. His movies are not mere 24 frames per second shot with a digital video camera - they are an event, they are a festivity, they are a celebration, they are a detailed revelry to be relished. The moment a Rajinikanth project is announced, Tamilnadu tunes itself for an extravaganza. Everything "Rajini" makes news - still releases, trailer release, audio release - anything Rajini is consumed upon with a reverent devotion and authentic enthusiasm, which only Rajinikanth commands. The fanfare and the mass adulation submitted at this particular individual will be relevant at only one context - Rajinikanth. The fundamental rules of cinema, its narrative structure, its impact on the emotional system of the audience, its effect on the psyche of the spectator - all these seem to work different in this context - Rajinikanth.

"Cinema from an Idea" and "Cinema around a star" - each work in a distinct manner. During the studio days, when independent cinema was a distant idea, the studios required some kind of assurance and minimum guarantee at the box office. This is where the relevance of the "star system" emerges, the idea of the fan clubs and fan devotion arises. In the panorama of the "star system", the way a film works with its audience is altogetherly different. The audience, first of all tries to establish a one to one relationship with his favorite star and only after this, the settings of the story and the actual cinema walks into him. The production houses encouraged this idea with mass publicity campaigns and the actors endorsed the "fan activity" in large scales. There is an important drawback with the system though - How-much ever effort a particular actor invests in his performance, the audience will always perceive the personality above the performance. Thus, the idea of "fantasy acting" packs the final punch and the actual acting in a puristic sense - the "method acting" loses out in the race.

Rajini's collaboration with Shankar has marked a significant departure from the star-fan dynamics that Rajini has set in motion somewhere at the dawn of his film career. Rajini as a star was an altogetherly new phenomenon in the tamil social milieu. Stars who garnered mass adulation in the previous generations like M.G.Ramachandran and M.K.Thyagaraja Bhagavathar had "attractive" physical appearances (in a conventional sense), their roles were tailored in such a way that at no point of time the audience will develop a sense of aversion or uneasiness with their behaviour on-screen. More importantly, MGR and MKT had a huge following and popularity amongst women. Rajini broke all these conventions when he emerged - he had a rough angry man look, his complexion was dark, he smoked on-screen for almost 100 movies, he did spine-chilling villainy when he set out as an actor - Still, he naturally was the toast of the town with his active prompts and charismatic styles. But, it was the subalterns and the masses who initially were the patrons of the Rajini phenomenon, his popularity and stardom among the elites and women was something that happened at a much later stage. Coming to the star-fan dynamics - it was a totally different ball game those days - Rajini mostly played an angry young man who stood for the people, he fought for the poor in a simulated feudalistic society, he smoked lavishly on-screen, his characters were developed with cues of misogynistic and male chauvinistic behavior (in many movies). The audience enjoyed everything he did on-screens ... those were the audience who inculcated a sense of loyalty and integrity in them towards their "Thalaivar" and were the first generation fans of Rajinikanth. 

Shankar has brought about a whole new shift in the way Rajini is perceived by his fans. Rajini stopped smoking on-screen (for a different reason though), he has started doing roles of a software engineer and Robotics scientist these days, he wears wonderful clothes, lives in rich bungalows - In all, he is portrayed as somebody whose standard of living is very high. This is in stark contrast with what Rajini has been doing all  his career. How many times before "Sivaji" have you seen Rajini trying to woo a girl in all those details ?, How many times before "Endhiran" have you seen Rajini running away with his girl as somebody (Kalabhavan Mani) chase him ?. We all knew Rajini who used to say, "A Man shouldn't be in pursuit of a woman" and "Thaedi vandha kadhal" etc, we only saw him thrash tens of baddies. This is the "image makeover" I am trying to convey. "Endhiran" was an all new standard towards this particular idea - "Endhiran" carries no identity of a "Rajini movie", no styles, no punch dialogues, no intro song with the message to the audience, no freaking introduction scene. Its a Shankar film, its a Sci-fi film, Period.

Over to Endhiran: More than Vaseegaran - the scientist it was Chitti - the Robot who garnered all possible attention and applause. Wickedness and Villainy are the real "bread and butter" of Rajini's histrionics with which he started with. He does villainy right from his instincts ( "Mottae boss" of Sivaji is one more example on this light ). It is because of this intuitive performance, Chitti's character has come out so well that it looks almost effortless. Mufflers, pronounced collars, bandages - the costumes to hide Rajini's ageing neck serve the purpose but still, Vaseegaran does look older especially when he is seen alongside with the vibrant Chitti.

In Sivaji, we had Vivek seen with Rajini all the time which kinda irritated. This movie is full of Rajini - the presense of either Vaseegaran or Chitti is guaranteed in almost every frame. After Chitti Version 2.0's arrival, there are more Rajini's - 100s of them all through the frame - Satisfaction. The dialogues discussing Fibonacci series, Neural schema, medical terminologies etc provide a scientific feel but the songs' lyrics were over-stuffed with science tit-bits, I feel. The train stunt sequence and the final animation spectacle were real long - warrants choppings. 

Though the film looks rich, I still can't find 160+crores on-screen. The "Machu pichu" song - "Kilimanjaro" was the most visually appealing. Resul Pookutty, AR.Rahman, the animation experts from the west, Rathnavelu - all are felt. 

The commercial value of Rajinikanth, the star seem to be on a rise, there's no waning of his star value in the recent future - If an individual can set in motion so much commercial activity, If a cinema star can guarantee so much excitement to so many people, why should he ever retire from cinema ?

One important critic on the big budget productions involving stars of the stature of Rajinikanth is that, it heralds the arrogance of "Capitalism" in cinema production. Just observe - one or two weeks before and after the release of "Endhiran", you won't find any high profile film releases - Who wants their film to be washed away in the frenzy that "Endhiran" generates. Calculations are on - 2500 prints * 4 shows a day * 150 rupees per ticket - How many days does it take for the "Sun Pictures" to gross all the money that they have invested in. With all the media under their control and the kind of intense promo campaigns that they can manage, its a juggernaut of influence that "Sun Pictures" manages over the creativity industry of the state. And, it is the small scale productions and indie ventures that are promptly crushed on the way. Arguments discussing "consumer driven economy" will ultimately project capitalistic undertones only - Quoting Rajini himself from Sivaji - "Rich get richer and poor get poorer".

Wednesday, September 22, 2010

Somi Ali- Super Hot Indian Actress of 90s

Somy Ali is another Pakistan born actress who is one of the famous actresses and model in Bollywood rocks the 90s. She is currently works as journalist and giving lectures about social issue for United States. She acted very few films but most of her films are very famous because of her sensual and glamor performance. She has very wide knowledge in film industry and she graduated her degree related to film making. She is now very famous as NGO representative and journalist who fight against woman’s rights. Here are some hit films which she got large popularity among Indian audience.

Agnichakra
Andolan
Aao Pyaar Karen
Krishan Avtaar

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