Geo’s Talkies – Onayum Aatukuttiyum

Tamil Cinema has been going through a wonderful period recently where anyone who has a good story – even decent story -  to narrate is getting the avenue to make his or her movie. The audience is surprisingly receptive to these movies from rank newcomers in an industry that is dominated by stars, big production houses and larger than life premises. Cinema was always supposed to be the common man’s escape from his daily grind, which is true to a large extent but should cinema be slotted within or constrained by such platitudes ?"

In a year where even a Mani Ratnam’s movie had to bite dust at the theatres came Mysskin’s “Onayum Aatukuttiyum”. Mysskin is an intelligent filmmaker, too intelligent some would say. In this movie he brings the story of a medical college student whose life gets intermeshed in a vicious web of crime and deceit. On his way back home after a night of studies at his friend’s house, Chandru finds a man lying on the road with bullet-shot wounds. Earlier a lot of people pass by the hapless man, the usual apathy we exhibit at this situation is portrayed starkly. People who stop to see if the man has life and leave when they see he has. People who shoot pictures for social media. People who don’t want to do anything about a wounded man on the road.

The system is the next on Mysskin’s list. Chandru isn’t able to get medical attention to the wounded man in a hospital, neither is he able to get the law enforcement’s attention. One of the police men even steal the wounded man’s watch right behind Chandru’s back. Sheer desperation forces Chandru to take the man home and treat his wound with help from his Professor, who himself is bereaved that night, an event that seems to play a role in the Professor deciding to help Chandru perform the medical procedures after initially rebuking him sharply for acting irresponsibly.

The Crime Branch lands on Chandru’s house the next day because the wounded man was Wolf, who was fleeing after being shot by the police in an “encounter”. Wolf, according to the Police, is a most wanted criminal with over 14 murders to his name which includes a blind teenager. A lot of these facts help us join the dots together in the third act of the movie. Chandru and his elder Brother are taken into Police custody, unofficially, while Chandru’s sister in law is kept under house arrest.

The Police characters have been sketched well. We are used to templates of either too good or too bad cops in uniform in Cinema. Here you have a mix of policemen. The corrupt officer who is hand in glove with another dreaded criminals. Tons of policemen on night beats, manning check points, who are scared as we’d be at such times. High ranking officer who want to help Chandru but hesitates due to passive pressure from his juniors and yet when circumstances change has no qualms in calling a hit to rid the society of an alleged dreaded criminal.

The best writing comes in the form of a CB-CID duo who read between the lines all through the movie to pursue their own course of finding Wolf. One of these two has a brilliant dialogue explaining to his superior officer why he won’t let Chandru escape Police custody, despite the custody being unlawful. When the Wolf wants to meet Chandru the Police hatch a plan to eliminate him. Is the Wolf stupid enough to walk into a trap laid out by the Police ? Why does the Wolf want to meet Chandru ? The rest of the movie is about how Chandru is used by the police as a lamb to lure the wolf and how Wolf navigates the quagmire.

This movie has been shot entirely in the night, not the usual DI work of turning a day shot into night. Ilaiyaraja’s foreground score, as the titles put it, support the movie ably. Mysskin’s martial arts background set the stage for some brilliant action choreography, complete with two samurai’s nailed to each other in the end. Mysskin even stretches the Onaay trait by showing Wolf with a tail. God is an underlying character all through the movie showing up on the wall Chandru runs past, as screams from Policemen who get shot, in the cemetery etc. “Onaayum Aatukuttiyum” is a brilliant attempt from a filmmaker who is completely in control of his form and technique, a Tamil movie that can rival any other good thriller from anywhere else in the world.

Geo's Talkies - Naan Kadavul (I'm God - Tamil)

I have a particular fondness for a film director who writes his own story. There's a sense of conceiving an idea, carrying it in one's mind allowing it to grow and finally giving birth to it by seeing it play on screen, there's a motherhood cycle related to it. Today there are as many director's who take another person's story and get the movie to work as are director's who write the story and screenplay and direct the movie for the big screen. 

Bala belongs to the latter group, after interning with Balu Mahendra this young man from Madurai debuted with the superhit 'Sethu' which was as middle as a mainstream Thamizh movie could become gave a fresh lease of life to a hitherto unknown actor who has been the voice of many on screen, Vikram. Bala's fourth directorial attempt 'Naan Kadavul', which translates into 'I am God', starts promisingly. When the protagonist utters 'Aham Bhramasmi' a couple of minutes into the film it sets expectations and also get's the viewer all excited to get a sense of how far a mainstream movie can go to work around the concept without having to bother about formula and without tinkering with logic. 

The movie opens gloriously in Kasi, 'Om Sivoham' plays as the title sequences play out, visuals of the Ganges in Kasi are sights to behold. Here's a father in search of his son he gave up in Kasi 14 yrs ago heeding to astrological advice hoping for better fortunes for his family. Accompanied by his daughter he reaches a famous priest in Kasi who helps him out despite abhoring the thought that a father gave up his son listening to superstition.

Rudhran is the son the father has been searching for, he's an Aghori (see trivia for more) now. Rudhran is sent by his Guru back to his hometown to return after renouncing his worldly connections. Rudhran arrives in his hometown in Southern Tamilnadu to his mother. The mother doesn't get the son's love nor can they understand the methods to his madness - blowing the conch and playing rustic drums in the middle of the night, smoking ganja etc.

Thandavan (notice the resemble to 'Andavan' meaning God in Tamil) uses beggars to earn his living, he's the head of a large begging mafia in this small town. He earns large amounts of money getting people to beg and doesn't give a damn about human life. He beats the one's that dare question, he deforms and multilates them. Murugesan works for Thandavan and is assigned a group of beggars who collect the highest among their peers by begging in the foothills of a hill top temple - Malaikkovil.

One night in search of ganja Rudhran arrives to the hill top to find other ascetics (some real, some fake) smoking to their glory. This hill become his abode from here on. He mouthes filth and sanskrit shlokas when questioned and is revered and feared by the folks around him. Amsavalli is a blind beggar with a sweet voice, she's stolen from her group of small timers who don the roles of MGR, Sivaji, Rajini, Nayanthara etc to make money and is taken to Thandavan. Here enters Nair from Kerala who runs a large begging group in places of religious interest in Kerala, Nair wants a change of faces to improve collections and hence takes people from Thandavan to Kerala.

Nair comes back to Malaikkovil with a proposal to make money with Amsavalli hoping to sell her off to a rich but completely deformed person who'd never have any woman bed with him due to the gory nature of his face. Amsavalli is left in the hill top temple by Murugesan and his accomplice hoping to save her from the ill that is to visit her and pleading the God there to save her. Rudhran answers their prayers, he takes on Nair and kills him. This infuriates Thandavan who mutilates Amsavalli's face. How Rudhran takes on all the evil he sees around him complete the narrative.

Arya comes out tops as Rudhran, the key here being in the fact that he doesn't have to emote too much. He brings in a completely different mannerism and body language to the aghori ascetic's character and the long beard and hair complement the persona of the character he is playing. Pooja, the glamour girl we all are used to, surprises us with her portrayal of Amsavalli. Shod of any glamour and with darkened complexion and lenses to blind her vision she does a good job of portraying the character of a blind beggar. Her north indian accent lends a wee bit more of credibility to the role she's playing though many see it as a handicap. Arya and Pooja have got the roles of their life time in this movie. Despite this one can't but imagine how it would have been should a more competent pair of actors were chosen to esssay these roles.

Every other character in this movie is aptly cast, there's no one who is miscast or who doesn't play the part well. I'm not able to name the person who played Thandavan, he's menacing and the very look of him on screen builds a huge amount of hatred in our hearts. Bala has reportedly used real beggars to act in this movie for a monthly salary of 2500/month. It shows on screen and most of them play their part rather beautifully. 

There's an underlying tinge of humor in some scenes and despite the rather sordid state of affairs we see on screen some lines made me laugh rather loudly. The way the beggars laughed and made fun of the world around them brought both a smile and a tear to one's eyes. I had a minor problem with the dialogues in the beginning of the movie when it sounded very dramatic in that the characters mouthed them like it was a stage drama.  Arthur Wilson's cinematography is the other high point of this movie. The opening in Kasi is outstanding. The camera literally crawls in and out of scenes majorly, most of the shooting is done from below the knee level which adds another layer of mystique to an already mystic movie.

Ilaiyaraja's music elevates this movie one notch more. The songs are superbly written and tuned. I couldn't pick one number which didn't fit the mood of a scene or which wasn't melodic enough. The background music was superlative to say the least. Here's a movie where Harris could learn a thing or two about writing for action scenes. Raja Sir's score for the action is apt and fits the thematic needs perfectly. The dialogs are laced with lewd and vulgar language when one sees it from a prudish metro dweller's point of view but one shouldn't expect anything less from a fare that is so grounded in reality. 

All the Tamil swear phrases have been beeped out but a particular swear word in Hindi which would translate into 'sister violater' wasn't beeped out. Is it that the Censor board folks in Chennai don't know enough Hindi? Given the large influx of IT professional from various parts of the country into Chennai this swear word should be rather widely known. It's rare that an actor get's an author backed role, Arya certainly get's to play the most challenging role of his career. The way he's introduced on screen while he's doing seershasan is so bold. On the low side Arya's character is not completely explored, there is no mention of what's he thinking or how he's tuned to see things, we have to assume that as an aghori he's broken off all his material leanings including his family which deserted him 14 yrs ago. The logic given towards the end for moksha for a character who begs redemption is hardly plausible.

Extras don't have any role to play in a scene in Indian movies. They simply have to stick to a marked position with a particular look on their face which an AD gives them. This movie breaks that routine. I'd like to mention a very short scene of a beggar crawling in a bus asking for alms during a song sequence. In the background you see the insides of the bus, the camera looking into the front where a conductor is changing the board of the bus, the back reads 'Bus Station' implying that this bus is leaving to a suburb or village nearby. The conductor picks his bag and moves ahead to issue tickets. All this happens in a couple of seconds but to keep a scene so dynamic takes a lot of rehearsal and vision and Bala has it. It's small things such as these that elevate 'Naan Kadavul' to a good movie. 

This is not a pop corn movie. This movie arrests it's viewer. You can't take your eyes off the screen. You are either repelled by the scenes you see or are engrossed in it in a non voyeuristic manner. The star behind 'Naan Kadavul' is Bala, the writer/director. It takes a lot of courage and guts to take a story about beggars and their problems and project it on screen. On paper it's not viable at all and no producer worth his salt would spend a penny on a project that looks so doomed. I hope this movie is seen by as many people as possible for the sheer magnitude of thoughts condensed into it. At a little over 2 hrs this is a lot shorters than the normal postcard swiss dramas we see churned out by our filmfolk.

Trivia:

# Aghori sanyasis see them as a symbol of Lord Shiva as per Hindu mythology. They are rumoured to indulge in cannibalism. 

# Aghori sanyasis believe in the perfectness of Lord Shiva and the fact that he is responsible for everything in this world - animate and inanimate.

# Corpses are freed off their curse by Aghori sanyasis to allow them attain moksha hence liberating them from their cycle of reincarnation.

# Aghori sanyasis can be distinguished from others by the way they smear ash left after incarceration of a corpse on their faces and body.

# The scenes in Kasi were shot in the real Kasi on the banks of the Ganges.

# The scenes depicting Malaikkovil were shot at Thenkarai near Kumbakarai in Theni district of Tamilnadu.

# The water falls shown near Malaikkovil is Kumbakarai falls in Theni district. This area was known to be naxalite prone but fast developing into a tourist spot recently.