Doing the right thing by whose standards?

Jagame Thandhiram (ஜகமே தந்திரம், Tamil, The Universe is Cunning; 2021)
Written and Directed: Karthik Subbaraj

Do not expect any high brow stuff here. This is purely a masala movie with a 'feel good' element with little cerebral activity involved. Suruli, a gangster from Madurai, Tamil Nadu, is summoned to London to be a consultant to a bigoted white gangster. The kingpin, Peter, is having a hard time with a rival Sri Lankan Tamil gang, and only Suruli seems capable enough to clip their activities.

Like a faithful dog and a coolie, showing gratitude to the alms strewn to him, Suruli hunts down Peter's nemesis, Sivadoss. After gunning down Sivadoss, Suruli realises that Sivadoss was actually a modern-day Robin Hood who had made it his life goal to help illegal immigrants who come into the UK from war-torn countries by getting them valid documents. His criminal activity helped to finance his noble intention. He contends that since the UK and its allies are responsible for all the world's population displacement, his nefarious activities are justified.

Suruli then changes allegiance and work for the rival faction. Through their language commonality, he gangs up with the remaining members to avenge Peter instead for his white supremacist stance. 

Although the storyline is nothing much to shout about, it did manage to bring out a few common questions that plagued the Indian psyche. It is a commonplace to compare Indians' behaviour to that of crabs. In a bucket of crabs, each crab would pull on the other, preventing the other from climbing out. 

It is also said that the Indian diaspora been has been subjugated so long under the colonial powers that they tend to seek validation from their former colonial master, even now. Macaulay's vision of wanting Indians to turn their backs on their glorious past has reached its intended target. Now, the former colonial masters have sepoys and baboos running around bending backwards doing their dirty job. The masters, through their years of warring, have mastered the art of instigating brothers to fight each other. They not only sit back and watch the melee, but they also fan the fire!

Kattabomman to Jackson
"How dare you!"

History buffs can remember a particular time in Indian history when the British were making inroads into India, then the country with almost a quarter of all world's GDP. The European traders tried to play the role of peacemakers and deal brokers by instigating wars between chieftains. A scene where a local leader, Ettappa Naiyanar, acting cahoots with the British Collector, Jackson Thurai, to win over Kottabomman comes to mind.

Everyone claims to be fighting for the truth, that the truth will prevail after all. Then the question is, what is that thing called truth; truth as decided by whom? In the case of this film, the protagonist thinks he is siding the party that is doing the right thing. The other feels that Suruli is a sell-out as he derails the Sri Lankans' efforts to give their brother-in-arms a chance at survival. 

Money changes everything. It gives status, recognition and takes care of generations to come. Once an obscene amount of wealth is usurped (and the usurper goes scot-free), everything is sanitised.

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What if Jesus returns?

Nenjam Marapathilai (நெஞ்சம் மறப்பதில்லை, The heart never forgets; Tamil; 2021)
Story and Director: Selvaraghavan

This film may not resonate with the average Kollywood movie-goer. It is supposed a thriller, a ghost story with corpses, gore and blood, but it is plentiful with hidden messages and symbolism. It is for the viewers to connect the dots and draw their own conclusions.

A casual viewer would surmise the whole offering as a poorly made horror flick with poor VFX about an orphan, Mariam, from a Church taking up a childminder's job in a dysfunctional family. The man of the house is a two-faced eccentric tyrant, Ramasamy @ Ramsay. He is married to his bosses' daughter and is under her thumb. He appears to courteous to everyone, but beneath his pleasant demeanour, evil lurks. 

Long story short, the minder is gang-raped by Ramsay and his servants, killed and buried in the large home compound. Mariam comes back as a spirit to avenge her bizarre death.

In an interview, the director, who also wrote the story, asserts that it is a good versus evil story. In the form of a servant, Jesus comes to Earth to fight Satan, who is in the form of Ramsay. Along the way, the iconic representations of biblical events - Jesus carrying the Cross, Mary with infant Jesus, fish, bread, representation of angels and many more.

From the dialogue, one can make out the story takes a whack on the whole of human civilisation; Indian culture of needing the safeguard reputation, turning a blind eye to injustice, blatant disregard to decency, class discrimination and more. It seems that evil is more prevalent than good. People in power dictate terms, and the weak follow blindly without agency. The agency bestowed with the responsibility of upholding justice is flawed and corrupt. People can get away with murder and joke about it. Maintaining prestige and social stigma are more valuable than human lives. Money can buy everything, even love and care.

The dialogue gives a sense of deja vu. Then it hits you. There are plenty of references to dialogues from Sivaji Ganesan's movies. There is even a song from one of the movies he acted in -' Enga Mama' -'Chelakkiligalam Palliley'. The message the writer probably conveys is that the devil wears Prada and appears suave as well charitable. However, political leaders are not altruistic, there are only worried about the next elections' result and dancing to the party line's tune.

What I want to know is why Ramsay, aka Satan himself, is portrayed in a Hindu home where Durga Devi Stotram is heard in the background? Is there another veiled message there? Ramsay is the contraction of Ramasamy - Lord Rama!

This director has a penchant for naming his movie after pre-existing ones. Actually, in 1963, legendary filmmaker C V Sridhar directed 'Nenjam Marapathilai'. If the former was about unfulfilled love and reincarnation, the latter, in a way, is about the same. Jesus coming back to Earth to resolve an unsettled score. But then, reincarnation in Christianity? The scriptwriter would probably invoke their creative licences to squeeze more creative juices. And Jesus in the form of a lady?

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No warranty, No guarantee!

Mookuthi Amman (மூக்குத்தி அம்மன், Nose-ringed Goddess, Tamil; 2020)

This movie is obviously a bashing against BJP's imminent entry into Tamil Nadu politics. Since the 1930s, Tamil Nadu politics had been secular (read anti-Hindu). From the time of EV Ramasamy and subsequent leaders of the state, they have always claimed to be atheists. They all fell prey to the British's devious 'divide and rule' strategy. They also subscribe to the now-defunct 'Aryan invasion theory'. They believe that the story of Ramayana is the story of Northerners (Aryans and Brahmins), of King Rama, colonising the Dravidians led by Ravana. What they fail to realise is that Ravana actually hails from the region around modern-day Uttar Pradesh, hence from the North too. He usurped the Lanka kingdom from his half brother, Kuberan.

EV Ramasamy had always been sceptical of the Hindu hierarchical order. His idea was the Brahmins were out to aggrandise themselves and vilify the lower castes. Being a social activist, he started the Self Respect Movement and worked hard towards women empowerment, caste equality, anti-Hindi rhetorics and opposition against Brahminical dominance in Tamil Nadu. Subsequent leaders in breakaway parties also followed the trend.

Hence, the idea of a Hindu friendly party working hand-in-glove with a splinter party in Tamil Nadu gets most of the politicians here hot under their collars. Even though they claim to be irreligious in their outlook, they are often seen to be wooing and appeasing their Muslim and Christian vote banks.

This film may remind viewers of Hindi movies, PK and OMG - where the gullibility of devotees and the shenanigans of godmen are laid open. It tells the depressing story of Engel Ramasamy, a freelance reporter. His family comprises his single mother and three younger sisters. His father had run away soon before the last sister was born. Ramasamy crosses path with a powerful sage, and pretty soon he realises that he needs to fight the sage to save a big plot of land that belongs to his family temple. And the Goddess of the temple manifests in front of Ramasamy to be of aid.

Many viewers are unhappy that the filmmakers decided to paint all Godmen with the same brush - of being power-crazy, devious and cheats. We get an eerie feeling that references are made to Nithyanda (of the 'me-in-you' and 'you and me' fame) as well as to Sadhguru where his Cauvery Calling collection is queried, and alleged tribal land is misappropriated. Ram Baba Dev is not spared either, for his business ventures are also mentioned. There is a scene of a possible conversion of a minor which suddenly gets forgotten in the hullabaloo of the story. A clip of a pastor engaging in spiritual healing got snipped as the director felt it would offend the Christians. What about the sentiments of Hindus, they say? Even though the Goddess proclaims Jesus to be her friend, she becomes 'jealous' when Ramasamy's mother seems keener to visit Thirupathi than her! Is it a coincidence that the protagonist's name combines Ramasamy (EV@Periyar) and Engel (of Frederich Engels who co-wrote 'The Communist Manifesto' with Karl Marx)?

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If you love someone let him go!

K.D. @ Karuppu Dorai (2109, Tamil; கேடி என்ற கருப்புதுரை)

This story reminds me of the many stories that I discussed with my fellow partner-in-crime in the not so distant past. Quite many a time, seriously ill patients with advancing age with the myriad of medical illnesses that complements the geriatric population often gets admitted to his unit. Invariably, the patient's children would insist that their moribundly ill elders get all the best treatment that money can buy. The oft-repeated dialogue would be, "money is not a problem". My friend knows it is no use flogging a dead horse but like a good servant he is, he obliges, every time. 

The tide would be going against the acutely ill patient. The next of kins would, however, stay hopeful. The life is literally hanging on a thread, living on a prayer. But hope lies eternal in the human heart. 

Days move ever so slowly but the patient's condition doe not improve. Slowly, the number of visitors hanging around the visitors' lounge becomes thin. People have to go back to their daily routine. One has to live for the living. Occasionally, the nurses can hear arguments amongst siblings. One busybody nurse overheard one relative threatening to stop contributing to the family coffers. Then another would butt in to say that the treatment is the least the family offer to the patient. And yet another would throw in the towel citing economic reasons. Collectively they all would agree that the successful one amongst them take the tab. 

Soon it would be a single relative hanging around to get daily updates on the patient's progress. Then the Universe will speak and lead to an amicable curtain call so as to give a suitable closure to the whole brouhaha. Nobody gives what the patient wants. The living decides what is best for the dying. 

Everyone says that there is an absence of sufferings on the other side. One can enjoy of all kinds, eternally satiating all the senses at a divine but first, one has to die. That is the problem. Nobody wants to die no matter how much one is convinced of life after death.


This offbeat but entertaining drama tells of an unconventional bond between an 80-year-old man, KD, and young orphan boy, Kutty. This octagenarian was in a coma for three months. Lying in his daughter's home, given up by doctors, he holds on his life. Refusing to die, he becomes a burden to his 5 kids. They just want to go on with their lives. One sibling wants to marry off her daughter. Another is waiting for his inference to settle his debt. The youngest child, however, does not like the idea but relents anyway when collectively the family members decide to terminate the old man miseries by performing euthanasia using traditional village methods. By a twist of fate, the 80-year-old came around at the precise moment, overheard the conversation, and scooted off the scene on a local bus. He paid the fare for the last stop but the bus broke down in the middle of nowhere. KD decided to hang around a small temple, help around the temple, and make acquaintance with Kutty.

His friendship with Kutty gives KD a new lease of life. Kutty, an orphan, a street smart boy, was left at the doorstep of the temple at infancy. For the first time in his life, Kutty found love in an adult. Kutty made KD's bucket list and together they try to fulfil the list. The family, upon realising KD's disappearance, assigns a private investigator who is hot on the old man's trail. 

Another entertaining story with a picturesque spread of the Indian countryside. It has its fair share of quirky moments as two members of different generations try to find commonality. 

A lesson to learn: Do not let your family members decide the fate of your life. When your faculties are no longer yours to make a decision, they will make decisions that suit them or what is expected of them by society. Your suffering will be their bargaining chip. Write a legally binding declaration of refusing resuscitation when the situation arises. Have a difficult but necessary discussion of opting to turn off the plug when things do not look promising. Let people remember you as the ambulant and cheery person you are; not as the pain with tubes that drained half of the family heirloom, if there is any left.

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Love, an often abused word

Nadigaiyar Thilakam (2018)

People do a lot of things under the guise of love. They justify wrongdoings and rationalise breaking of sacred bonds with the same excuse. They sanitise guilt by saying that love conquers all. They give love such a status as if it is the one that maintains human civilisation and makes the world go around. In short, love moves mountains. Love is Grace. Love is God.

Perhaps love has been over-glorified. If we were to dissect love into subsets, maybe then the true intentions may manifest. A rose in any language may smell the same, but its thorns hurt, nevertheless. To be fascinated, to admire, to have passion, to desire, to have devotion, to like, to lust, to obsess, all denote different degrees of love. The end results in the pursuit of these ambitions may not always be a happy ending. 

This film is a biopic drama of the darling of the early 1960s' Tamil silver screen, Mrs Savithri Ganesan. Savithri landed in Kollywood in the 1950s as a starry-eyed youngster. Even though failing to secure an acting role initially, she made her acquaintance with Gemini Ganesan. By a twist of fate, she finally was given a role in Kollywood and developed a relationship with an already married Gemini.

The story tells about their union, how they legitimise their wedding using love as a reason. Surprisingly this power of love only lasted as far as the going was good. When Savithri's career outshone Gemini's, he became defensive. The romance fizzled out and, hatred took over. Booze took charge to numb the pain. Love took the form of another woman. Somehow, it all made sense when Savithri was the other woman but not when she was two-timed.

Bad business decisions and naivety landed Savithri in a collision course with the Income Tax. Embroiled in debts, alcoholism and bad health, she never regained her rightful place as the doyen of the Tamil cinema but died a pauper.

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