The tale of a superstar that was not!

Kaantha (Tamil, 2025)

Director: Selvamani Selvaraj

https://www.myvue.com/film/kaantha-tamil

The film marketed itself as a fictionalised account of the life of the first Tamil cinema superstar, MK Thyagaraja Bhagavathar (MKTB). However, when I watched it, I realised it had nothing to do with MKTB, his downfall, the crime, or the tragedy that befallen him. 

Just to clarify, MKTB was the first Tamil megastar at a Beatles level. In the conservative Indian society of the time, women would gape and faint at his first appearance in a film. During the curtain raiser of a particular film, he is said to have winked at the camera, causing a row of enamoured young women to faint. One of the qualities many prospective brides listed was for the groom to have long hair and a cropped MKTB-style cut. One of his films, 'Haridas' (1944), was screened for over three years, spanning three Deepavalis and filling the cinema to capacity. It holds the record for the second-longest-running Tamil film after Chandramukhi (2005), at 784 vs 890 days respectively.

As MKTB was riding high, he, along with NS Krishnan and Sriramulu Naidu, a renowned director, was charged with the murder of a notorious tabloid owner, Lakshmikanthan, in 1944. Lakshmikanthan specialised in publishing sleazy half-truths about movie stars, and many enemies sought his downfall. The trio faced trial in India, and Naidu was acquitted. MKTB and NSK appealed to the Privy Council in London, which is equivalent to the present-day Supreme Court of India, and were acquitted in 1947.

 

The multiple trials drained most of MKTB's finances. To add insult to injury, he was ostracised as a criminal, even after the courts cleared him. His popularity plummeted. Even his singing performances were shunned. The public felt that he was too tainted to sing the divine songs, and his music was fit for Goddess Sarasvathi. He died a broken man at 49 due to complications of diabetes.

https://www.imdb.com/title/tt0245145/

On the other hand, Kaantha's story, undoubtedly set during the golden days of Tamil cinema, depicts the ego clashes between a popular actor and his mentor, the director who introduced him to the screen. Caught in the middle is a new actress, brought in by the director to complete his long-overdue project. She is torn between following the director's instructions and her growing feelings for the main actor, who is, however, married. The actress is shot dead, the police move in, and the rest of the story revolves around discovering who the killer is.

The film is quite enjoyable, nonetheless. One should not, however, ask absurd questions like what a 1970s transistor radio is doing in the set of a 1940s period drama. For the record, the first transistor was invented in late 1947 at Bell Telephone Laboratories in New Jersey. The first transistor radio was released in 1954.

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Of Venus and Asuras....

Vidivelli (விடிவெள்ளி, Morning Star, Tamil; 1960)

Written, Directed: Sridhar

https://www.imdb.com/title/tt1431188/

Thanks to SK for keeping me informed about this a long time ago. On a clear morning, if we look into the sky, we can see planet Venus. It appears as a bright light that does not flicker, unlike a star, and has a yellowish tint.

In Tamil, Venus is called Velli (வெள்ளி), and sometimes Sukhran (சுக்கிரன்) in Vedic astrology. Sukhran is a deity in the Navagraha system, associated with beauty, wisdom, love, and wealth, and is a guru to the Asuras. Therefore, Friday (Vellikizhamai, வெள்ளிக்கிழமை) is connected to Sukhran and the planet Venus.  

Asuras are not inherently negative characters, as we have come to understand. In the earlier Vedic scriptures, Asuras are depicted as powerful forces comparable to the Devas. Over time, in Hindu writings, they became synonymous with uncontrolled senses and powers. Paradoxically, on the other side of the Sindhu-Saraswati civilisation, among the Zoroastrians, there is a blurred distinction between good and evil. Ahura, as in Mazda Ahura, the primary Deity in the Zoroastrian religion, is an Asura (pronounced Ahura).

Vidivelli translates to 'morning star', i.e., Venus, which is visible before sunrise, poetically representing a positive turning point in life, the light after darkness.

This obscure film escaped the notice of most Tamil cinema enthusiasts. Although Sridhar released many innovative movies addressing compelling social issues, this particular film seems quite uninspired. His major hit as a debut director was 'Kalyana Parisu' in 1959. Most of Sridhar's successes came afterwards - including Nilavu (1961), Nenjil Or Aalayam (1962), Kattallika Neramillai (1964), and Vennira Aadai (1965).

It tells the story of a brother stealing a necklace to give his sister as a dowry. Although he feels guilty about the whole affair, he feels compelled to do it because he believes it is his duty as the elder brother to provide for his younger sister. As fate would have it, the brother secures a job with the very same people he had stolen the necklace from. Neither party realises who they are dealing with.  

The sister is happily married and was showing off her necklace one day when her husband realised that there was a photograph of a young man in its locket. The husband suspects her of infidelity and chases her back to her mother's home. The emotional brother now has to prove his sister's loyalty and admit his own crime. Things get complicated when the brother falls in love with his boss's daughter, from whom he had stolen the necklace, and her father is not too pleased with her choice.

Amongst film circles, this movie received much admiration for its direction, storyline, and stellar cast. The benchmark for the commercial success of any Tamil film is its ability to run in cinemas for over 100 days. 'Vidivelli' achieved this.

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Under the radar

Abang Adik @ Pudu Youngsters (Malay/Cantonese/Sign Language; 2023)
Director: Jin Ong

When you wander around the wet markets or back lanes of many major cities, you find a buzzing economy independent of the one considered by economists and the national budget. There is a parallel economy going on there. 

You see many moving around, working intensely, and doing things others think are dirty, dangerous and demeaning. You see people washing dirty dishes at the back of the restaurant, slaughtering chickens and carting around loads of vegetables or sundry goods. They are invisible to most people's eyes. And they are paid a pittance in cash. These transactions are not recorded; hence, they escape the revenue departments. They are voiceless and live below the radar because, on paper, they are persona non grata. They may be undocumented foreign workers, economic migrants who overstayed or refugees. Intertwined in this group are Malaysian citizens themselves, who, at birth or due to other reasons, did not have their birth registered at the National Department.

In the eyes of the State, they are not identified in the country's statistics and do not enjoy the privileges proffered to its citizens, like opening a bank account, being part of the cashless society, obtaining a passport, or even getting into schools. What is worse is being disabled on top of all this.

Abang and Adik found themselves as unwanted kids wandering the backstreets of Pudu, Kuala Lumpur. Abang took it upon himself to be Adik's guardian, and together, they grew into adults, just moving along with time.

Abang, hearing impaired, leads a straight life, working odd jobs and saving every sen in a biscuit tin under his bed. Adik is the 'adventurous' one. He dabbles with the thugs around town, cheating illegal immigrants of their hard-earned and moonshining as a gigolo. They rent a room in a debilitated flat which had seen better times a long time ago, now occupied only by illegal immigrants. This place is periodically raided by the immigration officers to fulfil a quota of detaining undocumented immigrants. Abang and Adik would be rounded off, too, but would be released later. Their closest friend is a transgender person who took them as their son.

An NGO worker who goes beyond her call of duty to get them their legal papers helps them out. She somehow manages to locate Adik's father and invites him to meet his estranged father. Unfortunately, Adik's resentment of their father leads their conversation into a hearty argument that does not end well. 

In the meantime, Abang has developed a soft spot for a Myanmarese girl who will eventually be relocated to the US under the UNHCR relocation programme.

The last twenty minutes of the movie are the most gripping moments of the movie. The movie's most striking scene is when Abang has a 'conversation' with a Buddhist priest. When told by the priest to look at life positively, Abang, in sign language, has a long monologue, lamenting the life he has led, the hardship he went through, the parental love he never got, and, to top it off, the handicap he never asked for. Definitely worth a watch. 4.5/5. Worth the accolades it received.

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Malaysian hands in HK affairs?

The Goldfinger (Cantonese; 2023)
Director: Felix Chong

This film excited me for three reasons. First, the screenplay was written by the same guy who wrote the smash series Infernal Affairs, which later spurred Martin Scorsese's The Departed. Second, my favourite Cantonese stars, Andy Lau and Tony Leong, are in it. Finally, a Malaysian angle is somehow intertwined in the whole imbroglio. The movie is based on the rise and fall of the Singaporean (Sarawak-born) rag-to-riches speculator George Tan and his Carrian group of businesses.

One July morning in 1983, Malaysians were shocked to read about a banker's body that was found in a banana plantation in the New Territory of Hong Kong (HK). From the 10-sen Malaysian coin that was found in the pants pocket, the police managed to determine that he could be Malaysian. They finally discovered that he was Jalil Ibrahim, a Malaysian auditor sent from the Bank Bumiputra Headquarters in Kuala Lumpur to look into some discrepancies in loans dispensed by its subsidiary, Bumiputra Malaysia Finance (BMF).

HK police investigations soon revealed a Malaysian businessman, Mak Fook Than, met Jalil at a hotel, killed him, packed him in a suitcase and disposed of his body at a banana plantation. During the trial, Mak insisted that he was merely a bystander. The actual killer was a Korean named Shin, who was never discovered. There were strong rumours that they were simply pawns. The real killers were someone big high up the food chain, either Malaysian politicians or Carrian group management.

Jalil's investigations from his 6-month stint in HK found that large loans were given to George Tan and the Carrian Group without proper documentation and collaterals. George Tan, an engineer by training, hit terrible times in Singapore in the 1970s and landed in HK. He ventured into the real estate business and found a neck in speculative trading. From there, Tan diversified into other industries. Sometimes, his business dealings were shady, and his partner and he parted ways. With the collapse of property prices and the stock business, the Carrian Group hit hard times. When everyone else stayed away from George Tan, BMF gave them up $ 1 billion. The HK Independent Commission Against Corruption (ICAC) also breathed down their neck. In the meantime, the Malaysian Government, under Mahathir's leadership, was also embarrassed. Technically, Bank Bumiputra was established under the umbrage of the Malaysian Government to aid struggling Malay entrepreneurs. So, it had no business giving out loans to Chinese businessmen. The CIA declassified some of its documents about the BMF scandal. This sanitised version did implicate people high up in UMNO to be cognisant of the hanky panky in BMF.

So, at the end of the day, Jalil's murder was determined to have been unilaterally by Mak. No one in the Carrian Group, George Tan, BMF or UMNO was implicated. BMF chiefs Lorraine Osman and Hashim Shamsuddin were later charged and imprisoned for CBT. The gossip around town put Mahathir and the Finance Minister then, Tengku Razaleigh Hamzah, deep in the cookie jar.

The movie, told in flashbacks and forwards, tells a not-so-interesting account of the tenacity of one man, Lau Kai-yuen, the principal investigator of ICAC, to pin down Henry Ching Yat-yin, a character based on George Tan. After 17 long years, with two missed convictions, Henry (George) was imprisoned for three years in 1996 for the conspiracy surrounding his BMF loan.

(PS. In the movie, Malaysia was referred to instead as 'Timurlaysia'; even the honorific title Datok was used for the Malaysia characters.)

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Just when we think it was safe to be amongst our kind!

The Handmaiden (Korean, 2016)
Director: Park Chan-wook

There was a time that it was a given that a lady would feel comfortable in the presence of another lady when she is facing a potentially embarrassing situation. A. male medical practitioner would be required by law when he is examining a female patient. Lady doctors are assumed not to assert their powers over their male patients. 

The ladies washroom was considered a safe space, and they thought they would be protected. When faced with untoward incidents, especially with a member of the opposite sex, ladies would find solace there. After watching numerous Hollywood high school movies, we know how mean girls can be. If they thought that powdering her nose in the company of those of their kind would ensure non-passage of judging looks on her anatomy, I have news for them. Females are their greatest critics.

The members of the fairer sex think they find security in the company of their kind by travelling in ladies-only coaches and parking their vehicles in pink car parks designated for ladies. It is a defeatist idea of women's empowerment. On one end, feminists scream for recognition and respect. On the other, they plead for protection and padding of their falls. In my books, respect is gained through actions, not legislation or helicoptering.

We forget that Korean movies had a healthy life long before the Academy Awards introduced 'Parasite' to the world. And Koreans make more than lovey-dovey soap operas about lost love. Many of their stories are pretty different, and they dare to venture into territories considered taboo by most Asians.

'Handmaiden' is based on the 2002 novel 'Fingersmith' by Welsh writer Sarah Waters. It was set during the Victorian era. This movie's setting is altered to a time when Japan occupied Korea following the Russo-Japanese War. A pair of fraudsters,  Koreans from the lowest rung of war-stricken Korea. They make an elaborate plan to swindle a Japanese heiress. A con man hires a lady pickpocket as a maid to the heiress. The idea is to marry the heiress, get her committed to a mental asylum and abscond with her money.

Things take a turn. The story of the three characters is told from three points of view and ends with a twist at the end. 

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Do we really know?

Drive My Car (Japanese; 2021)
Director: Ryusuke Hamaguchi
Based on Short Story by Haruki Murakami

I have not read any of Murakami's works; I guess I should. His body of work is said to reflect the deep, dark corners of human consciousness. After watching this highly engaging movie, I think I should engage time to appreciate his writings.

As in all good movies, the viewers are clueless for a good one hour into the film. I was wondering where the story was going. Why was the protagonist, Kafuku, a theatre actor, who was acting in 'Waiting for Godot', keeps driving around? Why did he not react when he caught his wife, Oto, sleeping with another man? What is this about Oto and telling stories? Then there is the history of a dead child. And then the wife dies too.

Two years on, Kafuku is on a directing stint in Hiroshima. The company insists that they hire a chauffeur for him to drive his 1987 Saab Turbo. The chauffeur, Misaki, a young 20 something woman, seems to carry a massive burden upon her shoulders. She had lost her mother in a landslide. There is more to that.

The man who was seen in bed with Oto earlier, Kōji, auditions for the play and is selected. The play is Chekov's 'Uncle Vanya'. The crux of the story is how all these characters resolve their respective deep-seated unresolved issues by their actions or inactions. Just like the pandemic that jolts us from the lull of comfort, at the end of the film, the reboot button is set.

We think we have an explanation for everything. Yet, many things do not make sense. We seek clarity but still, the answers elude us. Peace of mind is disrupted by carrying these unresolved matters in our psyche. Maybe, we should let it be. Move on.

(P.S. Another introduction to another of Russia's many talented writers, and considered to be one of the world's greatest writers of the world, Anton Pavlovich Chekov. A doctor by profession, he wrote stories to support his family. Famously is quoted to have said, 

"Medicine is my lawful wife, literature, my mistress."

.)

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How to tackle a taboo subject?

30 days in September

Screenplay: Mahesh Dattani

Thanks to MEV for the introduction.

The dilemma is this. For how long will the family look the other way, knowing jolly well that a sinful act that had been committed? People around the family knew about it all along but decided not to squeal, not even bat an eyelid.  Are they complicit in the infamy? Is maintaining harmony between members and the status quo in the equilibrium more important than defending the vulnerable?

People say it happened at a different time when the dynamics were different. They say sometimes people do the stupidest of things when they are weak. They should not be vilified for the rest of their lives. They say, “why don't you move on, already?”. His deeds overshadow the creases in his personal life. You have to safeguard yourself. You do not want blood in your hands if his family institution falls aground. Is that something you would like to wish upon them?

Nobody is bothered about the victim. Should she take some blame for the act? After all, she is old enough to be in control of her faculties. Why did she drag it on? She could have said no at any time.

A 2019 play in Washington DC.

People forget it is not about liking it. It is about control and exertion of power by the dominant other.  With age and power comes specific responsibilities. Doing the right or honourable thing is being one. One cannot forever claim temporary emotional frailty as an excuse. With great powers come great responsibility. The higher the perch, the heavier the fall and the more damaging the aftermath. There is no get-out-of-jail-free card for this.

This must be a narrative often uttered behind closed doors in many families. Many family scandals are often swept under the proverbial carpet for fear of bringing shame to the family. 

This bold play by Mahesh Dattani is an attempt to discuss the touchy subject of child sexual abuse. Mala has problems committing herself to a relationship, and she attributes it to her uncle, who had sexually abused her when she was young. Her mother, despite knowing this all along, decided to turn a blind eye. Mala grows up a bitter lady despising her mother for her inactivity. The conflict becomes more complicated as Mala's mother decides not to confront the issue head-on but instead plunge into religion, hoping that divinity will solve everything. This further infuriates Mala. Meanwhile, there is a young boy who is all head over heels in love with Mala.

A powerful play about a taboo subject and how it distorts one's psyche. 

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