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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Just another day...

Ek Din Pratidin (Bengali, A Day Like Any Other; 1979)
Written & Directed: Mrinal Sen

https://www.imdb.com/title/tt0079098/

Most reviews will say that Mrinal Sen was among the first to address the topic of a working woman. It is not solely about empowerment but also connected to many societal expectations. Much is expected from a working woman that is not demanded from a working son. Nobody worries if the son comes home late or does not return home. A woman who returns late into the night is automatically assumed to be involved in something sinful. No evidence is needed; the evil eyes immediately take it to be so.

This film accurately depicts all the challenges a close-knit middle-class family faces when their working daughter, who is incidentally the sole breadwinner, fails to return home until late at night. Residing in a rented estate where interactions between neighbours are inevitable, the situation can become more distressing when well-meaning comments appear harsh, inadvertently adding to the tension and confusion.

Kollywood films often focused on this issue, albeit in a more dramatic manner, as they were produced for mainstream Tamil cinema rather than more artistic ones like this. Off the top of my head, I recall Arangetram (1973), where a lady is praised highly when she contributes financially, but is discarded quickly after discovering the nature of her work. Aval Oru Thodar Kathai, released in 1974, also addressed the same situation, where all the family burdens fall on the working daughter, while the brother lounges around. Still, the mother tolerates the useless son.

Ek Din Pratidin provides an hour-by-hour account of what the family experiences when a working daughter fails to return home at the usual time. Initially, the family assumes she is working late, but when a call to the office goes unanswered, anxiety begins to grow. This was a time when even having a landline phone was a luxury, so forget about mobile phones. Father waits at the bus station to discover she was not on the last bus either. Meanwhile, neighbours offer support, but some of their remarks only make things worse. The brother reports the matter to the police and also checks the hospitals. There was a minor scare when someone matching the daughter's description was found seriously injured, but it turned out to be someone else.

The real reason why she is missed so dearly gradually becomes apparent. The family discusses the rent payments, the education of the younger children, and how they rely on the daughter's income. Meanwhile, the unemployed son just runs around but isn't really contributing much to the family's daily expenses.

The missing daughter finally arrives unceremoniously. Nobody questions why she was late. The daughter is surprised that everyone is waiting up for her. Meanwhile, the landlord insists that the family vacate their room. The colony is for decent people. The whole fuss about the missing daughter suggests she is somehow wild and sinful.

 

The film won the 1979 National Awards. In an interview, the director, Mrinal Sen, was asked why the reason for the protagonist's absence was not revealed till the end. He replied that his film was to highlight the insecurity of middle-class life and the claustrophobia of middle-class morality. The reason for her absence is irrelevant. Not all working women are financially independent. The burden of family responsibility is placed upon them, and she is caught in an emotional trap. 

At the end of the film, a new day begins, yet for the mother of the previous generation, it is merely another day spent doing the same chores: cleaning and cooking. Nothing truly changes. Despite the modern world around her and the liberties the new era offers to younger women, she, like many others, remains caught in the monotony of another ordinary day.

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Same Script, Different Backdrop!

The Ugly American (1963)

Director: George Englund

https://www.excaliburauctions.com/auction/lot/lot-50---
the-ugly-american-1963---uk-quad-film-poster/?lot=41051&sd=1

This film was regarded as Marlon Brando's favourite, but unfortunately, it was made when Brando's movies did not sell well, as they failed to engage the American audience. The ending of this film reveals everything; this was how the American public saw it: too preachy. As the American Ambassador delivered a long, verbose speech on TV, viewers simply switched off the TV halfway through his speech.

The message behind the story was genuine, but those in power were not willing to admit that foreign policies were the leading cause of most international conflicts. At a time when Hollywood was producing films that praised America as the saviour of the free world, this was a new perspective. When John Wayne's westerns justified the invasion of Native American lands and the killing of Native Americans, this was different. During World War II, it was necessary to portray the Axis Powers as the axis of evil; however, in the Vietnam War and the resulting unnecessary casualties, the public began to question. Why interfere in fixing a political situation in a country that does not want help? Was the desire to save the world from communist ideology so intense that it justified the collateral damage?

Thai Script

The story recounts a fictitious nation called Sarkhan experiencing civil unrest. The citizens are dissatisfied with their Prime Minister and hope to bring about change. The northern part of Sarkhan (North Sarkhan) has adopted communist ideology, strongly supported by China and the Soviet Union. This references the Vietnam situation. The Americans, along with the ruling government, are constructing a new highway. The people believe it will not benefit them and openly voice their resentment. There have been a few explosions and killings. The American ambassador (played by Marlon Brando) is determined to continue, as it serves their interests in keeping the communist North in check. All these details mirror what was happening in Vietnam.

Vietnamese - New Script

For the keen-eyed, it is evident from afar that the shooting took place in Thailand. The protestors' placards all display Thai script. As is well known, Thai script is quite distinct from Cambodian or Vietnamese. The Thai and Cambodian scripts both evolved from the ancient Khmer script, itself derived from the Pallava script of South India, which is rooted in the Brahmi script. Historically, the Vietnamese used Chữ Nôm with Chinese characters. Still, later Chữ Quốc ngữ, a Latin-based script introduced by Portuguese missionaries, became the standard for both public and private communication.  

Vietnamese - Old Script

60 years later, in 2025, the world remains burdened by the interference of major powers in the local affairs of smaller nations. In the post-WWII era, the Cold War was a significant factor. The self-appointed leader of the free world, the USA, had to ensure that the communist influence was reined in. Now, geopolitics and the need to provide the uninterrupted availability of supplies of power, minerals and trade are the main reasons. Come to think of it, it was the same when the European East India Companies first set sail to the spice islands. One went the wrong way and insisted it had reached India and started calling the Natives of the New World Indians!

P.S. Surprise, surprise. There appears to be a subtle connection between the individuals leading the Gen-Z revolution in Nepal, specifically Hami Nepal, and the US-funded NGOs. 

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Time to unwind?

The Naked Gun (2025)
Director: Akiva Schaffer

https://thatnerdshow.com/the-naked-gun-2025-
review-by-marcus-blake/

Sometimes you need to break away from it all and immerse yourself in something away from what is expected of you. All the decorum, needing to behave in a particular manner and displaying an appropriate demeanour, can be quite tiring. This is the time we indulge in something stupid, something like slapstick or farce comedy.

One particular comedy in this genre that I enjoy is the ones made by Mel Brooks. 'History of the World Part 1' was not literary stuff. The moviemakers never had the students of history in mind for them to learn history. It was just a salad bowl of overlapping worlds, without considering anachronisms. Alexander of Macedonia appeared in the same timeline as Julius Caesar. 

https://www.imdb.com/title/tt0082517/

For so long, I thought that Alexander's horse's name was Miracle. I vividly remember the scene when some thieves, escaping from the Roman court and harem, get cornered. When they realised that their goose was cooked, one of them uttered, "Now only a miracle can save you!" Sure enough, a majestic white horse materialised out of thin air, ready to take them away. That was supposed to be Alexander's horse. History tells us that Bucephalus, Alexander's horse, was probably black, with indentations on the head like an ox.

Another memorable scene was when the thieves were hiding amongst the eunuchs. The king's men had an idea to weed them out. He summoned an exotic dancer to strut her stuff before he uttered his iconic line, "If all goes well, nothing should arise!" Sure enough, the thieves failed the test.

https://www.imdb.com/title/tt0095705/

The 'Naked Gun' franchise has churned out three feature films, a TV series (Police Squad!) and even a computer game. Leslie Neilson used to appear as a spaced-out cop, despite being aloof of everything around him and causing destruction, he still ends up solving cases and gaining praise from everyone.

Neilson, who began his career as a serious actor, discovered his niche in the role of Frank Drebin, a bumbling police detective, in the TV series (1982) and on the big screen (1988-1994). Neilson died in his sleep in 2010, aged 84.

The fourth instalment of the Naked Gun had been in the pipeline for quite a while. After much delay, it is finally out, with Liam Neeson, known for his no-nonsense, scorned father roles, starring as a father whose daughter was kidnapped (in the 'Taken' series). This swashbuckling actually did a good job at deadpan comedy. His 'partner-in-crime' and love interest is 'Baywatch' babe Pamela Anderson, who proved that she is more than a red swimsuit donning lifesaver, running in slow motion against sunset coloured beach. The chemistry between the two is palpable. Liam, Leslie's son, is continuing his father's job of busting criminals.

A good vent. 7.5/10.

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Watch your back!

The Little Thing (2021)
Written and Directed by: John Lee Hancock

https://play.google.com/store/movies/details/
The_Little_Things?id=2GatvdJUxY8.P&hl=en_AU

When we watch police dramas, the cases nearly always get solved, the perpetrator is caught red-handed, or they make a full confession. In reality, however, not all crimes are solved. Sometimes, the police believe they have enough evidence to prosecute the accused in court. Other times, cases go cold, or the accused will fight fiercely to clear their name. Occasionally, the accused die in custody due to the methods used to extract information from them. 

This is when things become complicated. The police will see it as the cost of doing business, the business of keeping the city free from crime. However, the public will not view it favourably. They will talk about police brutality, police ombudsmen, and suspensions. The party involved will feel vindicated, believing they were simply doing their job. That is when matters get complicated. Instead of diligently performing their duties, they have to cover their own backs and those of others as well. Everyone is seeking a scapegoat to absolve themselves of their own wrongdoings.

In this film, a seasoned police officer (Joe Deacon) becomes involved in an ongoing investigation into a series of highway murders of young women. Joe has a poor reputation around the county for accidentally shooting an innocent member of the public during an ambush. For that, he paid a steep price, remaining as a deputy sheriff in a small town. The coroner and his superior covered up his mistake. So when Sgt Baxter asks for his help, he agrees. The case leads them to a peculiar individual who might be linked to the murders. Unfortunately, they just cannot pin him down.

The main part of the story occurs towards the end when, during a game of mind, Baxter accidentally swings a shovel and kills the suspect. The problem is that there is no solid evidence linking him to the crimes. That is when Joe decides to bury the whole story.

The message in the story presents a philosophical dilemma. Should a person be punished for taking his job too seriously? If his work defines who he is, and he believes he should dedicate his life and soul to his vocation because it is his dharma, is it fair for him to be punished for being overly zealous? On the other hand, with great power comes great responsibility. In a world that demands transparency and where every move is scrutinised, one must be cautious. Deal with it.

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Partners in Crime?

The Honeymoon Killers (1969)

Director: Leonard Kastle

https://www.criterion.com/films/582-the-honeymoon-killers?
srsltid=AfmBOooBrXMILjkfWbYvLAPPpo9ZQUaj
ZxWi0VU1etpA94OFZeon-9jN

This film was originally intended to be directed by Martin Scorsese, but he was dismissed early in production. Another director, Donald Volkmann, was suddenly replaced after just two weeks of filming. Kastle, who wrote and developed the script, then took over as director. This obscure production is often praised for its realistic documentary-style filming and has gained cult status.

 

The story is based on a true crime from the late 1940s, famously known as the 'Lonely Heart Killers'. It focuses on Martha Beck, an overweight nursing sister who is also a single mother of two children (not shown in the film), each with a different father. Her friend recommends her to the local Lonely Hearts Club, where she meets a smooth-talking con man, Ray Fernandez.

 

Although Martha is a nurse, she seems to be emotionally quite immature. Ray, who is simply a con artist, was already married with children and expertly manipulates Martha. In the name of true love, he persuades her to pretend to be his sister while he continues his day job of deceiving lonely women for their money and jewellery under the guise of marriage. Martha becomes his accomplice and actively plans their robberies, which also involve murder.

 

It is believed they were responsible for up to 20 murders between 1947 and 1949, but three cases received significant news coverage. In the final murder, a neighbour reported disturbances at the house. However, in the film, it is implied that Martha herself called the police.

The couple was imprisoned at Sing Sing prison and executed by electrocution.

An intriguing black-and-white film set in a period when filmmakers did not rely on gore or Technicolour to emphasise horror.

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Go, Take a Ride!

Wayward Bus (1957)

Director: Victor Vicas

Sometimes, they say that when you're upset with something or someone, just take a walk. Get away from the problematic situation and go for a stroll or a drive. When you come back, things will seem clearer. It is similar to saying, take a nap; things will often look better in the morning. The issue will still exist, but you'll be in a better frame of mind to deal with it.

This film is an adaptation of John Steinbeck's novel of the same name. It also attempts to present Jayne Mansfield as a serious actress, but unfortunately, it did little to shake her stereotype as a ditsy blonde. Rick Jason, known to 80s children as Lt. Henley in Combat! (1962-1967), plays one of the main roles. To be frank, there is no single central character in this film. Everyone is given significance.

Set in a rural US-Mexico border town, the story begins with a young couple. Chicory drives a battered bus, taking passengers across the border. His wife, a frustrated young woman, runs a small café with a B&B to accommodate the occasional traveller and passengers. She is openly suspicious of any young woman who appears there. She fears her husband might run off with one of them. Even the many young waitresses who have worked there as casual staff suffer from her mistrustful glances. She is also struggling to overcome her addiction to alcohol. 

Rick Jason (of 'Combat' fame) and Jayne Mansfield
are seen in the frame. Also appearing in the film is
Joan Collins of Dynasty fame.

Her latest waitress resigns and leaves for San Juan on the bus Chico is driving.

 

On the bus, there are several other intriguing characters. A cultured older couple with a rebellious adult daughter, a travelling salesman, a pretty blonde with a shady past, and an elderly man rushing to make his 4 pm appointment in San Juan. 

Everyone has their internal disagreements. The older, overprotective couple is unhappy with their daughter's choice of life partner. They hope the trip will make her see reason. A travelling salesman isn't taken seriously enough by any lady as a boyfriend. The blonde, Jayne Mansfield, is currently away from her life as an exotic dancer in LA for a stint in San Juan. The hurried old man, who, as he mentioned, has a life-or-death appointment, is actually meeting his beloved to propose in San Juan. Chico, the driver, is also annoyed with his money-minded and suspicious wife, who is also drinking excessively. Chico had left home after a quarrel and had promised never to return.

The journey, marred by heavy rain, landslides, and detours, proved to be a soul-searching endeavour that helped everyone on board gain better insight into how to handle the uncertainties that had befallen them.

Good storyline. Good acting. 7/10.

This work is licensed under a Creative Commons Attribution 4.0 International License.