Showing posts with label tamil. Show all posts
Showing posts with label tamil. Show all posts

Sunday, 21 December 2025

To watch and forget?

Dude (Tamil, 2025)
Director: Keerthiswaran

https://watch.plex.tv/movie/dude-2025-1
This is a Gen Z movie through and through. A movie where traditional values once held in Indian films go down the drain. These values include filial piety, respect for the institution of marriage, a one-man-one-woman philosophy, and the traditional Indian belief that one is married to one's spouse not for one lifetime, but for seven. Sacred symbols are tossed out like playthings. Sex is no longer a society-sanctioned act, but a mere biological necessity. 

The movie starts with a bang. The hero, Kollywood's Gen-Z heartthrob, Pradeep Ranganthan, attends his girlfriend's wedding celebration. The girlfriend had jilted him and chose to marry an NRI to settle overseas. In the slapstick confusion of events, the hero ends up snatching the sacred thread tied around the bride's neck!

From then on, it is a comedy of errors and faux pas. Hero is heartbroken. His cousin wants to pair up, but he declines. Disappointed, she leaves town. The hero realises he loves his cousin and runs to propose.

He approaches his caste-obsessed uncle, who greenlights their wedding arrangements. Hold behold, the cousin had already fallen in love with someone else and was already pregnant. The story of the story is a whirlwind of half-truths and lies to cover the initial cover-up. The uncle @ father-in-law, is a murderer. He killed his own sister for falling in love out of caste.

Even though the whole exercise was in the name of comedy, everyone now shared the sentiment. They viewed the entire thing as mocking Indian culture and promoting a lifestyle not quite accepted by the generation before them. Changing partners is like changing diapers? Remove, clean, powder up, and discard the effluents into the bin, then move on.


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Saturday, 13 December 2025

A love song from a shopping list?

https://www.newindianexpress.com/entertainment/tamil/2021/Jun/28/ms-v
iswanathan-and-kannadasan-two-geniuses-born-on-same-day-2322287.html
It is said that when MS Viswanathan and Kannadasan sat down to compose a song, MSV would usually hum a tune to Kannadasan. Just as the melody is hummed, Kanadasan would just mouth pearls of wisdom that would live to be evergreens, able to stand the test of time. All MSV had to do was murmur. Kanadasan would string his verses in his mind and roll them effortlessly, all good to go at first take.

While making the 1962 movie 'Bale Pandya' (Bravo Pandya), Kannadasan brought MSV a paper that MSV thought was a shopping list. At one look, MSV thought Kannadasan had written down the names of vegetables and fruits. Kannadasan told him to play a tune that could fit the verses. MSV asked him why he was asking for a tune for a shopping list. Kannadasan insisted it was a love song and that he could explain everything afterwards.
 
https://varnam.my/98228/honoring-the-legacy-of-the-
melody-king-m-s-viswanathan-on-his-96th-birthday/
It turned out to be a love song belted out by two couples on their wedding night. Of course, it was not a shopping list for the next morning, but a manner in which they were expressing their undying love on their first night of wedded bliss. Kannadasan then explained, in detail, each word of the song to each actor so they could act their parts. When MSV suggested that the cryptic details may not be apparent to the audience, the director then butted in to say that it is his job to frame all this on film. In the song, the poet personifies the moon as a female (as opposed to the sun as a male), where the heroine bares her soul to the moon about her love to the beau and asks the moon to be her messenger to pass the love message. The word 'kaai' can be used to mean 'to dry', unripe fruit, glow as a metal would and many more. The poet cleverly conveys all these meanings to write a love song. The song remains an evergreen and is a testimony to the poet's genius and the music director's versatility.

In literary terms, the formal term for punning and deliberate wordplay in poems is paronomasia.


Athikaai kaai  kaai  aalankaai
Vennilavae ithikaai Kaayadhae ennai pol Pennallavo

Nee Ennai pol pennallavo

Athikaai kaai kaai aalankaai
Vennilavae ithikaai Kaayadhae en uyirum Neeyallavo

En Uyirum Neeyallavo athikaai
Kaai kaai aalankaai Vennilavae

Kannikaai Aasaikaai kaadhal
Konda paavaikaai Angae kaai avaraikaai
Mangai endhan kovaikaai 

Maathulankaai Aanalum en ullankaai
Aagumo ennai nee Kayadhae en uyirum neeyallavo

Ithikaai Kaayadhae ennai pol Pennallavo

Iravukaai Uravukaai yengum Indha ezhaikaai

Neeyum kaai nithamum kaai 
neril nirkum ivalai kaai

Uruvankaai Aanalum paruvankaai
Aagumo ennai nee Kaayadhae ennuyirum nee allavo

Athikaai kaai kaai aalankaai
Vennilavae ithikaai Kaayadhae en uyirum Neeyallavo
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Thursday, 11 December 2025

Whatever rocks your boat!

Kannappa (Telegu; 2025)
Director: Mukesh Kumar Singh

https://www.imdb.com/title/tt5306972/
The story of Kannapan, the tribal hunter, fundamentally shaped my understanding of spirituality from a tender age. I first heard this tale around the age of 13 or 14, when my parents insisted that my sisters and I should dedicate an hour or so on Saturday evenings to religious classes (satsangh) organised by their friend. The highlight of the satsangh was, of course, the stories told by the organiser, RG, in the most dramatic and humorous manner.

The other parts were the chance to lead singing and the opportunity to play the small cymbals (jalra) during devotional songs. 

Kannappa's story opened my eyes (and naive mind) to two important aspects of Hinduism.  

In the version I heard, a tribal hunter, Kannappa, was so eager to worship Lord Shiva after witnessing a Brahmin priest perform his daily routine. When the hunter inquired about the proper way to pray, the holy man shooed him away. The hunter, after observing what the priest was doing, did what he understood. He fashioned a stone to resemble a linga, lit a light with pork lard, placed some wildflowers, and scooped water from a nearby lake with his mouth! The eye on the linga started bleeding, and Kannappa enucleated his own eye to replace it. Then another linga eye began bleeding. Kannappa put his foot on his linga to mark its position before removing his second eye. The Brahmin priest, upon seeing what he thought was blasphemous, caused a big fuss. Lord Shiva took notice, manifested and praised Kannappa for his devotion. His eyes were restored. Lord Shiva further honoured Kannappa by granting him liberation.

RG's story taught me that one need not display piety openly. True devotion is inward. One does not have to practise vegetarianism to earn His grace, nor wear a specific tunic to receive His blessings. All that is needed is sincerity and pure thoughts. It is the middlemen who pretend to know the protocols, itineraries, decorum and laws set out by God himself.

The other thing I could not understand is why God enjoys putting His devotees through tests. The impression I have of Him is that He is narcissistic. He longs for unquestioned loyalty. The impression that the intermediaries seem to give is that our reason for existence is to keep Him happy. His wrath knows no limits. It is important to remember that these stories were created during the Bhakti movement, when it was believed that to attain salvation, one must be devoted to God. 

Kannappa's story in this movie is only told towards the tail end of the film. The lion's share of the movie focuses on boosting box-office takings, such as showcasing how skilled a sorcerer Kannappa is, his love interest, and the various costumes in which she is scantily dressed to emphasise her body contours. 

Shiva intervenes to prevent Kannappa from sacrificing his eye.





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Friday, 5 December 2025

The bane of the new economy?

Idli Kadai (Tamil, Idli Shop; 2025)
Written & Directed: Dhanush 

https://www.deccanchronicle.com/entertainment/
idly-kadai-expected-ott-release-date-is-here-1907311
Just 15 minutes into the movie, one can get a clear idea where the story is going and how it will end. It was not the storytelling that excited me but rather the sentiment it tried to stir. Indians, generally being emotional, must have had to endure, or maybe succumb to, emotional blackmail from the generation before them. The question is whether it is productive or a hindrance to our development as human beings. Are they cautionary tales to warn us of the rough patches ahead or merely counter currents that drag us down at a time we grow wings and learn to fly? Do Indian mothers breastfeed the poison of emotional dependency on their children? Is this their way of keeping the family unit intact?

'Idli Kadai' tells the story of a simpleton father who leads a simple life, putting his heart and soul into his trade, making piping hot, fluffy idlis (steamed rice puffs). He is a kind and disciplined man who believes in Gandhi's non-violent approach to resolving issues. He teaches the same lessons to his young son, Murugan. Murugan grows up admiring his father and decides to study culinary arts in college. Murugan proposes his ambitious plans to modernise his business and set up branches elsewhere. The old man is not interested in acquiring wealth or using modern machinery to expand the rundown shop that he and his wife built from scratch. 

Murugan goes on to work at a 5-star hotel in Bangkok, and, long story short, this young man with humble beginnings is soon to marry the boss' daughter. Just a couple of days before the proposed wedding, Murugan's father dies. Murugan has to return to India to perform the final rites. Unfortunately, the situation back home becomes complicated as his mother also dies, and the strings of melancholia pin him down so hard that the wedding has to be cancelled. 

It is human nature to aim to be better off than one's parents. Even the parents go all out, breaking their backs to provide for their children, for their offspring to prosper. Together with financial and emotional support, they impart the lessons they acquired through the hard knocks of life. All through that, too, they inculcate their value of filial piety.

The trouble is that, in the modern world, doing well in life means acquiring wealth. This would also include going out of the comfort zone, conquering and gaining knowledge from faraway lands, and letting the aged parents fend for themselves. This abandonment makes the children carry a great sense of guilt. The Indian family expects the children to care for the aged. 


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Monday, 1 December 2025

Another Kannadasan composition...

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Sunday, 16 November 2025

A Poet Extraordinaire

Some people eat to live. Whatever comes their way, they would eat, mindful of the calories and ensuring their nutritional values. Others live to eat. They do not mind toiling in the blazing sun or braving the heavy traffic to savour his prized street food, flaunting it in his social media page and insisting that his choice of food is to die for.

While some would hum to a tune, listen to it for a while, then forget about it altogether. Then it would be another song and another obsession. Some of us would dissect and analyse its lyrics, musical composition, ragaa, and taala just for the kick of it.

Pandi Durai is one such character. Malaysians first knew him as a Tamil newscaster on Malaysian TV. He was later heard on RTM Channel 6 radio at noon on Sundays, discussing Tamil culture and language through Tamil cinema songs. It came to be quite a hit among Tamil language connoisseurs. He later organised annual conferences to appreciate the compositions of Poet Kannadasan in Tamil cinema. Kannadasan can easily be crowned as the most creative and erudite composer of Tamil. His knowledge of Tamil grammar, vocabulary, and poetry is beyond compare. His ability to pen beautiful, poetic lyrics filled with wordplay and smart innuendoes is undoubtedly genius. 

Juggling between his job as an advocate in the Malaysian Courts, his passion for the Tamil Language and his keen interest in Tamil cinema songs of the yesteryears, he started this function to appreciate the lyrical genius of Poet Kannadasan's songs. These events have been held annually for some time now. I recently attended one such event in a packed auditorium in Kuala Lumpur. Equipped with an excellent sound system, a live band, and three excellent singers and musicians, the function lasted close to five hours on a Sunday afternoon, bringing joy and contentment to people who appreciated the Tamil language and culture, as well as the hidden messages behind Kannadasan's evergreen compositions.

Amidst the song renditions, Paandi Durai interjected with his understanding of what Kanndasan was trying to say in his songs. He went on to unveil some of the cryptic messages Kanadasan may have intended to convey. There were also some innocent-sounding songs that, if decoded, may be X-rated and not suitable for a general audience. Yet, kids of the 60s and 70s were happily singing them away without an iota of clue of their lewd messages that a sex-craved lover would signal to his equally receptive partner.  

Like that, Paandi went on analysing a couple of songs under the categories of love, social message, philosophy and devotion. All in all, it was an evening that left its audience in a state of literary inebriation. They returned to the real world with the comfort that their ancient language has stood another generation of assault from other lingua francas of the world. 


One particular song that intrigued me that evening, that I have been listening to throughout my life without knowing its deeper meanings, was 'Paarthen Sirithen' (பார்த்தேன் சிரித்தேன்) from the 1965 movie 'Veera Abhimanyu' (வீர அபிமன்யு). The film revolves around the title character, Abhimanyu, Arjuna's son, the teenage warrior extraordinaire of the Kurushtera. When the director summoned Kannadasan to pen a sweet love song for Abhimanyu and his on-screen love interest. Kanadasan decided to be cheeky and composed a love song with the word 'then' mentioned 65 times. 'Then' in Tamil means honey. In it, he used 'then' as honey, the essence in the lover's beauty, the joy of their love, the passion of their union and the ecstasy of their passion. Many things are left to the listeners, but imagination sometimes has no limits. 'Then' is also used as an adverb. Through the programme, I also discovered that the word 'malai' can mean 'stunned' as well as 'mountain'. The poet cleverly uses this wordplay in a verse; the honey from the mountain, she is stunned. 

பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன்
அன்று உனைத் தேன் என நான் நினைத்தேன்
அந்த மலைத் தேன் இதுவென மலைத்தேன்

பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன்
உனைத் தேன் என நான் நினைத்தேன்
அந்த மலைத் தேன் இதுவென மலைத்தேன்

பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்
அன்று உனைத் தேன் என நான் நினைத்தேன்
அந்த மலைத் தேன் இவரென மலைத்தேன்

பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்
உனைத் தேன் என நான் நினைத்தேன்
அந்த மலைத் தேன் இவரென மலைத்தேன்

கொடித் தேன் இனியங்கள் குடித்தேன் என
ஒரு படித் தேன் பார்வையில் குடித்தேன்
கொடித் தேன் இனியங்கள் குடித்தேன் என
ஒரு படித் தேன் பார்வையில் குடித்தேன்
துளித் தேன் சிந்தாமல் களித்தேன்
ஒரு துளித் தேன் சிந்தாமல் களித்தேன்
கைகளில் அணைத்தேன் அழகினை இரசித்தேன்
பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்
உனை தேன் என நான் நினைத்தேன்
அந்த மலை தேன் இவரென மலைத்தேன்
மலர்த் தேன் போல் நானும் மலர்ந்தேன்
உனக்கென வளர்ந்தேன் பருவத்தில் மணந்தேன்
மலர்த் தேன் போல் நானும் மலர்ந்தேன்
உனக்கென வளர்ந்தேன் பருவத்தில் மணந்தேன்
எடுத்தேன் கொடுத்தேன் சுவைத்தேன்
எடுத்தேன் கொடுத்தேன் சுவைத்தேன்
இனித் தேன் இல்லாதபடி கதை முடித்தேன்
பார்த்தேன் சிரித்தேன் பக்கத்தில் அழைத்தேன்
உனைத் தேன் என நான் நினைத்தேன்
அந்த மலைத் தேன் இதுவென மலைத்தேன்
நிலவுக்கு நிலவு சுகம் பெற நினைந்தேன்
உலகத்தை நான் இங்கு மறந்தேன்
நிலவுக்கு நிலவு சுகம் பெற நினைந்தேன்
உலகத்தை நான் இங்கு மறந்தேன்
உலகத்தை மறந்தேன் உறக்கத்தை மறந்தேன்
உன்னுடன் நான் ஒன்று கலந்தேன்
பார்த்தேன் சிரித்தேன் பக்கம் வர துடித்தேன்
உனை தேன் என நான் நினைத்தேன்
அந்த மலைத் தேன் இவரென மலைத்தேன்

It was a time when personal intentions could not be expressed explicitly. Private desires were often spoken in double-speak, hoping that the intended recipient would get the hint. Kannadasan's song lyrics have always been hailed as poetic, revolutionary and of high literary value. His wordplay in Tamil and additions of scriptural teachings are beyond the imagination of an average man.

Many of Kannadasan's songs and poems end with rhythmic cadences. It is said that when a director repeatedly harassed him to write a song by May, he did so. He cooked up a song ending with 'mei' at every verse (அன்பு நடமாடும் கலைக் கூடமே - Anbu Nadamadum kalaikudame in Avanthaan Manithan, 1975 movie).

Kannadasan can also be cheeky at times. Once, his musical director, MS Viswanathan, did not turn up on time for a composition session. MSV had overslept after a late session. Annoyed, Kannadasan wrote something to mean 'why does he care, he is sleeping. I am the person who will be caught!' Somehow, it was appropriate for the scene they were composing. It became a hit without anybody realising the hidden message. (அவனுக்கென்ன தூங்கிவிட்டான் - Avanukku Enna, Thungivittaan in Periya Idathu Penn, 1963)

The most bizarre story about Kannadasan's ingenuity is supposed to be seen in 1961 Paava Manipu. A Muslim family adopted a Hindu boy. He grew up as a devout Muslim man and is active in religious and charity work. He was seen taking part in an Islamic procession singing praises of Allah. This song, composed by Kannadasan, has every verse ending with 'Om'. This was the poet's subtle way of showing that this Muslim man has Hindu roots. Nobody knew till many years later. Imagine an Islamic song with ‘Om’, the divine Hindu sound, at every verse. Integration or what?

The event witnessed a tear-evoking moment when the audience was informed that Kanadasan’s son, Annadorai, was in attendance. He was later honoured in the typical Tamilian way, with a silk shawl and a garland. 

A Sunday afternoon well spent. 

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The Pendulum Has Swung!