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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Only for the diehard!

Coolie(Tamil; 2025)
Story & Direction: Lokesh Kanagaraj

https://www.tgv.com.my/movie/coolie

In 1983, the Hindi cinema went agape when, during the shooting of the movie 'Coolie', Amitabh Bachchan sustained a serious injury. One of his stunts went awry. He landed on the floor instead of the table and sustained life-threatening intra-abdominal injury. His condition was serious. His heart stopped once, and he had to undergo multiple surgeries and time in the ICU. While he was in the hospital, the whole nation was in tenterhooks. Daily prayers were held whilst radio stations gave daily updates on his condition. Close to a hundred thousand people turned up during the recommencement of shooting. The people's response to the turn of events was so eclectic that the moviemakers changed the ending of the movie. Bachchan's character was supposed to die, but it was decided that he should live. It smashed all box office returns at that time. Coincidentally, the protagonist was a Muslim donning the railway porter tag, which bore the number '786', which is a significant number to Indian Muslims culturally. It is linked to divine salutations 'Bismullah Rahmani Rahim'. His character helped to strengthen the fractured Muslim-Hindu relations then, as well-wishers of both faiths had numerous prayers during Amitabh's trying times. 

Do I see communist links?

Amitabh Bachchan was so pleased with how it all turned out with the national support and the subsequent box office returns that he was heard to have mentioned in an interview that there can never be another Coolie. Another Coolie did come eventually by an actor elevated to Bachchan's status in the Southern cinema, Rajnikanth. This time, the Coolie tag carried the number 1421, the director's father's tag number when he worked diligently as a bus conductor. 

As in most big cinema releases these days, a big buildup is created before its launch. First, they attack the social media spaces with announcements to rile the excitement. Then they will inaugurate the audio launch. It will give the impression as if everyone knows the song by heart and compel people to hum to the tune. After much hoopla, the movie would be launched with much pomp and splendour, like pouring barrels of milk over the actor's effigy. By that time, die-hard fans would be fighting tooth and nail trying to get tickets for the first day screening of the show. 

This culture, which was mainly confined to the state of Tamil Nadu before, has now permeated into Malaysia. 

Just the other day, a Malaysian social activist was relating her experience at a restaurant. It was about noon on a working day when she was having her meal. She noticed a young family of four, father, mother and two preteen children, engaged in a meal and deep conversation. She overheard them conversing about the first day, first show of Rajnikanth's 'Coolie' that they were about to watch. 

The social worker was dumbfounded by how Rajni's movie, in the parents' eyes, could take precedence over sending their children to school. Times have changed much since Amma chided that nobody would be asked about Tamil movies in a scholarship interview. 

Coolie is made to appease Rajnikanth's fans, period. It is like watching 'Kill Bill'. Nobody should ask who Bill is, and why we should kill Bill. Just Kill Bill, and it was so good that it needed a sequel.

Kudos to the story writers for being able to keep their audience engaged in this long movie, which actually had continuity. Nevertheless, there were some glaring faux pas, like an MPV cannot escape from a rickety motorcycle in a car chase and how the bad guys always have the opportunity to keep up with the good guys. Shhh! You are not supposed to ask questions. Kudos to his make-up team and CGI, Rajni, looks good for his part. The fighting scenes? Forget it. Ten, twenty, hundred, no problem. He does not have to move much. The baddies will go flying without inflicting even an abrasion. At the end of the movie, he goes away with a band-aid on his temple. That is all.

Coolie (1995)

His movie is about nostalgia. His age-old opening credit, 'Super Star Rajni' appearing in single letters, has appeared all the way from the 90s. To mark his 50th anniversary in Tamil films, snippets of old visuals are used to reminisce about his quirky mannerisms. All in all, they are banking on nostalgia. The story is masala, and Tamil cinema has much more to offer, but who cares? It's Rajni! The movie may be studded with megastars from the Sandalwood, Tollywood, Mollywood and even Bollywood, to make this a pan-Indian fare, but they all appear as pale shadows of whom they came to see... Rajnikanth!

(P.S. In 1995, there was a movie by the same name, Coolie, starring Mr Muscle Man and Mr Madras, Sarath Kumar and Meena.)

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A love song for a serial killer?

Moodu Pani (Tamil, மூடு பனி; 1980)
Screenplay & Direction: Balu Mahendra

The only time this movie is remembered is when the superhit song from its original soundtrack is played. And, mind you, this song is played at many functions. That super-duper hit song I am referring to is 'En Iniya Pon Nillave' (என் இனிய பொன் நிலாவே). It does not take much to recognise that song. A few seconds into its opening guitar sequence, it clicks. The song was composed by Illayaraja, also known as 'The Maestro' these days, as more music connoisseurs are realising that his compositions are complex and deserving of orchestral performances.

Like many of his compositions, this song can be regarded as another masterpiece. Although it might seem, at first glance, to be a Western piece featuring prominent guitar sounds and rhythm, it actually blends elements of Carnatic and Hindustani ragas. Naturally, flutes are a universal instrument. Indian musical experts state that this particular song is performed in Natabhairavi, a Carnatic raga. Apparently, two talas were employed in this song, one after the other, to express the discordant emotions conveyed in the scene. 

In the scene, the protagonist, a mentally disturbed man who grew up witnessing his mother repeatedly being abused by his father while keeping a mistress, develops an intense aversion to women, especially sex workers. A psychiatrist suggests that he should get married. When a girl he proposes to declines his advances, he turns into a kidnapper. He confines the woman in a bungalow to coerce her into submission. Realising that resistance is futile, she tries to put up a front in front of him. She pretends to show genuine interest in him while the kidnapper pours out his heart. Reflecting these emotions, the tune is designed to oscillate between creating an uneasy feeling and an outpouring of emotions; between anxiety and love.

The song is played in the minor chord (Aeolian scale) of melancholy, often associated with sadness and break-ups. There is inherent loneliness and despair in both parties. The girl had her intentions to escape her captor, and the man had his tumultuous emotions and bottled-up rage. This is not a happy love song. There is no jubilation. It is a glimpse into the mind of a madman. The melody and lyrics are not mere fillers to complement the film score but serve to reinforce the story and reveal what is not explicitly stated in the lines.

This is Illayaraja's 100th film, in which he composed the songs. It belongs to one of the rare genres of Tamil cinema—a psychological thriller written in the vein of Alfred Hitchcock's 'Psycho'. Like Norman Bates, the protagonist kills women and keeps the remains of his dead mother under the sheet. 

Here's a little trivia. The initial tune he submitted for this scene was 'Iniya Nila Pozhikirathu' (இனிய நிலா பொழிகிறது). However, it was rejected by the director because it sounded too cheerful and optimistic. This song was later utilised in another film, Payanangal Mudivatharvillai, which also became a hit song. Gangai Amaran, Illayaraja's brother, composed the lyrics, and KJ Yesudas lent his melodic voice to the final version.

Reference: Youtube: Oru Naal Pothuma Ep 186

Sad love song!

Hopeful love song!

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Give a miss!

Thug Life (2025)
Director: Mani Ratnam

https://www.justwatch.com/za/movie/thug-life-2025

Following the release of this film, one realises the extent to which external forces are harnessing the power of social media to sway public opinion on various matters. Furthermore, films act as platforms for disseminating the ideologies of political parties.

Even before the film's release in Karnataka, during his promotional tours, Kamal Haasan, the central star of the movie, inadvertently – or perhaps not – provoked a diplomatic row between Tamil Nadu and Karnataka. In his speech, he stated that the Kannada language is an offshoot of the Tamil language. This was not taken lightly by loyalists and politicians alike, who spoke the Kannada language. 

It is no secret that Kamal Hassan's political party is currently allied with the DMK, the ruling party of Tamil Nadu. The DMK practises divisive politics based on language, ethnicity, and anti-Hindu sentiments. Kamal Hassan is merely announcing his resurgence in Tamil Nadu politics. The State of Karnataka was a latecomer, having been carved out of the Mysore Presidency in 1956 on linguistic grounds, and has faced conflicts with Tamil Nadu over the flow of water from the River Cauvery, the worst of which occurred in 1991. This was when anti-Tamil looting and the burning of vehicles bearing Tamil Nadu number plates escalated after a Tribunal ordered the release of Cauvery water into Tamil Nadu. Although Hassan's statements were not incorrect, the Kannadian fundamentalists are unlikely to accept any of this. It is irrelevant that Tamil is an older language with evidence from ancient tablets, or that both languages may have arisen from a common ancestor, the Proto-Dravidian language.

The row has taken on monumental proportions, with the Karnataka Film Chamber of Commerce collaborating with politicians to ban its screening in the state of Karnataka.

The film itself was not groundbreaking. Movie enthusiasts have encountered numerous films with similar storylines. In fact, Nayagan, which the director made in 1987 with the same star, featured a son avenging his father's death, just as this one does. Narratives of betrayal and rebellion among gangsters are nothing new. Netizens were quick to point out several glaring plot holes. There is an awkward moment when an adopted daughter might have married her brother. In another instance, both father and son could be vying for the same woman in intimate relationships. The characterisation is superficial, and there are far too many characters who do not contribute significantly to the story.

 

https://www.ancient-origins.net/history-famous-people
/thuggees-002145

I was more interested in the origin of the word 'thug'. It has Indian origins. It was during the time of the British Raj, and the colonisers were eyeing the mineral-rich interior lands, which were home to a tribal group that prayed to a form of Kaali named Thugee. The Thugees naturally wanted to defend their land. Just as the Mau Mau people of Kenya were vilified by the British to create stories of them being cannibals and baby snatchers, the Thugees were described as deadly assassins who moved in groups to identify their prey. Their weapon of choice was a bandana, with which they would strangle their victims and kill them. The Thugs were feared so intensely that they entered the English lexicon.

There is another connection between thugs and the origin of the word 'assassin'. Not all thugs are Hindus; some are Muslims. The Muslim influence can be traced back to the mid-1200s in Persia. There was a group of mercenaries who were compensated with hashish; hence, they were called 'Hashshashins'. The Hashshashins became known as assassins in the English language. They moved about, fighting for and against the Muslim kingdom while opposing the Crusaders. They battled the Mongols quite disastrously, who chased them away to India, where they lived among tribal communities. They mingled with the Thugee worshippers and collaborated with them. The Hashshashins revered Kali but did not worship Her. Of course, all this could merely be a figment of the British Raj's imagination, conjuring a bogeyman out of the Indians.

 

(P.S. A film that is not worth discussing. There are already far too many YouTube channels offering brutal rundowns on this movie.)

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A comedic tragedy?

Tourist Family (Tamil, 2025)

Written and Directed by Abishan Jeevinth

I never knew that something as sombre as economic migrants fleeing illegally for greener pastures could be transformed into a comedy. This film is a testament to the idea that such a production can be made. 

There is no doubt that economic migrants making the difficult decision to uproot themselves from familiar surroundings and slip under the cover of darkness into a foreign land in search of a better life is no pleasure cruise. However, we must understand the desperation that drives them to take this risk. 

Despite the serious subject, the storyteller successfully presents their narratives in a light-hearted manner. Comedic situations arise when we least expect them, diverting the occasional tense buildup. 

A family of four - parents, a teenage son, and a preteen son- boards a boat from Sri Lanka and reaches Rameshwaram in the dark. The boys' maternal uncle, who had escaped to Tamil Nadu much earlier, is their sponsor. He arranged for their landing and accommodation. Unfortunately, from the very beginning, the family is intercepted by the Tamil Nadu police. The police constable, himself of Jaffnaese origin, who caught them, took pity on their ingenuity in escaping poverty that had struck Sri Lanka and let them go. 

The illegal immigrants arrive in a housing colony, as arranged by the uncle. Of all the places, they end up renting a room owned, of all people, by a police inspector. Although they believed their thick Sri Lankan accent would give them away, the inspector naively assumed they were Malayalis. Shortly thereafter, the refugee family became close to the other occupants of the colony due to their affable nature.

Meanwhile, a complainant turns up at the police station after losing his pet dog. The constable who let the illegal immigrant go, remembers seeing the dog with the Jaffnese. Then a bomb blasts off at a dumpsite, suggesting it could be the work of Sri Lankan terrorists. The constable is taken aback. Could he have made a major snafu? The hunt for the possible dangerous terrorist family goes full force.

Migration has been a part of human civilisation. People have always moved from point A to point B, influenced by various push and pull factors. The émigrés would typically assimilate into their newfound land. Integration was not an issue then. Recently, the new-age immigrants have arrived with a different mindset. They come in with a chip on their shoulder, look down on their hosts, and want to supplant their system. They fail to recognise that the hosts had something good going while the newcomers are there because they have messed up their own country and sought refuge elsewhere. If their own system were so great, they would be ruling the world.

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Bad is Good?

Good Bad Ugly (Tamil; 2025)

Story and Direction: Adhik Ravichandran

https://in.bookmyshow.com/movies/chennai/good-bad-ugly/ET00431346

I remember watching a movie on TV back in the day, under the watchful eyes of Amma. I remember it was a MGR starring Tamil movie. In one of his stereotypical roles, he, the do-gooder who fought against the evil zamindar, goes to jail at the movie's end for killing the villain. In the last scene, he returns home just to be feted with praise, showers of flower petals, and salutations. Amma was quick to interject. "What rubbish! He went to jail, and people are celebrating!"

I thought, "… but Gandhi and Nehru also went to jail, and you have a statue of them in the house and tell us stories of how we should emulate them." Thanks to my better judgment, I decided to keep my opinions to myself. 

That was how most Tamil movies used to be. The protagonist was the epitome of goodness. He was usually the exemplary one-dimensional character expected to set the mould for how one should love their life. He would indirectly propagate the virtues of being a teetotaller, speaking the truth, being honest and respecting the elders. The resolution at the show's end would teach the audience that goodness always triumphs over evil. Of course, we know MGR went into a successful political career and remains in the Tamil Nadu psyche.

So that was the time when movies tried to teach good virtues. It was then. Around the late 1970s or early 1980s, circa the launch of Kamal Hassan-starred 'Nayagan' and later Rajnikanth's 'Thalapathy', it suddenly became hip to be bad. 

Now, by default, the movie that hit big time at the box office would preach all the antithesis of what their predecessors of the Golden Era of Tamil cinema advocated. Just look at the typical blockbuster these days. It is cool to be a gangster, jobless, showing disrespect to parents, loafing around, getting drunk, indulging in pre- and extramarital trysts and eloping with one's jobless partner against all odds. 

In 'Good Bad Ugly', an unashamed reference to Clint Eastwood's successful spaghetti western, we see a repentant big-time gangster who is behind bars, drawn into his old world of thuggery and violence when his teenage son is kidnapped.

The whole movie is indulgence for Ajith Kumar's ardent fans. The outing is especially heartwarming for his fans. Ajith, also called 'Thala' (Leader), was recently conferred 'Padma Bushan', the third highest civilian award the Government of India gave for his philanthropic work. This film also celebrates his 30-plus illustrious years in Tamil cinema. Hints of his previous roles and innuendos of dialogues from his last outings are glaring in the face for his ardent fans to identify and savour. In short, it is a feel-good movie for his fans and does not contribute in any way to the upliftment of society. 

Darkkey and AK

This is quite diametrical to what MGR was seen to be spreading. We know his messages were political, but at least he told children not to steal or be sleepy heads and reminded them that the truth will always prevail. 

Malaysia's input is also evident in this movie. Darkkey, a Malaysian Indian artist involved in the local Tamil music scene for the past 30 years, appears in a cameo role. He renders his brand of music called Sambarock in the high-decibel song, 'Puli Puli'.

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The test of life?

Test (Tamil, 2025)
Director, Screenplay: S. Sashikanth

https://www.indiaglitz.com/test-review-tamil-movie-36143

I am not exceptionally knowledgeable about the nuances of how a cricket match is played. This much I do know: the team scores a six when the batter hits the ball out of the field. The hitter is dismissed if the wicket falls, and a Test match is not merely a test but a genuine match, established initially to challenge the English team against its colonies. It is an endurance test running typically over five days. Moreover, Indian cinema rarely produces authentic cricket films, unlike Hollywood, which often features baseball and American football games. I believe this is the first time an Indian film has been made with cricket at the centre of the story. 

Another point: Due to security concerns, the Indian cricket team will not play in Pakistan or vice versa. Therefore, it would be wishful thinking to expect the Pakistan team to face their archrivals, India, at Chepauk Stadium in Chennai, as suggested in this film. 

The film did not have a particularly stellar outing. Reviewers complained about its exceedingly slow pace and numerous plot gaps, especially those related to the game's technical aspects. Nevertheless, the message behind the story is less about the storyline and more about the challenges the two main (and perhaps three) characters face to achieve success. 

On one side, there is Sara, a frustrated MIT graduate with an epoch-changing water-fuelled engine but no sponsors to help get it off the ground. He must contend with running a canteen with his friend while being caught in the middle-income trap. Meanwhile, his anxious wife, Kumudha, hears her biological clock ticking away and requires a large sum of money to undergo IVF. Sara has become entangled with some unscrupulous loan sharks. 

In the affluent part of town, there is an over-the-hill national cricketer named Arjun, who risks exclusion from the national team. His son thinks the world of him, but sadly, Arjun feels he is no longer a true hero.

Arjun's son attends the same school where Kumudha teaches, and Kumudha's father was once Arjun's cricket coach. Their paths cross again through the son. In a twisted turn of events, Sara abducts Arjun's son for money. Loan sharks also become involved. They run a betting ring and hope India loses their match. They persuade Sara to pressure Arjun into conceding the match to Pakistan's win.

Thus, the test referenced in the film does not relate to the test match, but rather to the trial that the three characters must endure to do what is right. For Sara, is being the provider for his wife (and soon-to-be family) the only way to prove himself as a good husband? At any cost, even if it is illegal?

Is having a child the only goal for Kumudha as a married woman? She was seen gleefully rejoicing when the money she so desperately needed for her IVF appeared in her account. Is it right to kidnap for cash?

The test for Arjun, the cricketer, is whether he should prioritise his self-interest in regaining his son by sacrificing the game or embrace his patriotic duty and focus on winning the match for India.

As anticipated, once the hornet's nest is disturbed, there is no going back. One must do what one must to prevent any repercussions. When the calm water is disturbed, the ripples will reach a crescendo before settling into a steady state, yet nothing is ever the same again. 

No man ever steps in the same river twice, for it is not the same river, and he is not the same man.

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