Thursday, 28 May 2015

Our existence in a comedy!

Groundhog Day (1993)
This is supposed to be a comedy but ended up becoming immortalised as a movie with highly philosophical content. It is a story of an arrogant TV weatherman (Bill Murray as Phil Connors) who thinks he is God's gift to mankind who ridicules and belittles everything and everyone around him. He is sent to cover the all American celebration of Groundhog Day. Just for information, Groundhog Day is age old tradition which is celebrated on February 2nd to gauge whether following 6 weeks into spring is going to snow. Traditionally, the Groundhog is said to burrow out of his burrow after hibernation to look for his shadow. If he see his shadow, he would retreat to sleep indicating it would be a long winter. Conversely, if his shadow is not seen, it would mean cloudy skies and early spring!

After finishing his stint, he and his team (producer, Andie MacDowell, his love interest and cameraman) had to stay overnight due to blizzard. The following day and the following days, Phil Connors get trapped in a time loop. Everyday, he gets up to the alarm clock blaring the tune of Sonny and Cher's 'I got you babe' to the morning of 2nd February again and again and again.

Initially Phil is confused and frustrated but later enjoys it. He uses his previous day's experience for his own benefit like luring his victims to satisfy his hedonistic desires. Slowly he gets bored and attempts suicide as well as commit crime just to start all over sharply at 6 the next morning.
With time, he attains realisation. He improves himself by learning skills and builds a meaningful relationship with Rita, his producer. In the true fashion of Hollywood, Phil manages to break his time trap when he manages to woo Rita and she agrees to spend the night with him! Only then it was February 3 for him.


Many spiritual leaders hailed this film as the most religious movie ever made. Believers of the Buddhist teachings profess that Phil's trap in February 2nd repeatedly is a symbolism of births and re-births (samsara). With self-improvement, one can attain nirvana. The rabbi correlates the recurrent days as birth to serve mankind for betterment of mankind. Even Christians and members of Falon Gong see parallelism between their teachings and the storyline- that one can learn from mistake and there is always hope.
Incidentally, Harold Ramis (a co-writer of the story; he is one of the trio of Ghostbusters) is a non practising born Jewish now atheist who married a Buddhist. The existentialism comparison of the story is news to the writers who just wanted to entertain their audience with their brand of comedy.

Tuesday, 26 May 2015

An early psychological thriller

Yaar Nee? (Who are you? யார் நீ?, Tamil; 1966)

This is one of the early Tamil psychological thrillers which is actually a remake of a Hindi film (Woh Kaun Thi 1964 - Who is She?). The 1966 offering is filled with many melodious tunes belted to the tune of its original movie. Both versions are so strikingly similar that they even use the same character names and settings.
By no means, this film is a pioneer in the field of psychological thrillers. Of hand, I remember Sivaji's 1964 gem 'Puthiya Paravai'.

Unlike most Tamil films of that era when it was customary to have a potpourri of songs, a few love sentimental tunes, a traditional dance, a cabaret or modern dance usually belted by LR Eswari. Here, however, many songs were sentimental ones presented by hauntingly intoxicating voices of P. Susheela and L.R. Eswari. They were mostly lyrics sang to their Hindustani music compositions of the mesmerising composer Madhan. I think one of the song versions in the Tamil one is original, composed by Vedha.
The storyline is entirely predictable as the motive may have been hinted quite early in the show, but the suspense is in guessing who is the culprit orchestrating all the drama! A lawyer visits the hero at his workplace to announce that a distant relative had left a fortune for him, but the will says that the recipient has to be of sound mind.

A dedicated doctor, Dr Anand (Jayshankar), gives a lift to a lady in white saree on a rainy day. She stops at a cemetery and points at an abandoned bungalow as her abode. He sees her again as a 'corpse' when the good doctor attends to an emergency house-call. After his pretty girlfriend dies in suspicious circumstances, a morose Dr Anand succumbs to his mother's constant nagging to marry. Hold behold, his new bride, Sandhya (Jayalalitha) is a splitting image of the 'apparition' he has seen all this while. Their married life does not take place as it should. Dr Anand feels that his wife is a ghost!
The wife is sent off but the train that she travelled in is involved in an accident, and her whereabouts are unknown. Glimpses of a lady resembling Sandhya keep appearing here and there periodically, upsetting the doctor and affecting Dr Anand's duties.

The main suspects that could be privy to this enigma include Dr Anand's boss who has a pretty daughter whom he wants to marry off to the dashing young doctor. Then there is a character who is Dr Anand's childhood who keeps appearing and disappearing with his high-flying job. At one time, we are made to think that Dr Anand might be committed as a lunatic!

You keep wondering how the loose ends of the story were going to be tied up in the end, but it was solved in an authentic Indian movie fashion with twins, devious friend, inheritance and all.
It is quite unfortunate for Jayshankar to start his acting career at a time when the Tamil silver screen was ruled by the doyens of that time - MGR for the swashbuckling theme of movies, Sivaji for character roles and Gemini for lover boy image. Lucky for him, in 1967, a unique genre was created for him - ala James Bond kind special agent in CID Shankar. Jayalalitha gives an impressive show as a demure wife and a female 'ghost'.

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Sunday, 24 May 2015

First they control your eyes....

I may not be a connoisseur of films, but I sure do indulge in a lot of them, not in the making but as a consumer. Sometimes, I wonder if I am hiding in a fictitious world of make-believe, fantasy and poetic justice. Or that the conventional wisdom that I learned in the course of my growing up facing the hurdles of life are somehow unlearnt and new thoughts are infused.

If fact, way back as early as 1905, a Catholic priest had suspected that the newly introduced moving pictures were corrupting the mind of the masses. He objectively demonstrated his theory via a modern-day lie-detector type of a contraption to prove his conviction. Over the years, people started analysing movies and its messages, whether hidden or otherwise. Hence was born the field of film studies.

After its successful role of being a propaganda tool of the Americans to justify their entry and actions in the first World War, it continued its heyday of trying to mould and unify the thoughts of the Western-educated world. Follies and injustices were nicely swept under the carpet and given cosmetic touch-up. Hitler and his party created mass hatred of a certain through his orchestrated attack of a section of the population via films. So did the Allies in giving hope to the supposed warriors of the 'correct side' of the war.

The advent of cable news networks brought about mongers of news from individuals with a vested interest who could sell ice to Eskimos and create a mountain out of a molehill! Lessons learnt from its early years strengthen the adage that a lie oft repeated becomes the truth.

The next step in the brainwashing exercise is the appointment of modern-day management gurus in the form of talk-show hosts. They highlight social issues which are primarily first world problems which would not bat an eyelid in any third world country. The hosts, being hosts, the peddler of issues with the uncanny ability to pluck questions from thin air, attempt to influence sponge-like minds of the modern mind to think alike. In a way, it is modern-day post-Cold War indoctrination of the mind.


Friday, 22 May 2015

Once a Free, always a Free.

OFA – Be a little foolish, be a little different
PFS to celebrate its 200th year – from The Star newspaper




When I left Penang for university in the US, I also left Penang Free School before the school year ended. I felt I did so without disrupting much the life of the School: I wasn’t editor of the School magazine. I wasn’t Break Monitor, Class Monitor, Traffic Warden, House Prefect, or School Prefect. I didn’t captain any School sports team. In some subjects, I would usually get close to failing marks — ok, not in “some subjects” but in Art, specifically. Fellow students who were my seniors would routinely reject my writing submissions to school publications for my being too flippant (I had to look up what “flippant” meant the first time I heard back from one editor). School teachers would openly warn me in class for being disruptive, every so often. Fellow students who were my seniors and who trained with me in gymnastics would ask me why I kept coming back as I never seemed to get any stronger, faster, or better.
Prof Danny Quah
At PFS I hadn’t failed at everything. But I wasn’t a remarkable student at PFS. In the eyes of people in charge, I was in the middle of the pack. That felt about right to me as that’s where most people are, generally. Where I’d not done well at School, I figured perhaps those things didn’t matter.
I’m now Professor of Economics at the LSE. My CV makes plain what that involves. But compared to when I was a PFS student, I have also had to do a few things where I have felt a little more exposed — no longer so much middle of the pack — and that are less obviously associated with my job but perhaps more interesting. These are not typically things that come with being a Professor. So I undertake added risks when I take them on.
Before thousands of graduating university students and their families, for three years as Head of Department for Economics at LSE, I announced the names of fresh graduates and congratulated them as they undertook the last of their university rites. Over decades of teaching and travelling, I lectured to tens of thousands of people — in New Zealand, Beijing, Southeast Asia, the Gulf, and nations in between all the way through to North and South America. CNN, Reuters, Bloomberg, and the BBC tell me they broadcast to hundreds of millions of people worldwide — so I could potentially have spoken to some reasonable fraction of that many people each time I’ve appeared on TV or radio from London.
My research has, over the years, varied from the extremely mathematical and obscure on the one hand, to the politically more visible on the other. As a consequence, I’ve gotten feedback on what I do from many different segments of society. Some of my writings have been translated into 18 different languages. What I work on now, the rise of the East in the global economy, gets more than usually varied reactions. Some tell me to hide away this work:
‘Americans, as is, are already paranoid enough, just short of trumping up a shooting war with China. Can you please tone down your “research”, and better yet file it in your basement and wait for 50 years before publishing them? Please let the world be a more peaceful place.’
counts among the gentler of messages I regularly receive. Other feedback can be slightly more encouraging.
Not that I think I have to be ready for my own shooting war, but I also train regularly in taekwon-do, now as a second-dan blackbelt. Five years after I started taekwon-do here in the UK, I managed to fight my way to being runner-up in sparring at the British championships and I managed to become British champion in patterns.
When I correlate the things I do now that draw for me the greatest sense of achievement with what I’d previously done well at PFS, I’m struck by how orthogonal these two sets of attributes are. At PFS I’d excelled in mathematics and science, but that is now only a small part of what I need to do to be a productive contributing member of the community. What matters more instead? A good sense of of what is artistically compelling and linguistically convincing. A political awareness of what ought to matter to people in international society. Articulateness in writing and speaking, and an ability to debate effectively. Physical acuity and a feeling of confidence and security in my own skin.
What is strange is that those characteristics I now find most valuable are the same as those where PFS had challenged me most and found me most wanting, exactly those areas I’d been most dismissive of when I’d been at PFS (they were only “soft skills”).
Perhaps PFS does this to everyone, although in different ways. PFS is an educational institution of such deep and profound historical achievement, it ferrets out those areas where you the student need most to build, and then it challenges you there. How you respond — do you turn your back and say it’s all meaningless; do you say, let me learn so I can be better — is up to you.
At PFS, as in most of life, you only get one go-round. You can make that one pass-through be everything to you, or you can make it mean much less. On the one hand, this lesson I’ve learnt about PFS as an institution is awesomely frightening: no one there is going to give you easy answers but you can be sure they’ll be there to ask you the hard questions. On the other hand, this realization is staggeringly optimistic: PFS challenges each of us to leave as better people than when we began at the School. And by being a little foolish — admitting we don’t know everything even as we don’t pander to everything old people say they want us to be — we can each indeed end up a little better.
(This appears in FIDELIS, the 200th anniversary commemorative book of the Old Frees Association.)

Thursday, 21 May 2015

An uncelebrated versatile actor

Digambara Saamiyar (Tamil, 1950)
Long before Sivaji Ganesan appeared in 9 roles in Navarathiri, Gemini Ganesan in 9 roles in Naan Avanillai and Kamalhaasan in 10 characters in Dasaavaratham, the often forgotten star of South Indian cinema, M.N. Nambiar had acted in a 9-role movie (some say 11!)

Even though Manjari Narayana Nambiar had always been stereotyped as the most villainous villain in most of the 50s through the 70s, his debutante role was as in a comedic role in 1935.
His illustrious career of 1000 over films which span over half a century started with many of him in a lovey-dovey major heroic role. Even though he was always downcast in negative roles with evil in his eyes, in real life, he is said to be a jovial chap, a teetotaller, an exercise freak and a devoutly pious Swami Ayyapar devotee.


Here is a 1950 film, Nambiar dons multiple costumes to narrate the ballad of a sage, Digambara Saamiyar (Nambiar), who tries to bring justice to the people conned by a conniving lawyer. A masala story with strong emphasis on wholesome entertainment, it was a popular production of Modern Theatres owned by a London graduate Indian entrepreneur.
It evokes a memory of an era where songs had lyrics which were clearly audible, straight forward and poetic. This is also the era where the dancing legends of Padmini and Lalitha ruled the silver screen. In this film, we see the duo give a memorable montage of a feuding fisherman husband and wife couple. There is another rendition of the evergreen snake dance by dancer Kamala. Other songs are entertaining as well.

M.N. Nambiar (1919-2008)
Many families are devastated by the evil doings of Sandhana Pillai, a vicious lawyer. His devious plans to squander monies from his clients and wealthy folks in a certain town prompted a sage, Digambara Saamiyar from a temple to don various hats - a sage, a Muslim trader, an Arab, a Malayalee, a Shiva fakeer, Kannada nobleman, a Nadaswaram musician, a postman, a travelling soothsayer and a pimp. The saamiyar, through his well-crafted plan, managed to get Sandhana Pillai off-guard through 3-days sleep deprivation technique to trap him into making a confession about his nefarious acts! In a single well-executed action, he brings justice to all wronged. An entertaining watch of a very versatile actor.  

Wednesday, 20 May 2015

A forgettable flick

A woman's secret (1949)
One of those RKO's film noir during its trying times when the company was on a losing streak as it was restructured by the eccentric multimillionaire, Howard Hughes.

The story revolves around a singer, her protege, a pianist and a shooting. The singer, Marian (Maureen O'Hara) confesses to shooting her protege (Susan) whom she has been grooming to be a star.

It keeps me reminded of the many Tamil movies where the hero or heroine keep sacrificing their future and life for a crime they never committed all because they want to hide a bigger truth.

The story looks disjointed as if the story seemed draggy and the dialogue out of place.

The saving grace of the cast is, however, the investigating officer's wife who is an amateur private eye who provides slight comic to the otherwise stiff band of actors.
It is indeed sad to see the studio that produced one of the greatest movies of all time - 'Citizen Kane', spiral down to offer such a forgettable flick.


Tuesday, 19 May 2015

I see black dogs everywhere...

Like a line of falling domino tiles, one by one, they all fall. Yet another one fell prey to the black dog. Even the outwardly strong minded ones with barrage of ammunition to shoot you down if you were to cross their paths, go into fetal position like a helpless infant when the final straw of hay broke their back. Like an epitome of patience, like a turtle she went on her duty on earth with diligence without complaining. Then came the challenges, one, another and another and poof she went all jello.

Young and old alike, they seem to be swept by this epidermic.
Coming mostly from humble backgrounds, one would have think that after enduring the uncertainties of life for a square meal and other comforts in life, enduring uncertainties by now would literally be a walk in the park. The general consensus is that one could not buy himself out of all troubles. Crying in a BMW, however, certainly looks less pathetic then crouching over a pavement but then the hopelessness are the same. It just goes on to say that there are somethings that money can buy like crying in comfort albeit the melancholy.

Just like stupidity, everybody around the victim realises the affliction except the affected party. The sooner the party realises her predicament, the sooner remedy can be sought. Failing this, she would continue barking up the wrong tree to find another name for her bad times. Blame it on the rain, stars, sun, planets and everything in between but the space between the ears.
Winston Churchill had a black dog
his name was written on it
It followed him around from town to town

It’d bring him downtook him for a good long ride 
took him for a good look around
Reg Mombassa: Black dog



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