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#NSFW Post. Reader discretion is advised.

According to Deep Thought, the accurate answer to everything is 42.

1. On page 42 of Harry Potter & The Philosopher’s Stone, Harry Potter discovers he’s a wizard.

2. Elvis Presley died at the age of 42.

3. 42 is the average number of cuts a filmmaker has to make in order to get a clean chit and approval for release from the censor board.

All films that requires a display on big screens have to be certified by the Censor Board prior to release. Given the diaspora of the artists and audience, more than 1000 films are made per year.  It behoves us to think there must be a reasonable standard for censoring/certifying movies. Think again, my friend.

What warrants a cut in a movie?

Anything that falls within the spectrum of foul language, nudity (sexual & non-sexual, suggestive & full-frontal), smoking, drinking, innuendos, violence, bloodshed, gore etc, has to be chopped off from the film. The morality of the audience is top priority.

“Awesome! There’s no complaint then”

Wrong.

Filmmaking is a form of art. Any form of art needs to be sung/displayed/painted/performed the way the creator intended it to. Censoring a work of art mutilates the narrative. Anything that is sensual or sexual is considered inappropriate for the audience and therefore required to be removed from the film. Unfortunately, nudity falls under this category.

“But nudity IS inappropriate because it is sexual in nature”

Allow a self-proclaimed movie buff to explain why that assumption is wrong.

More so than often, a director uses nudity as a storytelling tool. It could be a narrative device for character development, progression of story, or both. A better description can be provided through a narrative used in Inglourious Basterds (2009).

Shoshanna aka Emmanuelle is summoned to a restaurant where she is introduced to Joeseph Goebbels. A minute later, she is introduced to his haughty French interpreter, Francesca Mondino. It’s a fascist regime under the Nazi, and the translator is quite high on style and exquisiteness. It almost feels like she doesn’t fit in. Judging from her looks, it is obvious that there is more to her than she lets on. The scene cuts to a 5 second juxtapose of Joeseph Goebbels having sex with the interpreter. There is suggestive nudity. Shoshanna’s imagination can be speculated as an answer to why the interpreter has the luxury to be seated alongside men who dance to the whims of Hitler.

How does this scene serve any purpose?

Cut to the scene before the climax of Inglourious Basterds. Joeseph Goebbels makes a Nazi propaganda film on the war exploits of Frederick Zoller, a German Sniper, who has killed over 250 soldiers. A delightful Hitler leans to his side and says this is Goebbels’ finest film so far. Goebbels is so overwhelmed with joy that he starts crying. As he tears up, Francesca Mondino places her hand on his shoulder. This implies that intimacy is a part of their relationship, a plot point that was established in the previously discussed scene.

To an average moviegoer, this might not make much sense. However, in terms of narratives and character development, scene#2 is incomplete without scene#1.

Every movie is a package. Even a 15 second cut could mutilate the story that the screenwriter/director originally intended to narrate.

“Kids should not be exposed to adult content “

Fair enough. Children tend to perceive everything at face value. They constantly see women washing dishes in advertisements and grow up to believe that women are born to do household chores.

On what basis is a scene deemed appropriate or inappropriate for children?

Discrepancies in Censorship

Discrepancy #1  

Baahubali 2: The Conclusion was released with U/A certificate(Parental guidance for children below the age of 12 years). Screens in Tamil Nadu censored a liplock scene between Bahubali and Devasena under the assumption that it was inappropriate for children. The same movie had scenes that showed beheading, impaling, and a slow motion sequence of a woman walking with a decapitated head. None of these scenes were censored for children. Violence and bloodshed is fine, but a consensual kiss is not. Noted with due diligence, Your Honour!

Discrepancy #2

The 2016 superhero movie, Deadpool, was released with an A certificate (Restricted to Adults), but the swear words were muted. There is a shot of the protagonist severing a head and kicks the head like a soccer player. The head is hurled at full force and injures another person. The violence is comedic in nature. Fans in India were not lucky enough to enjoy Deadpool in its full glory on the big screen.

Discrepancy #3 

Befikre (2016) was cleared by the Censor Board with U/A certification. The movie had several kissing scenes and one glimpse of Ranveer Singh’s bare ass. I’m not here to complain about Ranveer’s perfectly shaped ass, but I couldn’t help wonder how movie certifying in India is more complicated than Schrodinger’s equation.

Discrepancy #4 

The 2017 action adventure reboot The Mummy received A certification for release in Indian screens. The booking portal in cinema websites had a prompt that warned potential viewers that no one under the age of 18 would be allowed to watch The Mummy. In spite of this warning, a scene  was partially censored/blurred for a cinema hall full of adults. The scene shows a woman offering her soul through a ritual. She is shown to be undressed, albeit in angles that warrant for suggestive nudity.As she completes the ritual, writings are etched on her bare skin. 

An Objective Look at the Problem

Films released in Indian screens are certified under 4 categories. (Source - Wikipedia)

1. U (Unrestricted Public Exhibition - Films with the U certification are fit for unrestricted public exhibition, and are family friendly. These films can contain universal themes like education, family, drama, romance, sci-fi, action etc. Now, these films can also contain some mild violence, but it should not be prolonged. It may also contain very mild sexual scenes (without any traces of nudity or sexual detail).

2. U/A (Parental Guidance for children below the age of 12 years) - Films with the U/A certification can contain moderate adult themes, that are not strong in nature and can be watched by a child under parental guidance. These films can contain some strong violence, moderate sex (without any traces of nudity or sexual detail), frightening scenes and muted abusive and filthy language.

3. A (Restricted to Adults) - Films with the A certification are available for public exhibition, but with restriction to adults. These films can contain heavily strong violence, strong sex (but full frontal and rear nudity is not allowed usually), strong abusive language (but words which insults or degrades women are not allowed), and even some controversial and adult themes considered unsuitable for young viewers.

4. S (Restricted to any special class of persons)  - Films with S certification should not be viewed by the public. Only people associated with it (Engineers, Doctors, Scientists, etc.), have permission to watch those films.

For the sake of convenience, I am going to compare this with the certifying standards used by Motion Picture Association of America (MPAA). 

1. G (General Audiences) - Nothing that would offend parents for viewing by children

2. PG (Parental Guidance) - Parents urged to give 'parental guidance.' May contain some material parents might not like for their young children

3. PG-13 (Parents Strongly Cautioned) - Parents are urged to be cautious. Some material may be inappropriate for pre-teenagers

4. R (Restricted) - Contains some adult material. Parents are urged to learn more about the film before taking their young children with them.

5. NC-17 (Adults Only) - Clearly adult. Children are not admitted.

“Alright. Every country has its own certification standards. I don’t see the problem.”

The Jungle Book (2016) is an animated film primarily targeted at a family audience. Due to the near-realistic motion capture technology, tigers and snakes look close to the real deal. Shere Khan the Tiger has burn scars on his face. He attempts to pounce at Mowgli, creating a jump-scare moment. A huge menacing snake intimidates the kid. As a result, the movie received a PG rating in the U.S for intense and frightening sequences.

Batman V Superman: Dawn of Justice (2016) contained scary sequences too. A dream sequence involves a demonic creature breaking out a tombstone and grabbing Bruce Wayne by his torso. There are several other scenes that are slightly eerie in nature. The theatrical version received a PG-13 rating in the U.S for sequences of violence and action throughout, and some sensuality.(The extended/ultimate edition received a R rating)

Despite the fact that The Jungle Book and Batman V Superman were not intended for the same audience, both movies received U/A certification for release in India. To fit into the U/A category, few shots were blurred or cut prior to release in India.

Unless the current certifying categories are expanded, it will be difficult for both filmmakers and the audience to relish a movie in its true form.

“Scenes that are sexual in nature can have an effect on youth”

So can scenes that glorify stalking or objectification of women and ‘educate the audience’ that it is an accepted norm in society. We have incessant smoking and drinking disclaimers for films but the audience is yet to see a disclaimer that says ‘Stalking is injurious to society and punishable by law’.

“Oh for crying out loud, we cannot have a disclaimer for everything immoral”

Doctor Strange (2016), a superhero origin story, starts with a neurosurgeon who drives recklessly and ends up in a major accident that later gives him the chance to be a superhero. One could argue the film was trying to tell everyone that reckless driving is totally fine. The studio decided to go out on a limb and display a disclaimer during the end credits, even if they really didn’t have to.

As you can see, there is responsible filmmaking and then there is responsible-for-the-sake-of-being-responsible censorship. 

“Sensual scenes can create unwanted urges”

An urge is natural. How one acts upon that urge matters more. A scene involving a mouth-watering chocolate cake can create an urge, but you don’t satisfy the urge by grabbing chocolate cake from another person’s plate without their consent. It’s not that hard of an analogy. Go figure!

I can’t end this post without addressing the elephant in the room, especially if the elephant takes up 30% of the room. A major reason for every movie producer vying to get ‘U’ certification is the tax exemption of 30%. This might be an unpopular opinion but IMHO, a tax exemption for U certification makes no sense at all.

It’s a TL;DR post already and I am pretty sure a lot of people haven’t resumed reading after Ranveer’s ass!

“Sarada En Manaivi” - Sigappu Rojakkal 

Since Kamal Hassan’s latest venture, Papanasam is receiving an overwhelming response, I thought I could attempt to do a sketch from one his masterpieces, Sigappu Rojakkal, directed by Bharatiraja. 

Aayarpadiyil kannan illaiyo... Aasai veippathe anbu thollaiyo... 

"Music is the universal language that transcends all barriers. It is this language under which we put forth our prayer for peace. Maithreem Bhajata is a song that serves a representation of world peace" 

Hugh Laurie Pencil Sketch 

So yes, I started a new hobby in 2015. Even attended a recent workshop. This is my very first try at pencil sketching. I realize my sketch looks like a cross between Hugh Laurie and Jim Caviezel. Will be sharing more in the months to come. 

Chapter 13 – Axis

An eerie silence fills Devarajan’s house. Selvi finds the ambiance uncomfortable. Her husband is back from prison but he appears to be in shambles. His body is tainted with wounds arising from ruthless treatment by the cops. She knows this silence is a harbinger of everything unholy. As though abiding her intuition, Deva speaks first. He wants Arjun killed; a task which Surya refuses. A torturous interrogation and accusation of betrayal by Deva begins. Selvi prefers the silence. In a fit of rage and desperation, Surya breaks the truth wide open.

Kalyani is shocked to find out the plot her son has been involved with. She cannot stand by and watch when Arjun is contemplating on whether he should allow Deva and Surya to be killed by illegal means. Not worried about societal perspective, she falls at Arjun’s feet and begs him to stop. Arjun is evidently questioning her predicament and wondering why his mother would beg for a criminal’s life. Kalyani speaks the truth. Subbulakshmi is appalled by all the cruel irony the gods of fate had showered upon her.

Selvi needs time to comprehend what Surya had just said. Deva is still hyperventilating. He pulls her from her daze and admires Surya’s loyalty. Selvi can’t help but force a smile. Whatever grief and misery the recent events in her life had caused, they have vanished. Pride fills up inside her. Her Gods had given her a son, a brother and a protector. Together, they leave for Arjun’s, hoping to see a new tomorrow.

  Selvi is tougher than you think. When Deva is unable to hold his composure and stars crying, Selvi does not follow him. She has been through a lot. The loss of her unborn child and Deva’s arrest has taken a toll on her. Under constant pain, men mature; women mature even faster. When Surya blurts out the truth, Deva is shocked but Selvi isn’t. It has been repeatedly established that she perceives Surya as her own brother in some ways and a son in a lot of ways. When Surya confesses he has a family, she has nothing but joy to share.

Like Selvi, Subbulakshmi too has matured but her feelings towards this new series of events that just unfolded are a lot different. Her father had refused an alliance with Surya on the grounds of his unknown parentage. Today, she realizes his bloodline and wonders why the truth never unraveled a bit earlier.

    Chapter 14 – Crossroads

Selvi, Subbulakshmi, and Kalyani look at the Deva’s corpse in a state of horror. Surya and Selvi hold Deva’s lifeless body onto their chest, hoping for his heart to start beating anytime. Selvi knows it is too much to ask for but she just witnessed an assassin riddle bullets into Deva and Surya. Despite Surya’s intervention and intention to save him, a bullet had somehow made its way through and met its mark. A man’s integrity is as good as his words and promises. Surya had sworn to protect Deva. In that very quest, he had failed. Together, all the women reluctantly relieve Surya to avenge Deva’s death. No matter what the outcome, it will never bring a dead man back to life.

Whistling as loud as it can, the train attempts to make a final call to its passengers. As Arjun’s family get ready to leave, he asks his mother to board. Kalyani hesitates. Surya and his family look at her, inquisitively. Kalyani hopes her son will ask her to stay, but he does not. Casting all inhibitions aside, she confesses her wish to stay with Surya.

  A woman of Selvi’s stature probably had it coming. She had lived every single day in a constant belief that somewhere a bullet with her husband’s name on it existed. Her only prayer to the almighty was for that very bullet to dodge. But the cosmos had to set its balance. When Selvi mourns for her husband, her mind fleets across a realization that Deva died in his comrade’s arms and not in hers. Somehow, Selvi has to live with the poignant truth that she didn’t even get a final farewell or a glance from her husband.

Yet again, it is Kalyani who speaks her mind. When everyone else is ready to bid farewell, she makes her firm stance on staying with Surya. Arjun nods in approval and Surya acknowledges her love but neither sons knew what she wanted. Even her husband chooses to stay mum. It is a new day for Kalyani. She is willing to let go of Arjun and compensate for her lost time with Surya. All it took was a battle of rights & wrongs and a few deaths to get that done.

  THE END

  Highlights

A note on K. Balachander

I started writing this series on December 11. The final chapter ended on January 14. In a month’s time, a lot had passed. More precisely, Director K Balachander had fallen ill, hospitalized, slightly recovered, and breathed his last. It is a bittersweet moment for me because the prologue of this series had a honorable mention of the legendary director. I wish to thank him for inspiring millions and for giving us Rajnikanth. Rest In Peace.

  The Grandma

Speaking of honorable mentions, I need to apologize for not including the grandma in any of the chapters. It was the grandma who raised Surya with full care and attention. Without her, Surya wouldn’t have lasted this long in the slums.

  The Color Red

The color red is cunningly crafted into almost every frame. Every scene has a depiction of red (or a shade of red). A possible counterpart to The Godfather that showcased oranges, I believe.

  Surya’s Vulnerability & The Sun

There is a subtle connection between Surya’s rise and fall with the angle of the sun. Like Superman, his powers are greater when the sun is at its peak. The murder of Padma’s husband, his rise to power with Deva, the burning of a traitor and the severing of a policeman’s arm happen in broad daylight, indicating the scorching of the sun’s power on Surya.

Surya and Subbulakshmi’s budding romance, the meeting with Kalyani’s husband, Subbulakshmi’s confession of her marriage proposal, Kalyani’s confrontation happen either at sunrise or sunset, indicating softer tones.

As Surya’s relationship grows with the women around him, his powers begin to fade. Deva is harmed when he is close to Selvi. He starts experiencing emotional turmoil when he is around Padma and Thamizhazhagi. Often touted as a fearless and outspoken man, he is still unable to approach Kalyani. Surya is at his most vulnerable position when he is surrounded by 3 women; Kalyani, Selvi and Subbulakshmi. This is the time when death finally finds Deva in the form of a bullet.

The Japanese Connection

I have and will continue to declare that Thalapathi has inspired and spawned several filmmakers. The most recent Jigarthanda (Dir. Karthik Subburaj) has its roots deeply planted in Thalapathi. There are several references to Thalapathi, direct and indirect, in Jigarthanda.

Director Mani Ratnam has paid an evident homage to Akira Kurosawa in the song sequences of ‘Sundari Kannal Oru Seidhi’. The visuals of the song depict Japanese warrior clans fighting with each other. Before you (the cynical critic) start accusing Mani Ratnam of plagiarizing Kurosawa’s style, I present to you The Last Samurai.

It has been my staunch theory that The Last Samurai is an unofficial adaptation of Thalapathi. The story has a protagonist with a troubled past who initially fights the opposition and then joins them later. Before he reluctantly joins them, he murders a powerful warrior in battle. The Samurai leader befriends him and forces the warrior’s widow to live with him. Although the Samurai leader ends up dead, the protagonist returns to protect the widow of the man he murdered. Over time, she accepts him as her new companion. The movie stars Tom Cruise and Ken Wantanabe in lead roles.

The Last Samurai shares a lot of plot elements with Thalapathi. Fascinating to know how the world of cinema is connected.....

Chapter 10 – Legacy

Thamizhazhagi cannot contain her curiosity any longer. Midway through her meal, she stops to ask Surya if he knows anything about her father. He is silent. She moves on to ask him where his parents are. Surya says he doesn’t have any. This sounds like an anomaly for Thamizhazhagi. In her world, a child is supposed to grow up with a mother or a father. Padma attempts to stop her but she knows there is no harm in asking a friend who his parents are. To Padma’s surprise, he is honest with her child. He opens up about his past. He points his finger at a saffron cloth and narrates the story of how his mother clad him in that very same cloth before discarding him. Thamizhazhagi does what she can – give him a tight hug.

  Brimming with pregnancy and an evident baby bump to show for it, Selvi is accompanied by Deva to the temple when a sudden commotion startles her. Two minutes later, Deva is seen fighting the cops. Briefly ignoring her present condition, she rushes to his aid. In the confusion, a cop pushes her away. Selvi lands flat on her belly and howls in a terrible agony. Deva stands there frozen, realizing it’s too late. She lets out a scream, signifying the end of their short lived happiness.

  How poignant must Surya have felt when the child of a man he murdered comforts him? We’ll never know. Children are inquisitive. Children do not have a basic understanding of inappropriate questions but they can be something adults can’t; be a source of solace. While most adults search for words to convince, Thamizhazhagi offers a simple yet powerful hug. It is a sign that says ‘I am here for you’ without actually having to say it. Of all the women surrounding Surya, Thamizhazhagi is the only one to have fully exhibited her unconditional love for Surya.

What makes him different is the relationship he shares with each woman. He has a real mother he doesn’t know about yet. He had a lover he couldn’t get married to. He has a wife he doesn’t directly converse with. He is a protector of a girl child who will eventually learn the truth someday.

Temples and Selvi function in the way matter and antimatter do. Her previous visit to the temple almost cost Deva his life. This time, it cost the family an heir. She brings him along thinking it would keep him safe. But one often meets his destiny on the road he took to avoid it. Apart from Surya’s presence, the only other reason to be hopeful was the arrival of a baby. When the death blow to her belly strikes, all of their lives are pulled back to a harsh reality.

A man with nothing to lose is invincible. With more attachments, even the most powerful men are induced with fear. Their losses are apparent. Surya’s transcendence from a demi-god to human is subtle. All this while, Selvi has had the belief that Surya is their protector. No doubt he is, but she never stopped to consider his growing attachments. In the course of a few years, Surya has been in and out of love with one woman, married to another and in constant protection of another man’s daughter. All these factors have made him less of a god and more of a human. Perhaps, this is one of the reasons why Surya wasn’t around to help Selvi when she needed him the most.

  Chapter 11 – The Confrontation

Kalyani hears an angry call for her son. She rushes down to see Surya, a man she remembers from a previous meeting under unfortunate circumstances. She believes he is here to do harm. Her intuitions serve her the right way. Surya implies harm on her son if Arjun isn’t too careful. All this while, Subbulakshmi watches from a hidden angle. She watches him leave and wonders what else fate has in store for her.

Constant clasps of lightning strike fear into Thamizhazhagi. She is unable to sleep. Padma is right next to her but she is looking for her friend. She looks out the window and spots him. Amidst the chaotic and ruthless weather, Surya looks gloomy and has his head bent down in sorrow. For reasons too obvious to state, Padma won’t go near him. Instead, she sends Thamizhazhagi to check on him. In another outburst of emotional downpour, Surya reveals he has found his mother. Thamizhazhagi wonders why he has to be sad about it. And for the very first time, Padma cries for Surya.

Selvi knows her opinion will meet a dead end. At the same time, she realizes she won’t get a better opportunity. When Deva is advised by his councilman to put an end to the Collector’s activities, she finally makes a suggestion. Selvi wants him to stop his activities. She states they have everything they need; fame, respect, public support and money. Fate, it seemed, had decided to take a different course. Deva, still sore from the loss of their unborn child, refuses to budge. He wants to be the arbiter of change, like he’s always been. Selvi doesn’t say another word. She knows they are fighting a losing battle.

Subbulakshmi didn't expect to see Surya at her doorstep. He intends to meet Arjun. She waits for him to say something, but he does not. She decides to go first. She asks him how he’s been doing. He is more concerned with how she is being taken care of. Subbulakshmi says both Surya and Arjun possess the same quality and character traits.

  Kalyani is speechless when Surya asks her if Arjun is her only son, she is speechless. Her sons are pitted against each other. It is not long before Surya learns that the woman he threatened is his own mother. On a stormy night, he cries until Thamizhazhagi comforts him. Mind you, this particular conversation is not between Thamizhazhagi and Surya. It is actually a subtle transmission of feelings between Padma and Surya. It is Padma who sends her daughter to find out why he is crying. When he shares the mixed feeling of joy and sorrow that he knows who his mother is but cannot let her know, Padma is the one who responds. She sheds a tear for the man who killed her husband. This can be marked as one of the first moments where the dysfunctional family has begun to evolve into a functional one. The family can never be normal. There is a chance Thamizhazhagi might loathe him when she learns the truth about her father. Padma might never fall in love with her husband. But that hardly matters. Tomorrow is another day. Like the storm, this too shall pass.

Desperate times often beget ill-advised measures. There are a few who can think straight in crisis. Selvi is one of them. She is the only one who advises her husband to cease all activities deemed illegal under the law. Unfortunately, the men fail to see the difference between what can be done and what is right. Still not over the loss of his baby, Deva swears revenge. Selvi knows she has lost. A little more convincing would have worked but her devotion prohibits her from any arguments she is capable of winning.

There is nothing worse than a woman being reminded of the things she has loved and lost. Subbulakshmi wishes for time to freeze and rewind. For a brief moment, she wishes she weren’t married. Surya shows up at her doorstep to talk to her husband. Women’s intuition has already been discussed previously. Subbulakshmi tells him Arjun displays the same traits that Surya does. This comes from her at a time when she hasn’t learned the truth yet.

    Chapter12 – The Egression

In another act of destiny, Kalyani meets Padma and Thamizhazhagi at a vaccination camp. At first, she does not notice the child clad in a saffron cloth. One mention of Surya’s name is all it takes. As Kalyani grabs the cloth, Thamizhazhagi narrates the same story Surya had shared with her before. A nightmare fleets across her mind when she realizes what horrors she has unleashed.

The city is under curfew. Owing to Deva’s arrest and the break of riots, there is bloodshed everywhere. This does not stop Kalyani from paying a visit to her long lost son. She steps into the threshold. Surya senses a visitor’s arrival. They look at each other. The sky breaks into a crimson dawn. A sudden gush of wind disturbs the saffron cloth that is finally ready to be acknowledged after all these years. She latches on to the cloth and cries for forgiveness. And in that moment, Surya realizes she knows. He struggles to call her his mother. He does, but so faintly. All this while, Padma and Thamizhazhagi play the silent spectator. Thamizhazhagi has a lot of questions. ‘Why is Padma smiling?’ ‘What is the lady from the vaccination camp doing here? ‘Why is Surya crying?’ Padma thinks fit to leave the room.

It is not just Thamizhazhagi who has a lot of questions. Surya does too. He wants to know why he was discarded. He wishes to know why she even considered abandoning him. Kalyani has no answers. She begs him to leave everything and come with her. He politely refuses. She fears for her sons’ lives. He promises to keep Arjun safe.

We can’t help but fall in love with Thamihazhagi. She singlehandedly succeeded in doing what the rest of the world couldn’t. She spills the beans on all the secrets people had tried to hide. Kalyani’s good deeds have finally paid off but she also realizes what she has done. Surya is a criminal’s right hand. Arjun is attempting to use force against Surya to bring their crimes to justice. One small mistake from her past has spawned a series of unfortunate events.

Kalyani ponders over the reality of what’s transpiring around her. She has finally found her son but he cannot come with her. He stands firm on his decision to stay with Deva, who has been with him in times of crisis. She fears there will be death by violence but Surya promises to look after Arjun. It is not enough for a woman who wants both her sons to be safe. This city is a ticking time bomb and Kalyani knows it will explode anytime. For the moment, all that she cares about is her son resting in her lap; a son who has found a mother’s love. A new day has dawned but she is unsure of what it beckons.

Continued from Part 2 - http://tmblr.co/ZbFA0x1XpAZtl

Chapter 8 – The Domino Effect

Kalyani continues to thrive and seek solace in social welfare. She is the midst of kids a temple when the venue instantly becomes a blood bath. In a blur of violence, she spots a bunch of goons chasing after one man and beating the living daylights out of him. She is depressed for multiple reasons. While violence tops the list, she is worried for the kids. Her eyes look for the leader of the wrongdoers. They fall upon Surya. Unable to stand the mindless violence, she approaches Arjun and questions the nihilistic nature of this town. She urges him to take necessary action.

Deciding to take matters into their own hands, Selvi prods Deva to approach Subbulakshmi’s father to ask her hand for Surya. A happy yet hasty Deva proceeds without contemplating the possibilities. As luck would have it, Subbulakshmi’s father refuses to approve of the alliance, stating that such an affair will only happen over his dead body. It is not long before Surya comes to know of this. He confronts Selvi, who admits it was her fault to have proceeded without thinking twice. Selvi is ridden with more guilt when Surya declares his loyal allegiance to Deva and is ready to discard the only person he had truly loved – Subbulakshmi.

Like a convict facing a trial, she stands before him, seeking an answer she fears does not exist. Her marriage has been fixed and there’s nothing she could do about it. Surya exhibits an indifferent behavior. However, when he knows her fiancé is Arjun, he is unable to control the outburst. He blames her for the delusional and childish dreams of them living a combined future. He pushes Subbulakshmi away and wants her out of his sight at once. She stands there for a second longer, waiting for a hopeful moment. It never arrives. Dejected by her one true love, she walks away. Surya turns back to see her walking away from his life, marking the last moment he sees her as the innocent, shy, and harmless woman he once knew.

  Almost everyone is horrified by violence, bloodshed and gore. Even more horrifying is the bitter truth that the common cause of crime is the lethargic nature of people who stand by and let it happen. When Kalyani asks Arjun why they are currently residing in such a hostile place, she does not realize her own contribution. If only she knew.

Selvi and Deva’s proposal is rejected outright by Subbulakshmi’s father because he knows Surya is a criminal. This rejection is also his vindictive pleasure of controlling the crime lords for once. He has a vehement dislike for Surya and his accomplices. Using Surya’s unknown ancestry as a shield, he ignores his own daughter’s obvious liking for Surya. This is the true nature of men whose intentions only lie in finding more reasons to hate something they already have a disregard for. In a twist of irony, he fixes her marriage to Arjun. Although Selvi regrets her decision to help Surya, the damage is already done. Surya does not want her apology. With a heavy heart, he states his true allegiance and loyalty lie with Deva. Blood can only make you related. It is loyalty that forms a family. It is a pity Selvi had to learn this the hard way.

This chapter observes the loss of Subbulakshmi’s innocence. Her dreams have been trampled by a history of hatred between men. When she is pushed away by Surya in a reluctant contempt, it’s the last straw for Subbulakshmi’s hope. As the sun’s glory is put out by the arrival of dusk, Surya readily accepts the darkness that begins to surround him.

  Chapter 9 – New Ties

Subbulakshmi is accompanied to the sacred altar by Kalyani. Before she has time to comprehend, she is sharing her husband’s bed. He looks at her with his utmost love. Subbulakshmi is not sure if she can reciprocate his feelings but it hardly matters anymore. She has never tasted freedom and never will.

Padma waits for Selvi and Deva at their home. Her daughter, Thamizhazhagi, is greeted by a delightful Surya. However, he stops midway when he notices Padma. Selvi and Deva come out to welcome her but she makes her intentions clear. She does not want to stay in this town anymore. Despite all care and attention she has been receiving, being a widow and single mother has not been a favorable combination. Men have been ogling at her, thinking she’s too easy. They have tried to molest her under the pretext of protection. When Deva fumes with anger, she blatantly tells him some of them are his own henchmen, rendering him completely speechless. He swears revenge but that is not what Padma wants. It takes a minute or two for Deva to decide what has to be done. He asks Surya to marry her. Padma is jolted by his decision and instantly declines but Deva convinces her stating no man can touch her when she is with Surya. And that’s the ultimate truth she can’t refute.

She is indifferent to the grand welcome at Deva’s residence. When she is patting Thamizhazhagi to sleep, Surya finally breaks out with his confession. He is ashamed of what he’s been and done all his life. He promises her that he will be nothing more than a watchful protector for the child and the mother. Padma stops to consider what he just said. Like all others, she knows Surya’s promise is inviolable.

Selvi has good news to share. She wants Deva to confide with Surya before the rest of the world can know. Surya has known the couple long enough to figure out she’s pregnant. With genuine happiness, he predicts it will be a boy.

Subbulakshmi has never been allowed to pursuit her dreams. She has lost her one true love and been forcibly married to another man. No doubt Arjun loves her but she will take her own time to come to terms with her new life. Like all parents, her father thinks parenthood bestows the full right to choose the child’s life partner. It is a pity that he never considered her say in this regard at all. She can’t bring herself to look at Arjun and tell him the truth. Instead, she blindly accepts her fate.

Padma is a stronger woman. She cannot accept Deva’s ineffective protection and fall prey to his henchmen’s desires. She is ready to move out of town and start a life of her own. Such is the power of a mother who is willing to do anything to protect her child. Like Subbulakshmi, she is forcibly married but the circumstances are a lot different.

The visual framing of Surya’s confession needs a special mention. When Surya meets Padma for the first time, she had just delivered a girl child. She is shown behind window bars, symbolizing a caged life. Before Surya confesses, he is shown behind similar bars. This probably symbolizes how he is able to see the world from her eyes now. This prods him to admit his hatred towards himself. Padma knows he intends well but says nothing. A women’s silence is complex as the origin of the universe itself.

Continued from Part 1 - http://tmblr.co/ZbFA0x1Xj-RAE

Chapter 3 – Pride

Selvi is strangely happy to see a new man entering the threshold with her husband. Deva walks with a new pride. He introduces the guest as Surya but he doesn’t quite stop there. As Selvi notices her husband’s face glow, Deva continues to introduce Surya as his friend, companion, a brother from another mother, and most importantly, his ‘Thalapathi’ (Commander). She gushes with joy. To her, Surya is a brother she never had. To her, Surya is a savior. To her, Surya is a beaming benefactor.

Subbulakshmi spots him walking by the river side. She runs after him again, this time with a glinting smile. He looks at her, wondering what she would possibly have to say. At first, she doesn’t. Subbulakshmi displays her arms with immense pride. He acknowledges the absence of jewelry with a faint smile. With a full level of comfort, she asks him what his name is. To which he graciously replies, “Thalapathi” 

Selvi is married to a man feared by all. As a devoted wife, all she prays for is her husband’s safety. When Surya is introduced as his “Thalapathi”, a promise of protection and safety is ensured. It is only natural that Selvi is happy to see him. To a woman, the protector of her husband is nothing short of a savior.

There is a subtle change in the way Subbulakshmi behaves. She spends more time alone. Her companions are no longer by her side. She hasn’t necessarily discarded them but she does not require their presence to feel safe. Evidently, it is what Surya has taught her, albeit unknowingly.

At this juncture, it is interesting to note that Subbulakshmi is the only one who gets to hear Surya introduce himself as ‘Thalapathi’.  Surya has no inhibitions when he is around Subbulakshmi. There is no cloud of modesty between them. Considering how private and detached his life has been, that sure is saying a lot.

  Chapter 4 – Guilt

Kalyani caresses a toddler. She knows she can’t spend all day with the child because there are many other babies in line, waiting to get vaccinated. When a woman asks her about her philanthropic activities, she validates the act of karma – She takes care of other babies, and that increases the chances of her own son’s welfare. Of course, the woman thinks she is referring to her legitimate son, Arjun. Kalyani has nothing more to say.

When Selvi and Deva pay a visit to the Ramana’s widow, Padma, she notices an unwelcome guest. She catches Surya staring at her late husband’s frame on the wall. It takes only a few moments for him to realize what despicable consequences his actions have borne. And then, without a warning, Deva brings the girl baby to Surya. In a moment of reflex, he clutches the baby in his arms. He looks at the fatherless baby, and then at her. He is unable to do so. Her gaze is so unsettling that it will continue to haunt him for a long time to come. After all, hell hath no fury like a woman scorned.

Guilt is an emotion with different and complex quandaries. Kalyani, the mother who unwillingly abandoned her child is so overcome by guilt that she indulges herself in generous acts of kindness. Often volunteering for child care, she secretly hopes this will set in motion a series of good deeds resulting in her own child’s well-being.

On the other hand, Surya has faced the risk of death in several instances, injured men in duels, and probably killed a few men in the process. Not once has Surya shown remorse. And yet, he cannot muster enough strength to look at Padma, whose widowhood he was responsible for. To make matters worse, Deva places Padma’s baby in his hands. This marks the very first time where Surya transcends from an invincible warrior to a mundane human with existential crisis.  Deva seems to ignore his current predicament. Padma alone sees through him. Using this against him, she subdues him with nothing more than a stare.

It's funny how guilt works.

    Chapter 5 – The Unlawful Savior

Subbulakshmi ponders over what the day had to offer. A few hours ago, she had witnessed Surya chopping a policeman’s arm off, in broad daylight. Not the sight a woman of her stature is acclimatized with. She continues to worry when a familiar shadow casts over her. She turns around anxiously to find the source. As hoped and expected, it turns to be Surya’s. He admits to have spotted her during his brawl with the policeman. He goes on to explain what the policeman had done to deserve such a punishment. Subbulakshmi says nothing. Surya bursts into anger and woefully narrates the plight of an unfortunate 15 year old girl who spent a night in prison and then hanged herself in shame. Surya had caught the cop responsible and severed his hand. Noticing her fear, he states the obvious. They live in different worlds. She sheds a tear. Confused and unaware of a woman’s emotion, Surya asks her if she dislikes him. With a sheepish struggle to force a smile, she declares her love for him.

Like any woman, Subbulakshmi has a penchant for integrity. More importantly, she appreciates complete honesty. Like the very sun after which he was named, Surya scorches with his own set of rules that he justifies. As mentioned before, he feels the need to be transparent with Subbulakshmi. Any other woman would have left a dangerous man. However, she is an exception. It is not sure if she understands his act of immorally assaulting a policeman but it is quite evident that she stands for him. A woman’s unflinching support is a quality desired by even the men of tyranny.

As Subbulakshmi rests her head in his lap, Surya finds himself placing his palm on her head with an intention to fondle. A new world has started to embrace him. It took the unconditional love of an innocent Subbulakshmi to make Surya feel human.

  Chapter 6 – The Promise

Selvi is accompanied by her ‘brother’ while her husband is presumably running an errand. Little does she know what dangers have befallen; at least not until a messenger drenched in his own blood comes running at them. Her husband lies fighting for his life in a warehouse. Deva has been betrayed by his own men. There is none but Surya to rush to his aid. As Deva continues to fight for his life, Surya warns the doctor that he wants him alive at any cost. Selvi is weak and collapses partially. All she can do now is pray with her eyes tightly shut, and she does so with full earnestness. As if in an answer to her prayers, she feels a hand gently grasping her palm. She opens her eyes to Surya, who promises her that Deva will survive. She does not seem upset at the fact that Deva spoke to Surya alone. If anything, her belief in God has grown multifold.

It might seem still strange to many that intuition has always aided women in their dire need. Selvi is no exception. She is confident about her husband’s safety as long as Surya continues to stand by his side. The one time when he wasn’t, it almost cost Deva’s life. Despite all her devotion and prayers to God, it is the timely help from Surya that saved his life. Still, Selvi prays for his life. God or none, all she is presented with is a benefactor who promises her that her husband will live. She believes. She knows.

  Chapter 7 – Confession & Convergence

Kalyani is surprised when her husband attempts to dig into her past. He asks her if she had lost her first son on a festive day. Obviously, he knows more than what he reveals. Although she finds this odd, she finds a miniscule comfort in sharing her sorrow. She knows he intends well enough to inquire but that does not stop her from breaking into tears.

In an act of destiny, Subbulakshmi forces Surya to accompany her to a temple where his mother happens to frequent. A distant train’s whistle imposes an equally unnerving moment for both Surya and Kalyani. The only one to understand the truth is Kalyani’s husband. He is now in a dilemma.

We should not be surprised at the fact that Kalyani never stops to question the purpose of her husband’s sudden inquisitiveness. She trusts him. Knowing about her past has not changed his love for her. It is probably this admirable quality that omits her need for questioning his purpose. Kalyani might have lost a child but she is lucky enough to have gained a faithful husband.

It is Subbulakshmi who plays a vital role in placing Surya on the road to his destiny. Still, he does not spot his own mother at the temple because of a pillar that doubles up as a barrier between them.

Posing as a reluctant witness to the whole moment of realization is Kalyani’s husband, who decides to shun away until he can make a clear decision. In a previous encounter with Surya, he deduces the truth about his blood line. At his free will, he could have spoken the truth. Welcome to a 'fictional universe' where even the noblest of men fail to do the right thing at the right time. Now you realize how accurately the story has depicted what is wrong with today's world.

Disclaimer – Like many others, I have been influenced by Mani Ratnam’s Thalapathi, which by itself is influenced by an ancient Indian epic. This is purely an account of a fan theory and nothing more. For, a film like Thalapathi is so multi-layered, I have only attempted to showcase one stratum of the masterpiece.

Tamil cinema and its audience in the 90s recognized only a few filmmakers who had carved a niche for themselves.  K. Balachander, a director known for his quirky and Woody Allenesque scripts, shifted the audience from larger-than-life heroes to grounded and common man protagonists. Often credited with the discovery of Rajnikanth and several other immeasurable talents, KB’s films focused on unconventionality. Mind you, J.k.Rowling was 3 years old when KB had already made a film about an orphan who lived under the stairs. Another director who laid equal emphasis on unconventionality was Bharathiraja. Deglamorised heroines and even more rustic looking heroes filled the realm of the director’s world of cinema. Rural and rustic backgrounds were a recurrent theme in his movies. The third (and for my convenience, the final) filmmaker who altered Indian cinema with strong storytelling was Mani Ratnam.

I have not chosen these directors at random. All the three had one common motif in their films; the prominence of women. More specifically, Mani Ratnam made a women-oriented movie named Thalapathi even without the audience knowing about it at the time. While common knowledge among the masses dictate that Thalapathi featured the story of an undying friendship inspired by Mahabharata, this post is about the hidden story that reveals a theory that the film may have been much more than the story of its leading men; the women and how they influenced everything we know about the movie.

Chapter 1 – The Unwed Mother

While the whole town is in a festive mood, a teen girl endures a world of pain giving birth to a child without a father. The villagers shun her because she is considered impure. Alone, she gives birth in the woods. Sunlight dawns and breaks through the thick tentacles. At the same time, villagers are hurling things into the fire. The flame grows larger. The child takes in its first breath and cries. She is deeply ashamed by what has been done and what she is about to do. The teenager Kalyani wraps a precious looking cloth onto her newborn and places him inside a shabby train that is about to depart. As soon as the whistle blows, Kalyani immediately regrets her decision and the fear of a bleak future for her son grasps her tight. The fear that will continue to haunt her for the rest of life…

Is it a mere coincidence that the protagonist, Surya, is introduced to the audience on Bhogi, a festival of bonfire? Surya is light. Surya is the Sun. Surya is pure energy that eschews all impurities. Bhogi sets fire to unwanted relics and paves way to a new life. Born out of an impure relationship, Surya is immediately abandoned by his mother, who believes he is better off without her. She sets him free onto a world that will later mould him into a fearless warrior.

After she loses her illegitimate son, Kalyani is (later) legally wed and blessed with a son. Even though she has everything a woman could hope for, she continues to regret the decision from her past. Like the part of a planet eclipsed without the lack of the presence of the Sun during the day, Kalyani dwells in the dark in the absence of Surya. 

Chapter 2 – The Dancer & The Widow

She walks down like an angel bearing a lamp of light with her female companions into an arena where the festive vigor is already present. It is unclear whether she looks at him or not but she definitely feels his presence. She dances around the deity, exchanging glances in between. Her immediate response is intimidation. Although Surya glows with a smile, it is unclear if his feelings are significant. 

The next time Subbulakshmi lays her eyes upon him, he is running towards her. A sudden fear engulfs her. She is unsure of what this man is capable of. He asks her if she has money. She denies having any. It’s the truth, but he spots her bangle. She tries to hide it from his sight but it is too late. Wasting no time, he calls upon a small girl whose mother is apparently fighting for her life in a hospital bed. He implies life is more valuable than a bangle. She refuses to part with it, reasoning it belonged to her mother. At the very same moment, he makes a promise that her bangle will come back to her. Reluctantly, she takes it off, unaware of the good deed he has made her do.

She dances with her companions near the river banks when a familiar face catches her attention. Him! He seems to enjoy watching her dance. A second later, she sees him raise his clutched hand. Her worst fears are realized. He holds the bangle. The man had kept his promise. He does not stay for long. He places her bangle on the ground and leaves. Subbulakshmi catches up with him and confesses she can’t take it back. She admits sheepishly about how she lied to her father she had lost it. She compensates for the lie with a suggestion that the bangle can stay with the family in need.

Not far away, a man has been declared dead. His pregnant widow breaks down into tears of sorrow and anguish. His caretakers know that the perpetrator of his death is Surya…

Surya is a lot of things. A murderer, a goon, a merciless rogue… But he is also a protector. For every life he destroys, he saves or revives a lot of lives. When a small girl approaches him about her ailing mother, he is quick enough to run after the first person he can find. Perhaps, it is destiny that leads him to the dancer. She feels threatened by his initial presence. He is hot-headed (symbolism, maybe) and forces her to part with a sentimental piece of jewelry. It is Surya who teaches her the significance of a good deed, especially one that can save a life. Suggestively, he is the one who implants the act of random kindness in her, for she does not want her bangle back when he returns it to her as promised.

All said and done, a man’s bad deed always catches up to him. Surya has been a catalyst in ruining another woman’s life. No bad deed goes unpunished.

Presenting The Hunger Games Meme - 'Depressing News of 2014' 

Communism (from Latin communis – common, universal) is a socioeconomic system structured upon common ownership of the means of production and characterized by the absence of social classes, money,  and the state; as well as a social, political and economic ideology and movement that aims to establish this social order. - Source: Wikipedia

A recently released movie has its roots subtly trenched in communism. As a matter of fact, the word itself was uttered just once (or twice). The story, however, revolved around this very concept that has spurned a lot of talks, debates, and endless arguments I can't seem to escape from.

I do not know what the standard definition of a good film is but here's what I believe. A good film is one that makes you forget you are seated inside a cinema hall. It's an escape from reality. Perhaps, this was what made the audience uncomfortable about the 'communist movie' in the first place. It is indeed rude for a filmmaker to establish the fictional account of evil beverage companies while the audience is seated there, sipping the very beverage that is fictionally deemed to be the root cause of all problems in a fictional world. Sorry, I forgot to add the word fictional in there.

Here's a simple scenario why communism can't go all solo in our country (and maybe a few more). Capitalism is bent on generating money while communism thrives on distributing it. The latter part bases itself on an assumption that people know what they want. Here's where the paradox lies. If people knew what they wanted, capitalism wouldn't survive on an elongated basis. There's capitalism. There's communism. And then there's a bridge where capitalism sells under communism. The internet has no brand. Service providers do. People want systems created by capitalism to feed them lies about how safe they are. Even though you know it is a lie, you still feel good because a system can take responsibility for what they did to you, rather for what you did to yourself. Capitalism is an easy life. Communism requires homework. After all, it's an age where the cure for internet addiction can be found online.  Hypocrisy much?

Speaking of hypocrisy, there are talks about how an actor shouldn't be doing a certain role because his previous activities suggested otherwise. Really? Going by that logic, a certain actor shouldn't be hosting a social awareness show because, 1) He entered into separate contracts at different time periods with two beverage companies in the past, 2) He has also played a role of an irresponsible and always-in-denial unemployed person who ends up assassinating the defense minister. Smooth!

At this juncture, I wish to make my intentions clear. I don't intend you to go 'Oh my gosh, that's true. How could we let that happen?' No! That's not what I want. All I want from you is to enjoy cinema as a work of art. If you happen to spot flaws in filmmaking, you are more than welcome to talk about them. Critique a film and the performance to your heart's content. It's your right to do so. Like or dislike the film. I am not going to stop you. Just don't walk into the screening of a movie with adrenaline-pumped fast cars and expect Kubrick to appear in the credits.

Remembering Robin Williams (1951 - 2014)

I love how these images depict the emptiness that is going on right now. These iconic movies are nothing without Robin Williams. He was a mentor, a comedian, a friend, a goofball, an absent minded professor and everything else. RIP Robin Williams