Thilakan and “The Gangs of New Kerala”

What goes on in the Malayalam movie industry these days make the movie lovers quite sad. The current state of the Malayalam movies is quite pathetic. We have only a couple of hits each year and rest of them bombs in the box office. The state of the cinema theaters is also pathetic that one wouldn’t take the pain of going to a theater to watch a movie and would rather watch it at his own home. With the arrival of big LCD screens, Dolby home theater sound systems and DVD/Blue-Ray discs, watching a movie at home is much much more comfortable than watching it in a theater. As a result, many theaters are closing down rapidly.

But who cares? There is absolutely no effective discussions going on about a rescue plan. The people in the industry are busy making crappy movies and the competition is so high in this field that we get crappy, crappier and crappiest movies – one after one. Then there are these organizations (AMMA, MACTA, FEFKA and all those funny names) which functions like gangs and we see their gang wars quite often. And it is cinema that dies in this war.

The whole incident of Thilakan being an outcast from Malayalam cinema has proved that there is no hope for any improvement in the near future. Thilakan had accused AMMA (Association of Malayalam Movie Artists) of not allowing him to work in the movies and he pointed fingers at the superstars (Mammootty and Mohan Lal) in particular. What followed was a series of cheap stunts.

Director B Unnikrishnan, general secretary of Film Employees Federation of Kerala (FEFKA), said that the actor in Thilakan has died. But Thilakan has some great performing moments of Malayalam cinema (or rather Indian or world cinema) to his credit and we all know what kind of movies B Unnikrishnan has directed. Unnikrishnan also said that he would resign from his general secretary position if Thilakan could prove that FEFKA banned Thilakan from acting in films. Incidentally, the same FEFKA has threatened to pull out all technicians from the movie “Dam 999” if Thilakan was cast and the producers threw Thilakan out of the project. And as far as we know B Unnikrishnan still holds on to his position.

The above incident proves that there is some truth in what Thilakan says. He also lashed out at the Super Star fans and I whole heartedly agree with him on the fan-hood. The fan associations work like thugs, threatening people if they boo in cinema halls (and they themselves send booing teams when their enemy star’s cinema is released) and they also threaten people who leave after intervals when they are fed up of watching crap movies, and now the fans of Mohan Lal and Mammootty have united against Thilakan. Kerala now see that the rivals joining hands to fight a lone, old man.

Thilakan undeniably is a great actor. The truth is that if there is Thilakan acting in a super-star movie, he outshines the super stars with his acting prowess; however small his role is in the movie. So there are good reasons to believe what Thilakan says about the popularity-hungry, fan-fed Superstars working on denying him chances. Take a couple of superstar movies for example. “Kireedam“, an award winning movie where Mohan Lal and Thilakan played father and son, had both Mohan Lal and Thilakan in an equal performance and for the movie lovers, it was a treat (remember the scene where Thilakan says “kathi thaazheyideraa…“?). Or take Mohan Lal’s commercial hit “Sphadikam“. Thilakan’s Chacko maash was the most powerful character in that movie than Mohan Lal’s Aadu Thoma. Or take Mammootty’s “Kauravar“. It was an outright Thilakan movie, though Mammootty was in the lead role. Or take movies like “Perumthachan“, “Moonnaam Pakkam” etc. I can draw a lot more examples.

But he had very little support from industry, probably because nobody wants to question the “kings” and destroy their own career. Sukumar Azheekode came in support of Thilakan but he only added more garbage to the already stinking mess. Thilakan had claimed that he is a staunch Communist, but the party kept mum on the whole matter. It is understandable particularly when Mammootty is the chairman of party-owned Kairali TV. So the party did not back the ‘lesser Communist’ when they have ‘elite Communists’ in their fold. But renowned director Shaji N Karun came in support of Thilakan. He said, “The organizations have nothing to lose if they ban Thilakan. But the it is the cinema viewers who are going to lose.” He is so right. It is not AMMA, FEFKA or any other organization who is going to lose, but us, the Malayalam movie viewers. And the members of these organizations are busy looting our money and give us crappy movies.

Music video: Iniyethra Naal

Those of you who frequent to this blog have heard the song “Iniyethra Naal” in this blog before. To those who are new here, I composed this song for a short film directed by a friend. You can read more about the song by clicking this link.

The short film, titled “Aa Kathukal Parayaathirunnathu“, was previewed on February 12th at St Thomas College, Thrissur, in the presence of national award winning director Priyanandanan. You can see the song video below, which will hit the Malayalam TV channels hopefully soon. You can also download the MP3 file of this song by clicking here.

Credits:

Lyrics: Ratheesh
Music: Joseph Thomas (Jo)
Singer: Divya S Menon
Orchestration: Rajith George
Cinematography & Direction: Pavithran
Short film: Aa Kathukal Parayaathirunnuathu

‘Happy Husbands’ and ‘Bodyguard’

Do not ever go to watch a movie by public opinion. That is what I learned after watching two Malayalam movies recently. I heard Jayaram-Indrajith-Jayasurya starrer “Happy Husbands” is a laugh riot and a good watch, but I was left bored. With a stupid script and dialogues, it would easily top at the list of Razzies, if there was one for Malayalam films. Checkout the scene where psychologist girl chasing Jayasurya or Indrajith playing innocent before his wife etc – this movie is a so damn waste of money. It is not even worth of the air condition inside the theatre, because it is just another torture than the heat outside the cinema hall. Plus, I have one thing to tell Suraj Venjaramoodu. You are fast becoming the most irritating comedian ever in Malayalam cinema. Jagathy Sreekumar did not rule with his Trivandrum slang, but with his talent. You also have to find some other ground than trying to bank upon the Trivandrum slang. Get a life!

Then there was Dileep-Nayantara starrer Bodyguard. I never thought that director Siddique would disappoint people at this level. Considering his previous comedy hits, I went to watch this movie with much hope. Disappointment again. The movie goes on well but as the first half comes to an end, the story takes a pathetic turn. And then it is an utter waste of time and money. Siddique even takes a Kuch Kuch Hota Hai line in his story and by the time you figure out what is happening in the stupid story and script, the movie ends and you leave the cinema hall wondering, “what was it that I just saw?” The only saving grace of the movie was Nayantara with her beautiful looks and the way she moves in the dance scenes is a treat to your eyes. You can see a professional playing there. Except for Nayan, the only other good thing about the movie is the song “arikathaayaaro”, composed by Ouseppachan. All other songs are just passable.

(Image courtesy: Samvruthasunil.com and Bharatstudent.com)

R.I.P Gireesh Puthenchery

I had the fortune of meeting Gireesh Puthenchery at East Coast Studios in Trivandrum. I was there to sing a track song for M G Radhakrishnan sir and Pappechi introduced me to him. I still can’t forget the smile on his face. He turned to me while chewing the betel leaves and when the talk of beginners started, he recalled his initial days as a song writer and about the beginning of his friendship with M G Radhakrishnan sir whom he called Rajettan.

Dear poet, Thank You for all the beautiful songs you penned. Thank you for the movie Vadakkumnathan, which I loved so much because it reminded me about my friend who took his own life a couple of years back. From today, everyone in Kerala will miss you so much whenever we hear your songs…

(Image source)

Bhramaram is of Mohan Lal

What is common between Mohan Lal and Kamala Hassan? Both of them are amazing actors but fans and stardom destroy them quite often. You may agree or disagree, but they don’t want to discard the Macho Man image even for non-commercial flicks. They need fights (even in films which don’t need fight scenes) and want the younger women to love and want them (remember that scene from “Anbe Sivam” where Kiran licks in the water drop that drops off Kamal’s mouth?).

The reason I am mentioning this here is how the stardom effect has ruined the otherwise perfect character delivery of Mohan Lal as Sivan Kutty in the movie Bhramaram. The movie is okay, the script is not as crisp as Blessy’s first and it has too much melodrama towards the end. It is gripping in the first few minutes, then you can easily predict the story line. But still you would sit back on your seats for just one man’s performance – Mohan Lal. He immerses fully into the character of Sivan Kutty and delivers one of the best performances in his career. You would forget that you are watching a Mohan Lal movie.

But – then comes a fight scene at a roadside dhaba which reminds you that you are actually watching a Mohan Lal movie. For those who say that this fight scene was needed to project the complexity of the character, I would beg to differ. Sivan Kutty was a complex character for me until this fight scene happened. But that is not all – a lorry driver glances at Sivan Kutty’s penis and appreciatively comments on the size of his thing! Fans must have become happy by then, Mohan Lal must be glad that he kept the Macho Man image but those who love cinema get disappointed right there.

Mohan Lal used to be a director’s actor in his non-commercial, parallel cinemas and had not turned out to be a Kamal Hassan yet. The very recent example could be Paradesi, directed by P T Kunjumuhammed. So I would blame director Blessy for not having the balls to discard such scenes. Suresh Menon gives an aptly supporting role as Unni and Lakshmi Gopalaswami as Unni’s wife is also good. Cinematography by Ajayan Vincent is wonderful. The song “Annaarakkannaa” is an easily hummable tune with simple lyrics. But the background music is disappointing. I think people should learn something about how to do background score. Not all scenes need a melodramic tune to feel the scene. Sometimes you could just leave the background silent as the emptiness itself would speak to the audience.

Malayalam songs of 2009 – My picks

My friend Sandeep asked me to do a post like I did in the last year to list out my favorite Malayalam songs of the year 2009. Like in the last year, choosing a list of top songs was not at all a difficult job this year too. I must recall a comment now, that I received from blogger Ajith Edassery to my last year’s post which explains the pathetic trend of Malayalam film music in the recent times:

Personally, I was disappointed at the following trend in the past two years:
– Digital overkill in music industry
– The surge of Telugu dubbed movies in Malayalam and their pathetic songs
– Those ‘mone, kuttaa, edaa…’ kind of so-called love songs in the past two or three years… A blind immitation of Hindi and Tamil that doesn’t naturally fit to Malayalam

Most of the songs of 2009 were run-off-the-mill or the old-wine-in-new-bottle kinda. But there were some good works too. So here is my list of best Malayalam songs from the year 2009. There were 8 songs to pick in the last year, but I have only 7 this time.

7

Song: Anuraaga Vilochananaayi
Movie: Neelathaamara
Singer: Sreekumar, Shreya Ghoshal
Music: Vidyasagar
Lyrics:  Vayalar Sarathchandra Varma

This song is a massive popular hit and you would instantly love it. But as much as I would like to hum/sing this song, I cannot ignore the fact that it is a refined old wine. This song has clear shades of Vidyasagar’s old Malayalam works like “Karimizhiye Kandeela” from Meesa Madhavan and there are people who say that the percussion reminds them of the remixed version of Kaliyon Ka Chaman. There are several pronunciation errors at both singer’s parts and though Shreya Ghoshal is my favorite singer, I can’t take this song to the top 5. I liked the expressiveness in the male vocals (he brings in the right Sringaara bhaavam to the song) and that is the only reason I’m taking this song to my list.

6

Song: Pularumo
Movie: Ritu
Singer: Gayathri, Sujith
Music: Rahul Raj
Lyrics: Rafeeq Ahmed

The reason I chose this song is purely because of singer Gayathri. She has made this song beautiful with her wonderful voice and gave the right expressions which suits the song perfectly well. The male vocals starts at off notes, but Gayathri takes this song so well to make it worthy to listen. Rahul Raj also has done a neat job in composing.

5

Song: Alliyaambal
Movie: Loudspeaker
Singer: Vijay Yesudas
Music arrangement: Bijibal

Many attempts that we had at remixing old Malayalam songs have been pathetic. The people who did remixes of old songs seem to have thought that adding a bit of rap with some random English words would make a good remix (somebody should also explain to them what Rap music is) or adding some techno beats would spice it up. The result is the kind of songs like “Chetti, chetti, chettikulangara” (from Chotta Mumbai) which is quite an insult to the original (I wish such music directors learn something from Leslie Lewis on how he remixes some old Hindi songs). It is in this context that I appreciate the remix of a song that Malayali holds so dear to his heart – Alliyambal. It is a very nostalgic song for every Malayali and any lame attempt to kill the song would definitely be suicidal. But music director Bijibal has done a wonderful job at rearranging the orchestration for this song while keeping the melodic soul of the original. And he roped in Yesudas’s (the original singer) son Vijay Yesudas to sing it (to add market value?). Anyways, the result is a beautiful song and it is definitely a feather in the cap of Vijay Yesudas. I would give the credit to Bijibal. I had written last year that he is a promising music director. Here is a music director with some music sense to watch for.

4

Song: Swapnangal Kannezhuthiya
Movie: Bhagya Devatha
Singer(s): Chithra K S, Rahul Nambiar
Music: Ilaiyaraja
Lyrics: Vayalar Sarathchandra Varma

This is a classic Ilaiyaraja song. There is nothing in this song that surprises you if you are an Ilaiyaraja fan, but it is this melodic treat that you love Ilaiyaraja for and the maestro does not disappoint you on that with this song. The music, orchestration, singers – everything about this is as you wanted to hear. Goes straight to my favs from 2009.

3

Song: Picha vacha naal (my version here)
Movie: Puthiya Mugham
Singer: Shankar Mahadevan
Music: Deepak Dev
Lyrics: Kaithapram

Another massive popular hit from the year 2009 and quite obviously so. Simple but romantic lyrics from Kaithapram and Deepak Dev’s music make this song hummable for everyone. I also like the way the orchestration is done so that there is no heavy instrumental noises in the background where the vocals go. It’s just a simple percussion to support the vocals and that adds so much to the beauty of this song. Kudos to Deepak Dev!

2

Song: Saayam Sandhye
Movie: Sufi Paranja Katha
Singer: Latha Krishnan
Music: Mohan Sitara
Lyrics: Rafeeq Ahammed

Another melodious gem from Mohan Sitara and a soulful rendition by Latha Krishnan (I definitely would like to try an unplugged version of this song). I could just close my eyes by listening to this song and immerse fully into the pleasure that only music can give.

1

Song: Chaanthu Thottille (my version here)
Movie: Banaras
Singer: Shreya Ghoshal
Music: M Jayachandran
Lyrics: Gireesh Puthenchery

This song tops my list for various reasons. There has not been any Dhandiya song (May I add – not that I know of, if there are any others, please do let me know) in Malayalam and M Jayachandran has done a wonderful job with this song. Shreya Ghoshal’s singing is so heavenly. You would forget the fact that she comes from Bengal when you hear her singing this song as her pronunciation in this song is perfect that not even any south Indian singer, other than a Malayali, could deliver it to this perfection. The best part that I enjoyed in this song is when she sings “pRiyanoraaL innu vannuvO” where only guitars support the background and then percussion slowly comes up. Two thumbs up!

Post script: One thing that I have noticed is that the top picks of this year’s songs are mostly written by two (comparatively new) lyricists – Rafeeq Ahmed and Vayalar Sharathchandra Varma. While Rafeeq Ahmed adds a beautiful touch of poetry to his songs, Vayalar Sharath follows the path of his father that contains simple but beautiful words which go straight to your heart. Those two lyricists are here to stay and going to give us more gems, am sure. Also outside Kerala singers like Shreya Ghoshal are singing more often in Malayalam movies. Another interesting thing to notice is that many new singers are coming up and they are being noticed much more than the popular singers like Yesudas, M G Sreekumar etc. In the early days, a singer’s ability to deliver a good song was measured by how well he could sing a semi-classical song, but the singers of these days have very good expressive vocals and a refreshing tone in their voices.

The Mudcake

Dr. Gaurva Chhabra had shared a link to his 2 minutes long short film through FB. The short film is titled The Mudcake. Watching the video has brought a smile (as most of us can relate to the childhood memories of playing with mud – I don’t think that kids these days do it though) and it certainly left something to think about towards the end of the video. Garurav has submitted this video in a U.S. Govt, Video contest @ Exchanges Connect and he needs around 150 more votes before 28th Dec (10 AM, 29th Dec, IST) to go to next stage. Voting happens when you ‘Rate’ the film. It requires a ‘Sign up’, ’email confirmation’ by clicking on the sent link and then ‘Rating’ by clicking on ‘Stars’. Go ahead and do it if you like the film. I just did.

Bollywood and Indianness

I have time and again pondered over the pitiful situation that we have as Bollywood as a brand name representing Indian cinema to the world outside (just google with “bollywood+jocalling” to see my posts on this topic). For a long time, it used to be the self-styled ambassadors of Hindi cinema who keeps conducting the “Indian” film award functions outside India who are in a desperate need of selling the Bollywood brand in the name of India and Indian culture. But how would you feel when a Minister of State, who is the newest political messiah (after APJ Abdul Kalam – who also was mostly just hype) of our urban upper-middle-class babies, says this in the TED?

The fact is that Bollywood is now taking a certain aspect of Indianness and Indian culture around the globe.

Now think about the greatness of the times we are in – Bollywood being the face of not just Indian film, but also Indianness and Indian culture.

And what exactly happened to the quality of TED Talks? I think their tag line still says “ideas worth spreading”.

The Maestro Cover-up

I have high regards for composer Ilaiyaraja. Of late, however, the maestro has begun to show some sort of musical sterility in his works. There is no variety or fresh approach in his music anymore. His music doesn’t move you or excite you much these days, even in his trademark melodious tunes. Perhaps this could be one reason why A R Rahman got more popular than Ilaiyaraja, because ARR kept improvising throughout his career. Also Ilaiyaraja has been recycling his old tunes for new movies. His Hindi music scores for the films like “Cheeni Kum” and “Paa” are good examples of this.

When I heard the songs from the movie Pazhassiraja, composed by Ilaiyaraja, it did not move me a bit. Ilaiyaraja’s music for this epic movie was disappointing and average. Usually the movies directed by Hariharan would have some great songs. But this one was a huge let down.

But now the composer is blaming the lyricist over one particular song from Pazhassiraja. Ilaiyaraja said that he is dissatisfied with poet ONV Kurup’s lyrics for the film and he spoke about it at the audio release of the Tamil version of the film at Chennai.

According to the music director, ONV was unable to write the lyrics for a tune that had been selected by Hariharan, from among several tunes that Ilaiyaraja had presented before him. A few months later, the director had approached Ilaiyaraja again with lyrics that had been written by the famous lyricist, and had asked him to compose a tune for the same.

Ilaiyaraja said that the lyrics had the manner of a march past anthem. It had none of the anguish experienced by the warrior. Probably the lyricist must have had a different picture of Pazhassi in his mind, he added. [via]

I think it is up to the director and script writer to decide what kind of lyrics they want for a situation in the film. In this case, it seems that both the director and script writer do not have any problem with the lyrics penned by ONV. Then why should the composer have any issues? Or is it his way of covering up his inability to come up with a good tune for the lines that ONV wrote?

PS: The song Gum Sum from the Hindi movie Paa is a tune composed by Ilaiyaraja for an old Malayalam song (Thumpee Vaa). The original Malayalam lyrics for that song was written by ONV and most of us Malayalees listen to that song equally for it’s poetic beauty.

Update: Here is another take on the songs from Pazhassiraja.

Neelathaamara

Director Lal Jose has never disappointed the Malayalam movie lovers ever since his debut. Except for twice – with films like “Pattaalam” and “Mulla” – his movies are widely accepted by the Malayalee audience. His movies are mostly set to the backdrop of a typical Kerala village and both the story and camera capture the essence and beauty of the place. The song sequence in Lal Jose movies are a visual treat and he doesn’t go out to Singapore or Switzerland to shoot for a song, yet captures the breath-taking beauty of the ordinary places/villages. His latest (though I am yet to watch it) is one of the 10 short films in the movie “Kerala Cafe” which is already a hit with Mammootty and Srinivasan doing the lead roles.

“Neelathaamara” is one of the year’s much awaited Malayalam film. Lal Jose teams up with writer M T Vasudevan Nair to do a remake of an old Malayalam film. And Malayalees have huge expectation over the film as two magicians (MT and Lal Jose) join hands for this film. The movie is taken in a very low budget. I just saw/heard one song and it has such stunning visuals. I don’t have much to praise the song though. The tune somewhat reminds us of the old popular Malayalam hit songs composed by Vidyasagar himself (what is it with music directors these days recycling the old wine?). The song reminds me too much of Vidyasagar’s early (Lal Jose film) hit “Karimizhi kuruviye kandilla”. And though it is my sweetheart Shreya Ghoshal [;-)] singing the song, the pronunciation at places were bumpy in the song. “nirayum” for “niRayum” for example. Shreya is usually so keen on the pronunciation part and has sung even much more difficult Malayalam song lines with ease (“Vida Parayukayaano” and “Chaanthu Thottille” for example), so I would blame it on the people who were in the studio for this mistake. Another bumpy thing was the over stress at “ka” in the word “akale” by the male singer. But generally it is a good melodious tune, but nothing new.

So here is “Anuraaga Vilochananaayi” mostly for the visual treat it offers. And do check out Lal Jose’s blog.