Column

So, Aaruthra is also full of good intentions. Pa Vijay intends to make an awareness campaign for child sexual abuse — “Like how Strawberry (his previous film) imparted a huge relevant message, Aaruthrawill also have one for the society,” he told the Deccan Chronicle. From the way he treats the film, it’s easy to understand that for Pa Vijay, Aaruthra isn’t an ordinary film.

What he makes of it is constipated horse-crap cake, over-kneaded in gowmootra, baked with broken glass chips and served on a multiple-edged sword. 

Column is here.

Within the first five minutes of watching Kaatrin Mozhi (2018), I fell in love. As a Jyotika fan — even during her Kushi (2000) days — I went to watch Kaatrin Mozhi expecting to love her. I’d watched Tumhari Sulu (2017), the Hindi original. Naturally, I expected Jyotika to do one better. So, when I fell in love with Baalu, played by the incredible Vidharth — I felt like I was cheating on Jo. 

Column here.

For some strange reason, I found myself empathising with him. No, in fact, I found myself relating to him. Yes, you read that right. The need to achieve higher purpose, but the pressure of this misunderstanding society on my shoulders….

Finally, I had to address my life’s biggest existential question of my life, “Am I SK?”
I was entertaining that idea and wandering into the jungle of that thought when I heard SK scream into my ear.

Column here.

Nearly two years ago, one December evening, my friend Vinay and I went to watch Katthi Sandai(2016). For the uninitiated (good on you, mate!), Katthi Sandai is an action-drama-musical-thriller-romance-comedy film, featuring Vishal, Tamannah, Soori and Vadivelu, among others.

I had invited my friend to watch the movie with me: I was a Vishal fan, I still am. My friend readily agreed: He was a Vadivelu fan, he is still a fan of what Vadivelu was. We figured the film is going to be awful. But we promised to close the year out on a high note; we expected this film to be so bad that it’s going to be great.

My column is here.

A manipulative, self-aware and sharp female anti-hero is new for Tamil cinema. Historically, they tend to be arrogant vamps — Neelambari of Padayappa (1999), tamed heroines — Shanti Devi of Mannan(1992) or lost opportunities, like Mary of Padikkadhavan (1985). Kokila is nothing like any of her predecessors.

She isn’t a villain, she is in fact, the hero.

My column is here.

My love for Saranya Ponvannan began in a very Tamil Padam sort of way. I truly took notice of her only when she waved her velakkamaaru (broom stick) and brought it down with inimitable vigour on the transgressing Dhanush in Velai Illa Pattadhaari (2014). In the film, she plays Dhanush’s tough-loving mother — the scene with the broomstick is hardly the only time she hits him.

My column is here.

Editor’s note: You may want to read this for context Southern Lights: Baradwaj Rangan, Let’s Talk About Bias! – Film Companion. This was Baradwaj Rangan’s response to the flak that his review of Kaala got online.

Because it is impossible to have a proper conversation in the real world, I have an imaginary tête-à-têtewith Baradwaj Rangan, where I ask the questions and answer them as I imagine he would.

There may be spoilers ahead about old films that play every month on KTV and no one watches.

Column is here.

Mid-way through Abiyum Anuvum (2018), Anu assuredly proclaims that no woman would think of motherhood as a burden. Spontaneously, my colleague — a good decade younger than me — and I broke into loud Renuka Chowdhary-esque laughter. At that moment, I knew I’d found my showtime soulmate.

I begin my monthly column Ms. en Scene for Silverscreen with this piece.