Wednesday, July 29, 2015

The Elixir of Life

       ‘And then it occurred! A pair of silver drops, one in each eye with a timid stealth came out as if to check whether her hands are going to decimate them by wiping it off. But this time it looked like they too are waiting to adore the beauty of their dancing. And as if those two drops had understood this and given the cue for their safety, within few moments, the other drops gushed out with glee to stage their flow and it was one colossal cascade from then on!!’

In case you are still wondering what I'm trying so desperately to describe, I guess, I've ultimately failed in trying to step into the shoes of a poet and poetize the most common phenomenon in the most uncommon way. Having said that, I do also know that this is the zenith of my ‘being poet phase’ and hence I’m going to deliberately ignore my failure and continue with the writing.

Human Tears! Arguably, one of the most distinct flavours of human emotions. And if you have already prejudiced like I'm going to give that one so called formula to live our life in eternal bliss devoid of tears like one of those mystical gurus in a prime time soap opera in our television, all I'm going to say is, please stand corrected!! (I stole the last three words from my Associate Dean, wondering how funny it was when it came out of his mouth). I’ll never stop you from crying. In fact I’m encouraging you to cry as much as you want. And this is what I'm going to ramble about in the next few stanzas.


Tears are one of the most aesthetic and sacred part of human emotions. Probably why, a wise man once said, ‘There must be something strangely sacred in salt. It is in our tears and in the sea’. It is one of those rarest assets to accompany us during the ying and yang of our human expressions - the saddest and the happiest occasions of our life. Every drop of them will have some stories to brag about, stories unheard and stories lost in time, be it the dreams aspired and achieved, the dreams shattered and lost, the people lost, the people united, the things sacrificed, the things yearned for and millions of other such unexpressed but deeply felt emotions. True tears often speak for the longed and venerated things in one’s life. Sometimes, they do speak for the compassion towards other co-existing creations of Nature. I still remember my mom crying for many things related to me. During my eleventh grade, I bunked my tuitions and went to movies. When my parents came to know about this, my father, as usual the gentleman he is, just said if you really feel like going for the movie either do it after the tuitions or better stop your tuitions totally and then watch by letting us know that you are actually going to a movie. On the other hand, my mom didn't say even one single word. Instead she started crying, crying and crying which was too hard for me to take. Finally, when she ended the ritual and the moment lightened a bit, I asked her, of course with anger, why are you crying for all the stupidest and mundane things on earth. Her face reddened and she shouted back, how dare you. You don’t have any right to stop me from crying for my son. I started laughing, probably one of the most stupid thing to do then. But thank god, it worked in my favour and she too broke into laughter. One other instance was the death of my pet dog before two years. Only the time that passed with me knows how long my eyes misted for that. It might look a bit weird for a twenty four year old to cry for his lost dog. People, including my parents, thought that I was so compassionate about the dog that I couldn't bear the loss. But when I look back at it now, more than the loss, it was my inability to do anything about it which agitated me more and maybe those inexpressible emotions vented out in the form of tears. Those were the moments, I guess, I realized that people’s tears are reserved only for their most prized possessions in life. After that, I stopped saying people not to cry. 

Our life is never going to be one ‘happily ever after’ ending fairy tale. And even if it is going to be one, we will need all those conglomeration of emotions to realize the eternal bliss which is going to be the crescendo of that story. Probably because without sadness you’ll never be able to define happiness as like without darkness there is no light. This is why, probably, Nature has conceived us as a bag of emotions. In fact, Nature herself exhibits her emotional tears as rain which gives life to every living being embracing her. Trying to suppress one of those feelings for the hegemony of other is equal to committing an ignominious act of questioning the Omnipotent, Herself. If we really weren't in need of a particular emotion, Nature would have taken it back in the course of evolution. Then we all would have been these always-smiling-idiots without nerves through all our adversities of life. I've also come across people who claim crying to be an act of cowardice. On the contrary, I feel, we don’t need courage to smile. But, to shed tears, we need immense courage, especially, a man’s tears! (Sorry, I'm still not able to divorce that male chauvinist in me). To me, a man who cries, disrobing all his pride, for the thing he loves and respects, is the rarest courage he would ever display and this courage is much nobler than what thousands of others would have displayed physically in any battle field. What about a woman then? A woman who cries is a poetry in motion! (Might look like I'm a sadist but poetry can be either euphoric or melancholic or at times both). Her beauty just gets enhanced by thousand folds with every drop that glides out of her eye. The irony is that then the (so called) powerless woman with her tears becomes the most lethal weapon a man can confront with. It’ll pulverize even the most cynic of hearts in the world.  This I had personally experienced with many right from my mother to the girl I adore.
  
Tears are the revered act of validating the things for which we have unconditional love and respect. It is also the things which we completely believe in. And if we don’t have the courage to stand up for those things, all we will end up is living a life of fallacy and hypocrisy. Tears are also the best form of emotional catharsis imbibed in the DNA codes of our cells and passed on through generations. Even the worst distress can be mollified by a few minutes of torrential outburst. That’s why I consider Tears as the elixir for all human agonies! So next time when someone says crying is an act of cowardice, better don’t listen to them. Because if we need to live our life to the fullest, it’s better to cry when we feel like doing so, even if it is going to be a stealth act inside our home or merely confined to our bathroom walls. Suppressing it is like amputating one of those important phases of your life. We live our present with our past and our future with our dreams and if our past has to be a memorable one, we should be courageous enough to at least cry for things which deserve it. Because after living our life, if we are going to turn and look at how beautiful our lives were, it is those embers of emotional tears which are going to make up the bright colours of that canvas of life. Believe me, then, our nostalgia will be more rejoicing than regretting!!

-          ARULMOZHIVARMAN T

Saturday, July 25, 2015

Random thoughts on Malayalam Cinema

There is a trend in Tamil Cinema of remaking Malayalam movies of late and all I can say about it is, this was inevitable. Kerala has been doing the finest mainstream cinema for quite a while and each film has something that Tamil film-makers can take a cue from.
I am not going to make a list and grade movies but I will begin talking about the film I saw the latest, Premam. It is touted to be a blockbuster that has rewritten all box office records in Malayalam and that fact alone suffice to make me watch it. One word- ‘refreshing’ it was. To people who say it is a rehash of Autograph, I will have to strongly disagree. On first viewing a decade back, we adolescents were used to rejecting any movie that does not have a plot, that does not have a stunt sequence or a denouement that is not heavily charged. Autograph was refreshing in a way, that as far as I knew, it was the first attempt of a film-maker in Tamil to tell one’s own story even if it was heavily fantasized. The film had all its Tamil cinema must-haves, the romance and the concomitant melodrama, the comedy, strong character arcs and even some message-mongering. Try watching it again, you will find that the film begins strongly with wonderfully written adolescent episodes and slowly the movie deteriorates as Gopika vanishes and a tiring Balachander-archetype Sneha redeems Cheran’s life through outrageous sacrifices with her ‘angelic’ heart. So if you ask me whether I am saying Autograph is a bad movie, I will say no. All I am saying is that it has dated.
Coming back to Premam, what director Alphonse Putharan has done to the Autograph premise is infusing it with some kind of ‘aimlessness’. No scene in the film is in a hurry to leave its place and travel towards a pre-destined climax just like how we expect our movies to do. Every scene lingers at where it is set allowing you to internalize the milieu which the characters occupy. You are given ample time to study people and their actions. I am not saying that this is the first ever film that cares about its people more than its plot. Produced by Anwar Rasheed and supposed to be a commercial movie, it certainly is breaking some new ground. And less significant is the fact that Putharen’s urge to push the envelope is evident in the way his story shapes itself. In Neram, the leading man had no qualms in introducing his love as his ‘sister’ when caught red-handed by a traffic cop. Here too, you keep expecting someone from Tamil Nadu to emerge and ruin Nivin’s unseemly love for his teacher Malar. It happens, though with a tweak, but what I least expected was a reciprocation from her. And it was exciting to find whom Nivin marries finally, actually is.


But trying to push the envelope is fine, but Putharen wants to do it in every frame. The camera movement is supposed to be dynamic but here it is restless, in some scenes. I was told by my friend that the undulating camera movement is supposed to concretize the recurring ‘Butterfly’ motif of the film to the viewer. Also the introduction sequence of Malar, the camera revolves around the characters dizzying the viewer. May be Putharen wanted to propagate the dizzying intoxication of the protagonist on meeting his love through the movement. In a lesser movie, I would be raving about the kind of nuanced film-making the young director has sought to achieve. Here, for a film that is so exquisitely framed for most part-take the instance of Nivin’s introduction in the second episode which sent a usually stone-faced viewer like me into an irrepressible eruption of rapture, I would expect better craft that prevails over the exhibitionist ambitions of an amateur. This was one of the reasons why I liked his Neram a lot lesser than I should have actually. But with Premam, I would have to give it to Putharen to have shown extraordinary progress from his first film.
 
Let me talk about another movie that impressed me in Malayalam- Ayaalum Njaanum Thammil. It should have been the finest Malayalam movie I had ever seen, considering how rock-solid the plot and how terrific the casting were. Still, I was consistently gnawed by poor writing and equally ordinary direction.  When a deeply dejected Prithviraj returns after his unrealized marriage to meet an expectant Prathap Pothan, the latter walks up to his student and asks where his wife was whom he had promised to bring along. Prithviraj replies with a blank ‘No’ and Pothan turns away. Prior to this scene, we are shown how desperate Prithviraj is to realize his long-cherished dream of marrying his love and we are allowed to root for him. When the marriage unexpectedly is spoiled by Kalabhavan, we are left in a state of shock. All that matters at this juncture is how wrenching the pain would be for Prithviraj and how he takes it, which is what is shown to us subsequently through a song. The next scene ideally should reflect how Prithviraj begins to get along with the new life that is going to be completely devoid of any enlivening hope or direction. As a story-teller, I should be least bothered about the inevitability of Pothan getting to know about the unforeseen event, unless I am going to force the character to give Prithviraj some solace or inspiration. A separate scene to show the communication of the event to Pothan, that too in the most mundane manner possible, when it is in no way going to impact my story is utterly superfluous. This is one of many instances where I found the writing below-par.


Barring the scene in which Prithviraj is absolved by the ‘priestly’ Pothan of all his sins where the camera slowly glides out of the window to reveal the name of the ‘Redemption Hospital’, there is no other place in the movie that warrants some direction sense on the part of the film-maker.
All mainstream Malayalam movies I have seen are impressive, mainly due to the fact that their story-writers peak every time, successfully hiding the flaws of the story-teller. Malayalam cinema, to be concise, has great stories, decent screen-writers and okayish directors in spite of the fact that there is so much division of labour among the three, unlike in Tamil where the director proudly dons all the three roles.
Tamil cinema as always has been strongly star-dependent and whenever star power wanes, it chooses to go plot-oriented like it has decided to do now. I am sure we will find more remakes of wonderful Malayalam stories like Indian Rupee, Shutter, Bangalore Days and begin to chest-bang that we are back. Let me concede that we have superb musicians, excellent technicians and fabulous actors and that’s  that. But my dear Tamil film-maker, here I lay down my gauntlet to you- “Try remaking Premam and I will stop writing about you”