Saturday, February 18, 2017

OrE the Democracy

You choose a member indeed; but when you have chosen him, he is not member of Bristol, but he is a member of parliament.  
.. Your representative owes you, not his industry only, but his judgment; and he betrays, instead of serving you, if he sacrifices it to your opinion.

 Edmund Burke, Speech to the Electors of Bristol

Tuesday, February 14, 2017

எமக்குத் தொழில்

காதலிலே இன்பம் எய்திக் களித்து நின்றால்
கனமான மன்னவர் போர் எண்ணுவாரோ?
மாதருடன் மனம் ஒன்றி மயங்கிவிட்டால்
மந்திரிமார் போர்த்தொழிலை மனங்கொள்வாரோ?
பாதிநடுக் கலவியிலே காதல் பேசிப்
பகலெல்லாம் இரவெல்லாம் குருவி போலே
காதலிலே மாதருடன் களித்து வாழ்ந்தால்
படைத்தலைவர் போர்தொழிலைக் கருதுவாரோ?

- பாரதி அறுபத்தியாறு (53)

வினைகலந்து வென்றீக வேந்தன் மனைகலந்து
மாலை அயர்கம் விருந்து.

- குறள் (1268)

Friday, June 26, 2015

EXT - DAY (Kinda)

I was watching Sabapathy (1941) for the umpteenth time yesterday.

Much is made of Bharathiraja getting films out of studios - the veracity in that claim is perhaps a tad less wholesome than the conviction in it - but, precious little is made of who confined it indoors in the first place.

With every movie one watches from the early eras of TFI, one only gets surer about a nuanced film-aesthetic dropped in favour of a -how does one put it- a rather loquacious alternative.

But then, possibly, what we get to see on TV today is a positive-select of the best ones of the era. And to that extent we aren't exposed to the 'average aesthetic' of the day enough to come to a reasonable understanding to make a comparison. But what are blogs for, if not to shoot from the hip.

Friday, August 22, 2014

The wonder that was

Let us start by watching pAttum naanE.
Why would I tell you why yet, this is enjoyable enough for me to not have to bother telling you why.

Video Link:
If you didn’t like that, you probably shouldn’t read further.

Monday, August 18, 2014

The Jig

No artist has ethical sympathies. An ethical sympathy in an artist is an unpardonable mannerism of style. …. Vice and virtue are to the artist materials for an art. -          Oscar Wilde (Preface to ‘The Picture of Dorian Gray’)

This film is a hit or miss.

One ought not to talk about its sequences, references, camera, sound and what not,  on even terms without addressing the elephant in the room – the complete abandonment midway of what the central character was thus far. The film’s “descent” into the absurd, the farcical shift in tone – can make or break the film. It cannot be talked of as a minor point, say a mild niggle and shift over to appreciating some nuances in the film-making.

You either buy it as a deliberate choice of an artist or a facetious irresponsibility of an amateur, who is learning the ropes. And all evidence of the so-called ‘new wave’ of young filmmakers do urge one to side with the latter. However, I think there is reason enough to believe this is a case of the former. And just that opens up a whole new avenue of reading what the film was trying to do.

Thus, what follows may thus be an indulgent over-reading.  You have been warned:

Saturday, April 19, 2014


'Tis not to see the world 
As from a height, with rapt prophetic eyes,
And heart profoundly stirred;
And weep, and feel the fulness of the past, 
The years that are no more! 
It is to spend long days 
And not once feel that we were ever young.

Growing Old - by  Matthew Arnold