"Red is the colour of poverty"

This is not a review or an analysis. It is more a recollection of a much watched (10 times) movie over coffee along with friends. For lack of imagination I propose to name this series, (Bad luck...I hope to write more...) "Venneer with Panneer". Why Venneer ?...That's what is the output of our office coffee vendor.

There is this creature in Indian movies called the "Angry Young Man"(AYM). Usually you have an Amitabh or Chiru or Rajini playing this creature. Of course even Ramarajan, Thyagarajan and TR have played this role in a few movies. But then this is a serious post. Kamal played this creature in Varumayin Niram Sivappu (VNS). Directed by Balachandar (KB), VNS revolves around the life and struggles of an angry idealist Rangan(Kamal). Rangan is very choosy about the job he wants. He is not ready to compromise his principles for anything. And neither is he the patient "Poruthar Bhoomi Alwar" kind. But the red hot commie shown here is not the variety which is usually portrayed in AYM movies. Rangan is an idealist who can't tolerate the moral and ethical rot around him. But then his anger and actions do not always evoke sympathy, simply for the reason that he is a man who is trying to overcome poverty and travails of life on his own terms. He is an "Individual" in the strictest sense, not ready to lose himself and his ideals in the milling and tussling crowd around him. And his actions can sometimes be justified only from his point of view. The rehearsal scene with Prathap Pothen is an example.

The observer meanwhile is not expected to shed loads of tears for Rangan. The sorrow and pain of the character is something which makes us think and ponder about and not just plainly emote as did the staple Sivaji movies of 60's and 70's. Having said that this movie shows what is probably one of the most poignant scenes in the history of Tamil cinema. This is the scene where Kamal, Dilip and SVe Sekar act as if they are having lunch to fool a waiting Sridevi. But the reality would be that between themselves they wouldn't have a single paisa, let alone enough money for a meal. What starts as a comic scene, climaxes with the seriousness of the situation hitting you hard. If this scene does not move you in some way, then you can duplicate for Vijay in his next movie.

Speaking of SVe Sekar, one keeps wondering at the tremendous timing sense of this man. There are at least a half dozen situations where he just dominates the other two. And dominating Kamal in comedy scenes is tall order. No wonder Sujatha once said "SVe Sekar Indru Vyazha Kizhamainnu Sonna Kooda Sirripu Varum". KB cleverly includes the character of Dilip to contrast Rangan. Dilip is not a man to be bound by scruples. Anything goes is his style. Sridevi plays the female interest. Though her character promises to be different, she tames down to be a typical helpless Indian woman. But I guess KB intended her to be so, with a dialogue by Rangan suggesting the same.

KB along with Cho were the pioneers of political satire in movies. VNS has its fair quota too with this particular dialogue taking the cake. SVe Sekar comes to Delhi searching for a job and stays with Dilip and Kamal, who are busy doing the same, searching for a job that is. Sekar has a recommendation from an MLA. Dilip reminds him about the forthcoming elections and chances of this MLA's party losing. Sekar coolly replies "Entha Katchi Jaichalaum Namma MLA Athula Irrupar Da". With well targeted digs at the Congress and their brand of Socialism this movie very pointedly indicates to the state of lofty idealogy and ideals in the 1980's India. "Idhukum mela thedina socialisme kidaikkum", says Kamal digging in the dustbin searching for his photo.

KB captures tension between characters very well. He is not reknown for the action sequences in films. But then time and again he proved that to create and depict tension between characters one does not really need a drunk villain or aruva wielding hero shouting Aeeei....oiiiii......aaaiiii etc. Unnal Mudiyum Thambi (UMT) had a superb depiction of the conflict between a father and son, both belonging to different times and valuing different things. UMT sort of has its roots in VNS, what with Poornam Vishwanathan and Kamal fighting it out. Dialogue stands out in this conflict.

Poornam : Vitta appaniya vithuttu vandhu nippan.....

Kamal : (a small pause)...Evan vaanguvan...

And as in UMT, the Dad accepts the son's position at the end. And KB sensibly cuts the melodrama out of the portion. Just wouldn't fit both the characters.

Songs in KB movies always stand out. My favourite in VNS is "Pattu onnu paadu thambi". MSV yet again justifies why he ruled the roost for a long time till Raja came along. This song is a sarcastic(Kannadasan) number and has the trio dancing to really hiphop music. The lyrics are as biting as they can get and both SPB and Kamal ensure that the cynicism carries through to the audience fully. (Watch out for Kamal enacting a satisfied man when he says "Paatu onnu paadu thambi pasiya konjam marandhiruppom" at the end of 3rd stanza). At the other end of the spectrum is "Nallathor veenai seidhen" soulfully sung by SPB for Poornam Vishwanathan!!! Guess he tells that to his grandchildren with some pride.

This movie is supposed to be a decent hit. That is very surprising in that the movie has no really obvious storyline, no obvious start and finish. There are quite a few flaws too most obviously in editing and the ending in itself is not all that smooth. And typically there are a few cliched KB scenes. But then KB has always maintained the dramatic element in all his movies, which by itself has its charm. The realistic movie buffs may not like him, but no one can deny that time and again KB gave movies that gave us a lot to mull over and at the same time were very engaging and entertaining. That I believe is the primary goal of any art.

PS:Chembai@yahoo.com writes in IMDb review that "Thengai Sreenivasan appears for a few incredibly funny minutes, proving that there are no small roles -- only small actors". I couldn't have put it better. Obviously a dress rehearsal for his unforgettable role in Thillu Mullu, which released the next year.