Odd combo isn’t it? Like Morkuzhambu with Cheese Burger.
Whats wrong with me? Well, just that i wanted to write about my observations about these two.
Let me make myself clear. The only Cheran movie i’ve seen is his Autograph. So its not like i am his fan. My adulation takes some time to grow. Sometimes decades.
On the other hand, i am a die-hard Mani Ratnam fan. I also like Kamal Haasan a lot. But that does not prevent me from cribbing about them from time to time
Sachin, i grew up watching him play. I’ve seen the way he played in the 90s. To me no other cricketing mortal comes close. I’ve been disillusioned with cricket off late. I don’t bunk office, or sit late nights to watch a cricket match. Heck, i was browsing the net when Sachin made his 35th ton in Feroz Shah Kotla. Just that i did not feel he would make it in Delhi so did not switch on the television 
In short, i am a big fan of Sachin 
Ok, Lets talk about Cheran first.
Cheran:
I don’t think he can compete with the likes of Mani Ratnam or Ram Gopal Varma for style or for novel story-telling techniques. No LIFO (Last in First Out) methods of storytelling as Mani did in ‘Alaipayuthe’ or “One story, Two viewpoints” in Kamal’s Virumaandi. No astonishing attention to detail like Kamal’s ‘Hey Ram’.
But we should remember he does not have the budget to attempt such a thing as those biggies. Please note i did not add Shankar to this list. Painting a vilage is a panchayat union’s job, not a film director’s in my opinion. Employing 65 cameras for a single sequences is just trying too hard to be seen savvy. Rejected case.
But cheran is one honest film maker i believe.
Honesty in what? Honest in telling a story or making a statement wth minimum package stuff. Not that its wrong to package it expensively. Song sequence in Jordan, New Zealand, South Africa or Sydney Harbour with white group dancers for a story happening in Madurai, nothing wrong with it. But then nothing great about it either. Its so much better to do stuff because you want to do it rather than because the producer or the distributor wants it. Or because you feel you have to tie the audience down from going for his smoke before interval.
Blame it on personal preferences, i dont like directors who just try too hard to woo the audience. Like a teenager trying to woo a girl who is not interested. To me a creator should have confidence in his story. He should believe that the audience will sit and watch his story. A trick or two is ok. But more of these cheap tricks
betrays the director’s insecurity. He should not be filming that story in the first place.
I’ve heard only good things about Cheran’s Bharathi Kannamma. He used Parthipan as a hero in is very first movie. Not the most sexy of actors. He later did movies like Vetri Kodi Kattu and Pandavar Bhoomi. Again simple stories not made on lavish budgets but not filmed theatre plays either.
Cheran could’ve added a kuthu paatu in Autograph. Or an item number with Simran to dance to speed up things. How many times have we heard Kollywood guys use terms like “Ippo idu daan sir trend” (This is the trend, Sir), “jananga idhu dhaan rasikaranga”? As if they have run a secret survey all over Tamil Nadu for it.
Till Autograph, i was mostly told stories where a guy feels for a girl all his life and ends up a Devdas or a story where another girl is in love with him. without the hero knowing it. Or a story where the hero’s ex-lover returns to torment him all his life. Hey there’s one such thing called “moving on”, and i think Cheran conveyed that very well in his Autograph.
I think i did that in my life too so i think i could relate to that.
I am not a 2 movies-a-week guy, so pardon me if that idea is old or stale.
Yeah, i too buy Ananda Vikatan and I too read Gyani’s statement that if it had been the case of a girl inviting all her ex-boyfriends, how will that go with the audience? Its not the film maker’s fault in my opinion. Right now i am reading a novel by Chetan Bhagat where the hero and heroine make love in a car (before marriage, lets be clear). And later on, the heroine conveys to the hero the news of her marriage with another man. So far no earthquakes. No 100 violins screaming or its literary equivalent. I don’t know what happened after that because i am yet to finish that book. But yeah, people accept such stories in the Rest of India. If Tamil Nadu cannot accept that, blame it on the vulgarisation of ‘Dhamil kalachaaram’.
The best thing i like about Cheran is that he is not trying to be too smart and end up copying English movies for new ideas as some of our more famous directors often do. Even that reclusive, bespectacled Alwarpet genius looks Westward for inspiration.
Atleast Cheran sticks to making movies about the people he knows about.
Autograph to me, is a throwback of the Malayalam cinema of the 80’s. People who have seen and enjoyed movies like “Kaatathey Kilikoodu(1983? Jo cheta, help please:)) or “Dasaratham” (1990?) or “Chithram” will understand that.
Or take for example the kind of movies Fazil used to make. What’s so great about “Poove Poochudava”? What style there? What novelty in presentation? What great treatment? Zilch! It may be news to some of you that PC Sriram was the cameraman for that movie. Now dont go and see that movie expecting any of the picture postcard wideangle shots or that chiaroscuro lighting technique PC is capable of. It has nothing of the PC Sriram we’ve come to associate with. But that movie will sure keep you engrossed even now. Because it had a decent storyline and a director who knew what he was doing. Cheran belongs to that KISS (Keep it Simple, Stupid) school of film making, atleast till now. And man, may your tribe grow!.
Here’s one guy coming from South of Madurai, with no connections in the film industy, no father to introduce him, no star to back him up and he is trying to make a cinema for the story value and emotional content rather than someone trying too smart and looking half-baked in the process.
The last time someone from such a background made one take notice was Bharathiraja. Gradually he too was caught in the stereotype of White-dress heroines, repeat cut-shots, and too much of “Directorial Touches” to my liking.
Any stale technique is bad enough. Its worse when a a good director gets addicted to it and never really lets it go. Nowadays Bharathiraja is busy giving interviews on anything and everything under the sun but not making movies.
Its good that Cheran sticks to making movies on subjects he knows and feels about and makes a statement if he wants to. Not that every cinema has to carry a message. Its not an email damn it. But its not a sin either. Whether we agree to his statements or not is a different matter. Lets give that liberty to the film maker.
Not that every movie of his will be a hit either. Its just that i respect people who have a story to tell and the skill to convey it well.
Lets watch a film for a story’s integrity rather than for the shine and gloss of the Stars, Foreign Locations, 125 cameras for a single shot, compooter graphics, Matrix like stunts, 250 group dances etc. Cinema is meant to deal with emotions. If it doesn’t its not good cinema in my opinion. Thats why people still cherish and talk about a Mouna Ragam, or or a Mahaanadi. I am not sure if Cheran is quite in the same league. I dont know. But he is soon getting there if not already there. He is one of the best among the younger crop of film makers. Lets appreciate and acknowledge that atleast.
Now, if people don’t watch movies like Cheran’s in theatres and end up cribbing about movies being “Kudumbathoda parka kudiyala”, then we might be served dishes like ‘New”, “Aa Aah”, “Madura’, “Thirupaachi”, “Sivakasi” etc. Dont blame Cheran if you get diarrhea because of food poisoning.
And dont’t tell me i didn’t warn ya!
We’ll talk about Sachin tomrrow. Take a break and have a kit-kat:)