The Delightful Journey goes on!

By P.Muraleedharan

It has been a pretty long journey for me, a very delightful one, as I followed Kamal Haasan and his films over the years. From the time I, a high school student then, saw him mouthing those sorrowful mushy lyrics of “Neela vana chholayil…” in an effort to woo Sridevi in ‘Vaazhve Mayam’, I was hooked. And, as I grew up, I thought the inordinate admiration I felt for the veteran would wear off as smoothly as a snake sheds its skin. But, that was not to be!

As years went by, he shed his regular ‘skins’ for more innovative and intriguing ‘roles’, in tune with the rapidly changing times and the new technologies that came in its wake. By the time I reached college, he was there at the theatres to astound my impressionable mind with a superlative performance in ‘Sadma’. The empathy he evoked in our minds was so great that when a tearful Kamal at the railway station was frantically trying all kinds of things to make an amnesiac Sridevi remember her past, the whole theatre was sobbing; I too.

I still remember the night when ‘Nayagan’, directed by Mani Ratnam, was shown on Doordarshan. (That was one of the very few Kamal films which I did not watch at a theatre as an adult.) So as not to attract the attention of my mother, who was sure to scold me for keeping late nights, I had put out the light. The only light in the room was the glare from the TV, tilted suitably to deceive an unsuspecting mom. As the ‘Godfather’ clone went on in the dark, just as in a country theatre, I was held captive by the high-intensity narration by Mani Ratnam and breathtaking performance by Kamal. And towards the end, when Velu Naicker (Kamal), seemingly quiet and calm, walked up to see the dead body of his son, suddenly lost control and cried out in pain, as though a sharp instrument has pierced his heart, I too felt shattered. And before I knew it, some kind of horrible sound, signifying insufferable pain escaped my lips! Soon, it was all over; my mom was there covering the TV screen! I still cannot recollect what lies I trotted out to pacify my enraged mom then.

The love for him deepened with passing years, which made me go back to see all his films which were released before ‘my time’, like ’16 Vayathinile’, ‘Raaja Paarvai’ and ‘Sigappu Rojackal’. The handsomest man with the most macho mustache we knew then had male folks also swooning at his irrepressible charms! One of our teachers at the college was such a fan of Kamal that he started learning Bharatanatyam at 30, and had his ‘arangetram’ at our arts festival next year!

Even though it may seem far fetched now, nothing seemed out of place then. The ultimate lover boy and sex-symbol of the times, he was so cute, charming and lovable in addition to being so talented that the lines “Naan thaan Sakalakala Vallabhan…” seemed perfectly natural then. Nobody could dance as well as him, be it classical or Western. Nobody could fight as well as him, Karate or ‘local’. And nobody could love as well as Kamal, nor could anybody kiss as well as him! Even now, seeing much younger heroines like Simran, Jyothika and Sneha giving their best romantic performances on screen under the expert guidance of Kamal ( No sarcasm intended!), we can just gauge the impact he has had in the ‘80s and ‘90s! To outdo films like ‘Punnagai Mannan’ and ‘Ek Duje Ke Liye’ would not be an easy task even now.

The kind of fan-following he enjoyed then had to be seen to be believed. But, he didn’t rest on his laurels. He has been experimenting with various genres, themes, characters and, as the critics would pithily comment, prosthetics. In an attempt to be different, he did away with one of his better physical attributes, his killer mustache, on the way. He played a buck-toothed simpleton in ‘Japanil Kalyana Raman’, a goon with a tonsured head in ‘Sathya’, a pot-bellied, gap-toothed old man in ‘Indran Chandran’, a mentally retarded man in ‘Swathy Muthyam’, another mentally unstable man in ‘Guna’, an old woman in ‘Chachi 420’, a dwarf in ‘Apoorva Sahodarargal’…The list goes on. Kamal tries hard to make sure that each of his films has something special in it and, he succeeds most of the time! Truly amazing, isn’t it? In between, he acted in a silent movie too (Pushpaka Vimanam’).

As a director too, he chose to surprise us. Sir Richard might have had to research many years for his take on ‘Gandhi’. But, without any hair-splitting research, Kamal made ‘Hey Ram’, one of the best celluloid commentaries on the freedom struggle to come out till date. But unlike Attenborough’s ‘Gandhi’, it’s no documentary! His next directorial venture ‘Virumandi’ was also noted for its cinematic sweep and social commitment.

Though his detractors may say that Kamal has been dishing out the same thing year after year, the only changes being in the make up, he has been entertaining us all this while. The efforts he made to make his characters more life-like were outstanding, no doubt. Spanning over four decades, all genres, all ages and more than 200 films, Kamal is still as young and enthusiastic as any new kid on the block. Let’s wait with bated breaths for his next magnum opus, ‘Marmayogi’!

What is his USP? I think it is the sincerity and earthiness he exudes on screen; and he has a charm that nobody among his competitors possesses: A very human vulnerability that makes the viewers identify with him! And that is his flaw too: He could never become a God to his followers like his former co-star Rajnikanth!

I am greatly indebted for the innumerable moments of happiness and enjoyment you gave me, Kamal. Thank you Sir and Happy Birthday!

N.B: The writer is an unabshed, unrepentant fan of 'Ulaga Nayagan'

http://www.filmysouth.com/tamil_movie_news/kamal_birthday/november-07-2008/Kamal.html

Rein in Twenty20 and BCCI bully!

By P.Muraleedharan

It is time the cricket world took a bold stand against the Twenty20 being given more importance at the cost of regular cricket. Also, against the way the International Cricket Council (ICC) acts as a handmaiden to the financial muscle of the Board of Cricket Control of India (BCCI). If this instant cricket, where Abhishek Nair (No slight intended to the Mumbai Indians all rounder) is compared to the great Sachin Tendulkar, is allowed to prosper, it would gorge on all other forms of cricket on its way and by the time its fizz evaporates, there would be neither test cricket, nor Twenty20! The empty stands at the Mohali stadium for the second test between India and Australia, of course, were a clear indication of the things to come.

Take the case of the ICL (Indian Cricket League). It has already wreaked havoc in two national teams-Pakistan and Bangladesh. Pakistan has banned 18 players who have joined the ICL and Bangladesh has banned 13 of them, for 10-long years! Lahore Badshahs and Dhaka Warriors have more quality players on their ranks than their respective national sides. It won’t be long before smaller cricket nations (In terms of talents and riches) such as Zimbabwe, Kenya and New Zealand fall for the money trap! It seems the Kerry Packer circus is back in a brand new avatar!

But, the crises in Pak and Bangla cricket could have been averted if the ICC had the gumption to stand up to the BCCI, and recognize the ICL. The BCCI, which runs the Indian Professional League (IPL), had successfully arm-twisted the Pak, Bangla national cricket bodies into toeing their line, so that aspiring players would not dare to join the ICL for fear of losing their chances to play for national sides (They cannot participate even in domestic matches!).

It is here that Sri Lanka Cricket (SLC) chairman Arjuna Ranatunga’s stand on the issue deserves respect from the cricket-loving fraternity. He points out that Sri Lanka was compelled to postpone their tour to England as its schedule clashed with season-2 of the IPL. (Their skipper, Mahela Jayawardene, and 12 other top players, including Kumar Sangakkara, Muttiah Muralitharan, Sanath Jayasurya and Chaminda Vaas have signed three-year contracts with the IPL.)

Arjuna is not one to be afraid of the money-might of the Indian cricket body. He, as the captain of the Sri Lankan team, had successfully pushed back the onslaught mounted by the Australians over the Muralitharan-controversy (Chucking!), has been a father figure in Lankan cricket, and is no pushover. Lifting of the domestic ban on five players including Marvan Atapattu, Russell Arnold and Upul Chandana is a sure sign that he means what he says.

Right now, the SLC cannot do anything to prevent their players from playing for IPL teams. As Ranatunga said, "If we get a directive from the minister of sports to release our top cricketers to play in a domestic cricket tournament in India, we have no right to question it."

Though Ranatunga’s main grouse is that the SLC does not get any money for releasing its players for the IPL, his words demand our attention. He says test cricket needs to be preserved and that the “first choice” of the players should be the national duty.

The former captain, who called the Twenty20 league as “instant noodles”, is naturally no favourite with the Indian cricket officialdom. But, his words have prompted a rethink in the Pak Cricket Board, it seems. The government would consider the case of the banned ICL players and would formulate a policy to resolve the crisis in consultation with the PCB, it is reported.

Lalit Modi, the chairman of the IPL and BCCI vice-president, whose allegedly high handed way of doing things is disliked by most of the cricket boards, says he is very “perturbed” by the accusations by Ranatunga, which are "totally unjustified". He is very unhappy with the failure of a high-level meeting between SLC and BCCI officials held at Bangkok to finalise a multi-million contract, due to Ranatunga’s strident stand, it is reported.

But, how does the BCCI handle such sensitive issues? By doing what they have been very successful at since Jagmohan Dalmiya’s time at the helm! By bludgeoning the opponents to submission! It is rumoured that the BCCI has conveyed to the SLC that they would talk to them only after Ranatunga is removed from their cricket board. And when the ICC asked them to talk to the ICL, the BCCI put a ‘simple’ precondition before the ICL authorities; just close down the ICL, and talks would follow!

The ICC, as servile as ever to the BCCI, has made it clear that they won’t even mediate in the tussle between the ICL and the IPL. With the frustrated former powers in the ICC such as ACB and ECB already looking for ways to curb the overarching clout of the Indian cricket board, a grouping of the Asian cricketing nations against them is the last thing that the BCCI needs. In their manic greed for moolah, would they have time enough to ponder over the consequences?

http://sports.in.msn.com/cricket/stories/article.aspx?cp-documentid=1684029

Masala as Reality !

P.Muraleedharan

Do no work. Just live. Become a celebrity overnight. There is a small price to pay for all the riches and fame that come in its wake, of course: TV cameras following you everywhere!

Sounds great, isn’t it? Bogged down by hard labour under the merciless gaze of the no-nonsense employer for a paltry salary, the very idea of a live-in reality show (A genre widely called as ‘Fly in the wall’ or factual television) like ‘Bigg Boss’ would look tantalizing to all kinds of wannabes and fame-hunters.

In a ‘glass-house’, you are caged in with a few ‘aspirants’ for a few weeks. What will happen to your daily lives? The feeling that somebody’s gaze is on you may be very irritating for you. Even if there are no cameras inside the house, you feel very awkward, as most of the other inmates are new to you. But you have to tread cautiously. The viewers, with their all-powerful votes are on the ready to nominate you out!

But, once you consider the inmate status as a role being played for a decent remuneration, there ends the tension and you start behaving in tune with the requirements of the show. The only problem is, you might just overdo it, like a man who started crying inconsolably while feigning to be sad.

Surviving inside the ‘house’ is no small task. Your communication with the other participants should (seem) genuine. You should be a great person, and at the same time, should ensure enough drama to have the TRP chart purring in approval. Being goody-goody won’t bring in the viewers. Boss, it needs masala; loads of it. So, play-acting, gossiping, mud-slinging etc are definitely in. Any way, you are not expected to discuss Shakespeare or Noam Chomsky. Not even Amitabh Bachchan or Daniel Craig. Come down please, as deep down as possible till your feet are firmly stuck in dirt and mud.

Participants would of course take a cue from the British version of ‘Celebrity Big Brother’. Jade Goody, a nobody then, rose to celeb status overnight as she was accused of racially abusing our own Shilpa Shetty. The latter became the darling of the voter-class and won the event. Goody was invited to join ‘Bigg Boss-2’ (a reality show being aired in India, of all countries!), though her fame rested on her not so beautiful vocabulary aimed at Shilpa. On hindsight, it seems that being outrageously rude, crude and over the top would benefit both the aggressor and the victim!

The all-important thing in a reality show is its casting. Get the right kind of people into the household. Those people with whom the yuppie hordes (young, high income individuals are the majority of ‘Bigg Boss’ watchers, it is said), can identify with and whose world view and lifestyle would appeal to them. The reason why the show is being aired much later than the soaps is a sure indication that the show targets a much smaller niche audience.

The viewers can openly discuss the character and behaviour of the participants and make judgments on them. They can feel morally superior, enjoy the voyeuristic pleasure the show provides and imagine that it is they who decide on the fate of the celebrities. As the show goes on to resemble gladiatorial fights, the viewers, like Romans of old, lap up with shameless glee all the thrills the humiliations and agonies that the ‘warriors’ undergo. Privacy and human dignity? Never heard these words before!

But don’t think the audience can be taken for a ride. The majority of them do not believe in the ‘reality’ of the reality shows! When they sit down to vote, they assess as much as they can, how closely a participant resembles his/her real self on TV. Obviously, the vote will go to the more ‘genuine’ one in their estimation!

Why channels are running after reality shows? It’s all economics, folks! Nothing comes as cheap as reality shows on TV these days. You don’t have to pay writers or actors, no need for elaborate rehearsals, sets, music... The list of advantages goes on, which reduces the production costs to almost one-fifth, says one estimate. When the profits are piling up, it is ‘unethical’ to talk about ethics!

George Orwell, in ‘Nineteen Eighty-Four’ (1949), described a world where the State monitored all the activities of its people by fitting giant two-way TV screens in every room. (Incidentally, the title of the first ‘Big Brother’ was inspired by the all-seeing authority in the book, called ‘Big Brother’.) He was thinking of a time when the State would intrude into the private lives of individuals and make life hell for them.

How mistaken Orwell was! In reality TV, people, of their own volition, submit themselves to the relentless examination of their personal lives, suffer indignities and insults…all in a bid to get recognised!

Source: India Syndicate

http://entertainment.in.msn.com/tv/article.aspx?cp-documentid=1681619

Maradona: Part-2

P.Muraleedharan

Diego Maradona, the erstwhile emperor of the football ground, returns to international football as the coach of Argentina. Just a few days are left for the official announcement, says Luis Segura, secretary of the Argentine Football Association.
No doubt, Diego is one of the finest footballers the world has seen (if not the best!). But, would he be able to reproduce the same magic that crowned Argentina world champions in 1986 at Mexico from the sidelines? Well, the answer is both yes and no.

In the last 11 years, after his ignominious ouster from the world football stage, the footballer with the divine left foot has been having a very colourful and busy life and has remained one of the tallest soccer personalities. Even when he is watching a match, the cameras tend to stay with him!

But, it was not for the right reasons that he grabbed headlines most of the time. He was in rehabilitation camps to cure him of drug addiction, alcoholism and obesity. On more than one occasion, he has reportedly faced sudden death in hospitals. On his family front too, things were not at all that hunky-dory. He even had to contend with paternity suits, apart from a divorce.

The living legend, who celebrated his 48th birth day this Thursday, has been an unbelievable mix of superhuman talents and… a superhuman desire for self-destruction.

Cynics may say there is nothing unusual in the way Diego’s career shaped up. The son of a factory worker, though prodigiously talented, fell under the weight of fame and fortune that fell on him following his rocket-rise to soccer stardom.

But, was it that simple with Diego? From boyhood, he was being told that he was the best and he could do whatever he wanted with a soccer ball. He got what he never wanted too: The most merciless of tackling. His anguished cries, though sometimes looked a little theatrical, revealed the brutality of the physical torture meted out to him by ruthless marksmen all through his soccer journey. (If only he could play in these times, when there are strong rules to rein in the ‘foul’ game!)

The frenzied adulation he got every time when he stepped onto a football pitch was more than enough to turn even the ‘soberest’ heads of saints. At times, he got carried away, it is true. He fell to the lure of cocaine, drinks, women and all kinds of vices. But, he was never untrue to football. On the pitch, he could do no wrong. For the football lovers all over the world, his feats on the ground absolved him of all his sins. He inspired a very ordinary team to greatness in 1986.
Some of the goals he scored in the Cup were just unbelievable, which showed that at work was God’s will, and Maradona was the instrument executing it! The second goal against England in the quarterfinal had the unmistakable stamp of divine in it. Like a ballet dancer on a fast forward mode, he flew past five English defenders to caress the ball into the net guarded by a nervous Peter Shilton. A goal most soccer lovers consider as the most beautiful one in a World Cup match. In the next World Cup, he took a rag-tag Argentine team to the verge of another triumph, where they lost by a penalty goal to Germans.

He has had only two brief spells as a coach with clubs in Argentina, both of which were not very successful. All the other three coaches who were considered for the post have far better credentials. Diego’s 1986-teammate Sergio Batista has taken the Argentine team to a gold medal finish at Beijing Olympics. Miguel Angel Russo’s team, San Lorenzo, is top of the national league, and Carlos Bianchi topped the opinion polls. But, when Maradona, one whom the Argentines revere as part of their alternative Holy Trinity-comprising Diego, Che Guevera and folk saint Gauchito Gil-enters the stage, mortal rules and conventions have no chance!

Would he be able to show the same magic, with which he made football a willing slave to his velvet boots, and make the team perform magically? With his emotional and brutally frank outbursts, would he be able to hold the team together? (Like when he criticized Lionel Messi as being too selfish.) Would he ruffle the feathers of the superstars in the team as the media continue to follow him like a pack of hungry wolves thirsting for ‘bytes’? Would his godly status in Argentina plummet if the fortunes of his team nose-dive?

Questions such as these, on his coaching abilities, galore. But, there are those who believe in him too, like Napoli's former president, Corrado Ferlaino, who says that from his second season with the Serie A club, Maradona was the true coach, as the players had refused to talk to the team coach Bianchi. And he was very successful. This time, the gifted one won’t be alone. He will be helped by Carlos Bilardo, his coach in 1986 and 90.

We have witnessed many a Maradona magic on the field, now are we in for some more breathtaking action conducted by him from the coaches’ bench? One thing is sure: Winning or losing, Team Maradona would have enough going to keep us hooked!

Source: India Syndicate

http://sports.in.msn.com/stories/article.aspx?cp-documentid=1685182

Malik, match-fixing and Pak cricket

P. Muraleedharan

After 8-years in the wilderness, Salim Malik is back in cricket, as a Lahore Court lifted the cricket-ban imposed on him by Justice Malik Qayyum in 2000, for his alleged involvement in the match-fixing racket. But, will this rehabilitation of the 45-year-old, one of the best batsmen in the world in his prime, help Pakistan cricket in anyway?

It has one positive fall-out: Match-fixing, the dreaded spectre of which has been haunting the international cricket for well over two decades, is back in the news. This time, as a painful reminder to the dangerous depths into which it had dragged the gentleman’s game in the recent past, and the tremendous ‘scope’ it has in the Twenty20 leagues. If patriotism is not strong enough to keep players away from the lure of the ‘filthy’ lucre, can the professional teams, run by private companies, stop them from falling for bribes to underperform and throw matches? The team owners, whose only god is Mammon, colluding to choreograph each and every move of the match, including the result, as in a WWE bout is another frightening probability! Going by the looks, that day is not too far away!

After the Mohali test, where Australia capitulated uncharacteristically to an aggressive India, one of my friends asked me, “Was the match fixed?” The question really shocked me. But, soon I realized: The impact that the match-fixing scandals has had on the cricket-lovers is so enormous that they suspect a rat even when there is no scope for one! So, for international cricket to come out of the sickening shadow of the ‘for sale’ tag, the ICC will have to devise something ingenious and drastic to lift the game above the reach of fixers, fraudsters and willing traitors. In the present scenario, where even World Cup matches seem pre-determined (Remember the finals of the 2007 World Cup in the Caribbeans, the last overs of which were played out in the dark!), the ICC has a terrible road to traverse to reach cricket to safety!

True, match-fixing is no headache that can be fixed overnight. In such cases, finding evidence is the hardest part. So, even if everybody knows that money has changed hands and that Cricket and Honour have been short-changed in a particular incident, the same cannot be proved most of the time for lack of evidence. How can one distinguish between a poor performance and a deliberately below par one? In cricket, the game of glorious uncertainties, one cannot determine it that easily! But, in the Malik-case, Justice Qayyum had said, "There is clear evidence of match-fixing against Mr Salim Malik." The Justice had recommended life ban and Rs 1 m fine (£12,500) for Malik. It is this ban that has been overturned now.

Malik was the first international cricketer to be banned in connection with match-fixing. It was in 1995 that the allegations on the involvement of Malik in betting syndicates come out into the open. Tim May, Shane Warne and Mark Waugh were the accusers. They alleged that Malik had offered them money to throw the Karachi test match between Australia and Pakistan (The match was won by Pakistan!). Later, in 1998, the Australian Cricket Board admitted that Warne and Waugh were secretly fined for accepting money from an Indian bookmaker during the same Pakistan tour (1994). The famous saying comes to mind: When you point your forefinger at somebody, the other four fingers are pointed at yourself!

During their next tour to South Africa (1995), Rashid Latif and Basit Ali resigned from the Pak team and headed back home, ostensibly, after a clash with Salim Malik, on match-fixing. Salim's ouster was not unexpected then. For, whenever the subject of match-fixing had come up for discussion, his name had figured prominently in them. But for the courage of Rashid Latif and the ‘original’ whistle-blower Sarfraz Nawaz, the dirty drama behind many an ‘unbelievable’ loss by the Pak national team would have remained under wraps. The latter had not spared even the ICC; he had accused that the committee is the fountain-head of the betting-mafia!

International cricketers are not just professionals engaged in a money-making sport. They represent their respective nations. Throwing matches for handsome bribes amount to treachery, there is no doubt on that. Having clean hands won’t do. The players and administrators should be above suspicion too. That is a small price to pay for the big privileges international cricketers enjoy these days. That is, even if Salim Malik is innocent of the charges that were leveled against him, he has sinned by giving more than enough reasons to doubt his integrity.
His rehabilitation would not help in restoring the faith in Pak Cricket, already tarnished by many a scandal, I am afraid.


http://sports.in.msn.com/cricket/stories/article.aspx?cp-documentid=1683783

Kangaroos ‘Chappelled’

By P.Muraleedharan

Greg Chappell has done it again. And with what efficiency! The best test team in the cricketing world has been reduced to a losing bunch of frustrated individuals, riven by discord and indiscipline. It seems, Team India should thank Chappell for making the tough as nails Aussies as vulnerable as Indians were when he was their coach!

The former India coach and the head of Cricket Australia’s Centre of Excellence in Brisbane, is again in India as an advisor to the Kangaroos, to help them tackle the Indians more ‘professionally’.

Weren’t the Aussies overjoyed with this achievement! Pace man Brett Lee’s words sum up the feeling that the Aussie dressing room shared then. "We will definitely be picking his brains for every little bit of knowledge and experience he’s gained... I think he’ll be a very key member of the Australian team… He’s here and he’s wearing Australian colours. What he had done for the Indian players had been brilliant, but he’s moved on, taken up a new challenge and that’s great for us."

And what happened? The all-conquering Baggy Greens failed to capitalise on the upper hand they had in the Bangalore test. Their aggressive spirit, which was mocked at by Zaheer Khan, was sorely missing. In the second test, on a good batting wicket where the ball was coming to the blade nicely, Aussie batsman drew a blank. The team, known for totting up big scores at a brisk pace, was just occupying the crease as though they feared something dreadful might happen to them any time! Was that a Chappell-effect? By the end of third day, the ‘gritty’ Aussies were on the mat, psychologically.

There was another interesting side show. Brett Lee had an open spat with skipper Ricky Ponting as the fastest bowler in the world was not called for bowling at the Indians. Though things were patched up soon, it was evident that tension was simmering in the Aussie dressing room. Now, it almost resembles the Indian dressing room, when ‘Chappellji’ was at the helm.

In 2005, when he took over as the Indian coach for a princely remuneration of $1,75,000 per year, everybody felt, here was somebody who could take India to the top, overtaking Australia in the process. For, India had secured an honourable draw against a full-strength Australia in their back yard the previous year.

But, in a few months, the whole picture changed. He made the winningest Indian test captain, Sourav Ganguly, who was instrumental in making India a force to reckon with, a mental wreck and sowed the seeds of dissension in the dressing room. Indeed, he made laudable experiments, led India to a record 17 consecutive one-day victories when batting second. But, he made the team what it was before: Bully at home and chicken-hearted on foreign soil. Under Chappell, Indian away record was: 32 wins, 27 defeats. In tests, there was just a win worth remembering, the one at Port of Spain in West Indies.

A team, which was the runners up in 2003-World Cup, lost in the first round in the 2007 edition of World Cup under him. And the gentleman, who ruled Indian team with the skipper Dravid helplessly looking on, had the temerity to say that everybody in the team was responsible for the fiasco! He even suggested that senior players like Sachin Tendulkar did not show enough commitment, which comment had Sachin coming out openly against him. Anyway, he put in his papers soon after, before getting the sack.

Former Indian captain Sunil Gavaskar had said last year, after Chappell resigned from his post, “…at the end of his tenure, Indian cricket is down in the dumps with a first-round exit in the World Cup, and is fractured and divided as seldom before… The batting, which should have flourished under the guidance of someone recognised as one of the game's best batsmen, has looked tentative and unsure and has lost the spark that made India's cricket team such a must-see for cricket lovers.” And on his name being considered for the post of the head coach of the Australian Cricket Academy, Gavaskar said with typical sarcasm, "If true, then it could be the best thing that has happened for world cricket. Now even Ireland has a chance of beating Australia sooner rather than later.” Is that what is happening now? Gavaskar must be chuckling!

Team Australia is already down in the dumps. It will need nothing less than a miracle for them to even secure draws at the turners in Delhi and Kanpur. To make it happen, the die-hard Aussie spirit has to be revived. We, as cricket aficionados, look forward to that.

http://sports.in.msn.com/cricket/stories/article.aspx?cp-documentid=1684119

Spin Sunset!

By P.Muraleedharan

The word is out: India is no longer a spin-power in the sub-continent. And the cricketing world has already taken notice.

The result of the first test between India and Australia, held at Chinnaswamy stadium in Bangalore last week, bears ample testimony to the disappointing decline in the abilities of the most potent spin-duo India has ever produced-Anil Kumble and Harbhajan Singh. In the first innings against the Aussies, the slow bowling pair sent down 84 overs, gave away 232 runs…All for just one wicket! In the second innings, things were a little better. Harbhajan picked up two from 27 overs, while an injured Kumble bowled just 8 overs for no wicket.

Remember, this was a cracking wicket, though not exactly tailor-made for ‘spinquest’. True, India lost the toss, which made the Aussies comfortable in the first innings. But, it was obvious that they were shaking in their shoes at the prospect of facing Kumble’s frightfully accurate deliveries and the turbanator’s vicious turn on a cracking pitch. What happened was just the opposite: The seamers, Zaheer Khan and Ishanth Sharma proved to be dangerous while the spinners plied their trade as though they were just filling in as stock bowlers. The tweaker twosome, with 907 wickets between them, playing their 54th test match together, never really troubled the Aussie middle order.

While speaking about Kumble, one tends to remember his towering feats for the nation. The lion-hearted cricketer, arguably, is the best match winning bowler Indian test cricket has ever produced. And this is his only third test when he has gone wicketless. Dilip Vengsarkar has alleged that Kumble hid his injury before the Bangalore test. And Kumble says he got injured while bowling in the first innings at Bangalore. Whichever may be the truth, one thing is clear: In his prime, Kumble would have scythed through such an inexperienced line-up.

As for Bhajji, he has not been doing enough with the ball to merit a place in this Indian team. He has been resting on his laurels for quite a long time. That he batted briiliantly to bridge the gap between the Kangaroos in the first innings is surely worthy of credit. But, he is in the team because of being a bowler, not because of his duels with Andrew Symonds nor due to his batting prowess. With talented youngsters like Amit Mishra and Piyush Chawla knocking at the doors, it is time the selectors took a long, hard look at the spin department.

But, the signs of the approaching sunset was already visible when the Indian duo failed miserably in Sri Lanka to master Muthaih Muralitharan and his disciple Ajantha Mendis. If anybody thought it was just a flash in the pan, Bangalore test is more than enough to make them change their minds.

As Anil said on Wednesday, he should be allowed to go out on his own terms. But, if his career can be prolonged by a couple of years with a few weeks’ rest, shouldn’t we go for that? This is not just the time for sentiments! If need be, the selectors should show the way and make sure that only a fit Kumble would play the second test in Mohali. As for Bhajji, it is time he makes way for a quality spinner!

http://sports.in.msn.com/cricket/stories/article.aspx?cp-documentid=1679585

Learn from ICC: The art of passing the buck!

The ICC has done it again. The outfit has successfully
ducked the IPL-doping-bouncer and asked the BCCI, to manage the rest! No other international body has ever shown this much dexterity in passing the buck so consistently as the ICC.

When the news came out that a fast bowler from the subcontinent had tested positive for a banned drug, the ICC put out a press release detailing how 'firmly' they will handle the whole thing.

"As with any AAF (adverse analytical finding) that arises during a testing programme organised by one of the ICC’s members, it is the responsibility of that member, in this case the BCCI, to deal with the process in a timely and fair manner." Not only that, it would keep a close eye on the way BCCI handles the issue to ensure that the guilty player is brought to book!

The responsibility to deal with a problem involving a Pakistani player who tested positive during a tournament held in India has been entrusted to the BCCI! Already, the Pakistani representative of the WADA has come out with the statement that the BCCI has erred in naming the player and the pitch may get queerer.

As though the ICC has something more important to do!
Isn't the duty of the international apex body to keep a tab on incidents that may bring the game into disrepute and act at the earliest? It seems, the ICC thinks otherwise.

We have seen it many times before- When the appliction of ICL for recognition came up, the ICC toed the line of the BCCI. In 2006, Shoaib Akhtar and our own Mohammad Asif were banned by the Pakistan Cricket Board. Later, an appellate tribunal, on an appeal, had overturned the ban. What did the ICC do? Nothing!

The World Anti-Doping Agency had taken the PCB and ICC to the task then. WADA chairman Dick Pound said,``It is certainly aberrational to have a national federation telling the international federation what rules it is going to apply in something like doping.''

Recently, the ICC has been making some feeble attempts to amend its rules concerning doping. It is to be seen how this will pan out. The BCCI would find it very difficult to bring the guilty, if so proved, to book, due to the larger issues of votes in the ICC and thepolitics involved. But, the ICC has nothing to lose, rather, everything to win. If no action is taken, the
BCCI is the culprit and if it is otherwise, the credit goes to the Marilybone Cricket Club!

Now to the player in question. In 2006, when they were caught, Shoaib and Asif said that they took the banned steroid nandrolone unwittingly. Knowingly or unknowingly, a crime is a crime and it should be dealt
with accordingly. After all, international sports persons are expected to know the minimum about what could put their career to an untimely end. Recently, Asif was detained at Dubai airport for 19 days for possessing opium.

Will Asif be lucky for the third time? For the moment, it seems he may get away with a light sentence.

One-way ticket

to mediocrity

Tuesday, 24

June 2008

A one-way ticket to a bird-brained movie. A failed attempt to tickle the funnybone of the audience. This is the best way to describe Prithviraj's first offering of the year, 'One Way Ticket'.

Review by P.Muraleedharan

Bipin Prabhakar, in his second movie as director, grapples with a loosely strung screenplay which, like an untied horse, digresses whenever it can. The plot has nothing new to offer.

Prithviraj has given a passionate performance in the role of a Mammootty fan, Kunjappu. And Mammootty plays himself in the film, as one who comes to the rescue of Kunjappu and his team of fans once too often. Some years earlier, Mammootty had played himself in 'No 20 Madras Mail' in the Mohanlal-starrer by Joshi, and it was a superhit.

Though Mammootty is at his natural best in the movie, the unnatural script does not give him a chance to be effective. The script writer Babu Janardanan has tried to weave the Lal Jose-Dileep film on star-fans ('Rasikan') into the plot with a disappointing result. That is, too many loose ends, oversights and impossible improbabilities. Kunjappu threatens a circle inspector of police in the police station many times!

The presence of Mammootty gifts the viewer with a sneak preview of the upcoming Mammootty film, 'Parunthu'.

The story, set in Kondotty, Mammootty's 'fandom', has Kunjappu as the general secretary of the 'Mammootty Fans Association'. The film begins with a car chase, in which Kunjappu and team succeed in 'capturing' the film box of a Mammootty-starrer to exhibit in the theatre of their area. That sets the tone of the film!

Kunjappu, inspite of all his pranks, is one who lives for his big family. He drives a jeep to ferry school children to earn his living. He has a rich uncle (Jagathy Sreekumar), who is afraid that his daughter Sahira (Radhika) may elope with Kunjappu. The latter stokes his uncle's fears by pretending to be in love with Sahira.

True love strikes when he meets Sunanda (Bhama) at a marriage. By the time he realises that it was all a mistake, things go out of control. Sunanda is a girl in need of a saviour- to save her from the clutches of her uncle Ezhuthachan (Thilakan) and his rowdy of a son Sasi (Nishanth Sagar), who wants to marry her for her riches.
And Kunjappu does it with style, with timely help from his hero, Mammootty.

Neither a comedy, nor a serious film. That is the tragedy with 'One Way Ticket'.

Thilakan as the villain has nothing to do. He doesn't even have to take his dark goggles away. What a crime to waste a talent like him! As his scheming son, Nishant Sagar passes muster. He looks menacing in his new hairdo. Jagathy, as usual, is very good as Hajiyaar. Salim Kumar, Jagadeesh, Suraj Venjarammoodu, Sukumari... All have nothing worthwhile to do. Same is the case with Bhama and Radhika.

The music, set by Rahul Raj, is forgettable, to say the least.

Prithviraj himself has said that of the innumerable stories he hears on a daily basis, there are very few that has substance. Poor fellow, he is deceived yet again!

The film that takes off like a comedy seldom raises a laugh. Most of the comedy fall flat, as they look contrived and out of place. The film could have discussed at least some problems related to fan clubs in the state.

In the title cards, Prithviraj is described as the "Fire of Youth". Sure, he has spared no efforts in delivering an energetic performance. He dances beautifully and fights with great style and timing. In fact, his fight at the railway station is a treat to watch.

The youth factor may prop up the film at the box-office, as in the case of 'Kangaroo', a Prithvi-starrer released last year.

India Syndicate

Award glory for item girl

The journey of Priyamani from obscurity to stardom

By P.Muraleedharan

What a turn around it is for Priyamani! After making her debut in the tinsel world in 2004, it took her three years to reach stardom, which fell on her lap overnight once ‘Paruthiveeran’ happened. Now, for her performance in the same film, she is honoured with the national award.
In the three years after her debut, Priyamani could act in only five films. But in just a year after ‘Paruthiveeran’ directed by Ameer Sulthan, she has done almost 8 films in Tamil and Telugu! Ah…When Lady Luck smiles, everything falls into place.
In the history of South Indian films, this is the first time that an actress, who acted mostly in glamour roles, is selected for the national award. Exception may be Tabu ( 1997, ‘Maachis’ and 2002, ‘Chandni Bar’). Anyway, Tabu was not known for her item numbers.
It is here that Priyamani stands apart. She can show off her thunder thighs in ‘Malaikottai’ soon after the rural innocence of ‘Paruthiveeran’ and an ultra-glam-role in ‘Thotta’. She had stated earlier that she did not want to be type-cast in the mould of ‘Muthazhagu’, the heroine in ‘Paruthiveeran’. May be, what she has done is good for her career, as more chances are there for ‘modern girls’.
Born in Palakkad in 1984 to Vasudeva Mani Iyer and Latha Mani Iyer, Priya made her debut in ‘Kangalal Kaithi Sei’, directed by Bharatiraaja. It flopped, followed by another flop in ‘Adhu Oru Kanaakkaalam’ directed by Balu Mahendra. In between, she acted in movies like ‘Satyam’ in Malayalam, which also failed to make a splash.
It was then that ‘Paruthiveeran’ came along. Opposite the debutant Karthi, she enacted the role of a simple village lass with such conviction and force that though the film is hero-centric, nobody could ignore her. Her spontaneity and energy were such that the audience broke into smiles when she giggled and cried when she met with her tragic end.

Source: India Syndicate

Wednesday, 11 June 2008

Slugfest in Mollywood!

Malayalam film industry is going through a crisis that calls for level-headed leadership and unity. But, what the captains of the industry are engaged in is an all out battle to settle scores among themselves!

By P.Muraleedharan
Who says Mollywood lacks in action and thrills? Even though the films released recently are devoid of action and passion, the actors, directors and producers are slugging it out in the open. The Malayalam Cine Technicians Association (MACTA) Federation has split, and the breakaway faction has decided to form a new outfit. And war cries are heard all over!
The latest is that the Malayalam Cine Technicians Association (MACTA) Federation, an apex body of 19 unions of the Malayalam film industry with about 4,000 members, has split vertically.
It all began with the refusal of actor Dileep to work in a film by Thulasidas, “despite accepting an amount in advance”. And MACTA had decided to ban Dileep. But what made matters worse was the high-handed treatment meted out to director Siddique, who had cast Dileep in his forthcoming film. There has reportedly been a terrible exchange of words during the MACTA meeting.
What followed was a spate of resignations. About 30 directors, including K.Madhu (the president of the outfit), Priyadarshan, Kamal, Renjith, Joshi, Renji Panicker, Sathyan Anthikad, Srinivasan, Fazil and Blessy bade good bye. All conciliatory attempts failed, including those by the representatives of IFEC (Indian Film Employees Confederation) and FEFSI (Film Employees Federation of South India).
Their main grouse is against Vinayan, the general secretary of MACTA. Deploring the “cultural degradation” prevailing in the organisation, directors Renji Panicker and Sibi Malayil made it clear that it was difficult to continue under Vinayan.
The new outfit has claimed the support of AMMA (Association of Malayalam Movie Artistes), the Kerala Film Producers Association and the Film Distributors Association.
Though the breakaway faction seemed to be on course for the victory lap in the beginning, the support of the national unions have bailed out MACTA and Vinayan. IFEC general secretary S.Vijayan has made it clear that ‘'we will not cooperate with the films to be made by the directors, who parted ways with the MACTA Federation’'.
For the two warring groups, there is no other way than a fight to the finish. Watch out for the next episode !

Source: India Syndicate

Charm of the Chatterjee

Soumitra Chatterjee has been given the National Award for the Best Actor. Here is a tribute to one of the greatest actors India has ever seen.

By P.Muraleedharan
What is Soumitra Chatterjee to Indian cinema? He is no mega star like Amitabh Bachchan, no style-king like Rajnikanth and no heartthrob like Shahid Kapur. But, Soumitra revolutionized film acting in India as no other has done before. He brought in a new sensibility, reveled in the delineation of the subtle nuances of human psyche and remained an actor rather than a star. Endowed with a masculine but sensitive countenance, Soumitra was the ideal vehicle for showcasing Satyajit Ray’s psychologically rounded heroes. He was as efficient an actor with his words as he was with his silences. Indian cinema, with its emphasis on theatricals and declamatory dialogues, stood in awe as the Bengali geniuses went about their job.
Soumitra debuted in Satyajit Ray’s ‘Apur Sansar’ (1959), the last of the Apu trilogy. He impressed Ray so much that he went on to act in another 13 movies by the master. He was to Ray what Toshiro Mifune was to Akira Kurosawa or Marcello Mastroianni to Federico Fellini. Though he had acted in the films of acclaimed directors such as Mrinal Sen and Tapan Sinha, what would remain in memory are his roles in ‘Charulata’, ‘Devi’, ‘Teen Kanya’, ‘Aranyer Din Ratri’, ‘Ghare Baire’ and ‘Ganashatru’. His portrayal of Feluda in the Ray thriller, ‘Sonar Kella’, made him hugely popular.
In ‘Uttoran’, (the last script by Satyajit Ray) directed by Sandip Ray, Soumitra Chatterjee interprets the pulls and pressures experienced by Dr.Sengupta, a successful cardiologist. Ray’s complex commentary on modern medicine is conveyed by Soumitra with great finesse.
Chatterjee never lost his love for the theatre. He still acts and directs plays in Bengal.
He has received many honours from foreign shores, including the 'The Officier des Arts et Metiers', the highest award for arts from France and a lifetime achievement award from Italy. There is a full-length documentary film on him by the French director Catherine Berge, titled 'Tree'. He was awarded Padmabhushan in for his contributions to Indian cinema.
The National Award had eluded him all these years. As Buddhadeb Dasgupta, the chairman of the film jury for the 54th National Film Awards said, “He should have been given the award a long time back. But yet, we thought a chance had come to honour him.”
There is no doubting that the award comes too late for Soumitra. “Personally, after decades of acting, I do not attach too much value to it,” he told a reporter.
The award was given in recognition of his work in ‘Podokkhep’, but it is a tribute to one of the greatest actors Indian screen has ever seen.

Source: India Syndicate

Engravings on the sands of time

As usual, after a hectic day, rather night at the news desk, I woke up to TV at 2 am and started surfing so that I can get bored enough to sleep. Somewhere in between, I saw the inimitable Sukumaran, a new teacher at a college, telling the girl-students in his unmistakeably masculine, magnetic timbre that he would have started a marriage bureau if he didn't land this job to marry them off! Of course, he was paying back in kind to the girls who were trying to tease him. I was hooked.

The film was 'Shalini Ente Koottukari', written by Padmarajan and directed by Mohan. As I sat back and watched the faded print, I felt like seeing something far away, unfamiliar and exotic. It was not the storyline ( a melancholic Shobha getting afflicted with cancer and succumbing to the inevitable end after a successful surgery), not the breathtaking performance by Sobha, Jalaja and Sukumaran, not the mushy lyrics dipped in sentimentality and fake romanticism, not the evergreen melodies of Devarajan in the silk and gold voice of Yesudas, ...

Don't think I am stretching the suspense too long, and in the process fooling you. It is the feel the film provides, that of a Kerala which was so near, yet so far away. The people, their mindsets, their hopes, their fears, their relationships, their attitudes, their dress...It seemed as though I was travelling back in time to a far far away land, where by some coincidence, the people there looked somewhat similar to us. Nothing more.To think that only a quarter of a century has wrought such massive changes in our land and ourselves! Slim college girls ( Without the help of multi-gym, dieting, aerobics and art of living!) draped in voile sarees with big prints, boys sporting huge bell-bottoms and huge collars resembling goat-ears and flowing down mustaches, campuses thrilled to hear the rumble of a rare Rajdoot and Lambretta thundering past, boys declaring their love to girls as though they are about to die with the effort, and girls, though very much interested in the 'offer', fearful of acknowledging the same. Charming hypocrisy. But, all that idyllic, Platonic love seems so out of place and time now.

And the relationships. The one between the friends Sobha and Jalaja beautiful and empathetic and was well appreciated then. If such a film comes out now, the critics would look under to see whether something more (physical) is there in their love for each other. The terror with which the siblings Sobha and Venu view their father would look exaggerated and even comic for the new generation, especially for those who have seen films like 'Ishtam' wherein a mock-serious Dileep admonishes his father Nedumudi Venu for his pranks.

What a sea change the landscapes have undergone! The open spaces, the greenery, the cool shades and the sights and sounds that made our land so special is all there. When compared to that, the concrete jungles we and the flicks of our times inhabit, inspite of the mad rush of people and traffic, seem so desolalate and hollow.

Cinema, as a medium of the young, captures them in all their shades. The sorrows of the jobless educated as depicted by Venu Nagavalli may seem too unreal and sentimental for the youngsters of this generation who get employment before they come out of college. The number of 'divine' loves shattered on the rock of unemployment then! God only knows how big a number that can be.

To think of it, every movie, or any form of documentation, whatever may be its merit or quality, preserves something of the essence of the times. Isn't that so?

A raw deal, once again

'Pachamarathanalil' teaches the audience new lessons in boredom

The title 'Pachamarathanalil' itself goads one, beaten to pulp by the merciless summer sun and humidity, to go and watch the flick.
But, once the movie begins, the heat comes back and you break in to a sweat, inspite of the air-conditioners. By the time the film reaches its inevitable climax, you end up with jaws aching with incessant yawns and the startling realisation: Your hard-earned money spent on the ticket is lost!
The plot, if one hears the one-line is catchy. But, making it in to a script needs a little creativity and a small amount of common sense. The presence of Sreenivasan is a reassuring thought when you go to watch a movie. One expects loads of common sense and watchability from his movies. Remember flicks like 'Arabikkatha' and 'Katha Parayumbol'. But the debutant writer-director Leo Thaddheus has made such a mess of the script that the movie remains raw(pacha!).
The story goes like this. Sachidanandan(Sreenivasan) is a famous cartoonist, or rather an illustrator for children's magazines. For him and his wife Anu(Padmapriya), Sneha(Baby Ahina), the smart and cute eight-year-old daughter is the centre of their lives. While going for an ad film shoot with her dad, Sneha disappears all of a sudden, which incident takes all the shooting crew to the police station. After "painstaking' investigation by the gluttonous circle inspector Venkity, enacted with panache by the veteran Tamil actor Nasser, skeletons tumble out of the cupboard of the grieving couple.
And lo, it turns out that Sneha is not their child, was orphaned during the Coimbatore blasts seven years back and
that the couple got married solely for the love of the ever-shrieking girl.
As in any other movies, the past comes back to haunt the couple, in the form of the child's biological father, Muhammed Ali(Lal). It was he, an accused in the blasts, after jumping jail, kidnapped his lovely daughter. After nauseating melodrama and interminable wait, all the aggrieved parties, including the police, meet and the story touches its nadir. The child says, she wants to live with her adopted parents, and the real dad concedes to the request! Before Ali is taken by the police, Sachi tells him, the doors of my house will be open for you always. One is reminded of Jean Valjean. Poor Victor Hugo!
The director has gone in for the sure-fire formula of having a very light first half and an emotional second half, as popularised by Priyadarshan and co. The first half is bearable, with sunny performances from Ahina and Suraj Venjarammood.
Post-interval, the story meanders aimlessly, and almost every character is given a sentimental flashback. Towards the fag end of the movie, one will get tense on seeing anybody on screen. Will this driver also have a weepy flashback?
It is Nasser that takes your breath away, with a fine-tuned cameo. Ahina has done a good job, though a little over the top. Sreenivasan proves once again that he cannot 'live' on screen and is very uncomfortable in the role more suitable for a youngman half his age. Padmapriya has precious little to do by way of acting. Lalu Alex, Lal, Meera Vasudev and many others come and go without making their presence felt.
The visuals captured by Manoj Pillai linger in mind, nothing else.

Fiery tales

S Mahadevan Thampi's "Athirukal" is a collection of short stories dealing with some touching moments in life
In liberalised Kerala, literature has changed beyond recognition. Everybody talks about the woes of divorce, lonely old age, brittle relationships and the problems associated with material well-being. In the search for the exotic, writers seem to forget the places they live in, the people they are surrounded with and the simple sorrows and joys they share.
It is here that "Athirukal"(Boundaries), a collection of ten short stories written by S Mahadevan Thampy deserves notice. All stories deal with human situations in a very humane way. They deal with a variety of themes, ranging from the plight of Kashmiri Pandits and terrorism to the avarice of private medical colleges.
The author has shown great finesse in selecting themes for his stories. And he makes them come alive through real characters and masterly narration. The ease with which he portrays the lives of people who inhabit the not so shining underbelly of the society is exemplary.
Take the case of Ammini in "Appurathinumappuram." Physically weak and saddled with an abnormal mother chained to the bed post and a young sister, she is forced to rent out her little child Annadaneswary to beggar gangs for a daily rent of Rs 50 to keep their bodies and souls together.
The story titled "Agni Padarunna Nakshathrangal" takes us to a different world. Shamas, a clerk in a travel agency in Delhi needs Rs 2 lakh for his mother's surgery. He then gets a phone call. If he can plant a few bombs in a train the money is his. But can he do it?
In the world of marital discords, the story of "Satheeyam" is a whiff of fresh air. It tells the story of a man who walks into the funeral pyre of his wife Sathi.
The style of narration is simple and direct and connect with the reader instantly. It is a detached, yet attached way of story telling. But a few of the stories could have done better with a little more editing.
Fire is a recurring image in the collection. The fires of love, passion, hunger and anger rage through the pages silently.

NOT WORTH A THOUGHT

After a series of earth-shattering flops, which could have killed the career of an artist of a lesser stature, Mohanlal has a lot at stake in the movie 'Innathe Chintavishayam'.
The actor, who has bagged the state award for the best actor just a couple of weeks ago, teams up with Meera Jasmine, the best actress and Sathyan Anthikkad, one of the most bankable directors in Malayalam cinema in this flick to ensure that the history of duds doesn't repeat.
The best in the business when join hands, one naturally expects a mouth-watering fare. But what the audience gets to see is one of the most boring films in recent times.
Sathyan, the master story teller who captivated Malayali cine lovers with his own brand of earthy characters, humour and simplicity seems to have lost his art all of a sudden.
Though the theme he selected for the movie is very topical as the title suggests (Thought for the times, when roughly translated), the characters remain lifeless and unnatural. What the audience get is: A very inane, hackneyed sermon on how to keep marriages work from the famous marriage counsellor...sorry, Mohanlal.
The story is about three women, unhappy in marriage, living single and on the verge of divorce. They have their own reasons to be unhappy and frustrated in marriage. All three friends have husbands who fail to understand them, or rather, who fail to live up to their expectations. One of them is a skirt-chaser, another one too possessive and suspicious of his beautiful wife, and the third one likes to keep his educated wife in the confines of the kitchen to cook biriyani and ghee-rice.
At the end of the tether, the indignant threesome part ways with their husbands and start on their own. Treesa, the character played by Sukanya, becomes a driving instructor, Pramila (played by Mohini) starts a coffee shop and Rehana (Muthumani) starts practising law. It is among these high-strung dignified women ( Dignity of labour!) that Sathyan unleashes Gopakumar aka GK aka Mohanlal.
He befriends the three of them, impresses them so much with his chivalry and politically correct masculinity that when Kamala (Meera Jasmine) enters the scene as a textile consultant to GK, they turn red with jealousy and even fantasise him singing a duet with her! God! What has happened to Sathyan, the writer-director known for his common sense and knowledge about the common man?
Anyway, GK's marriage counselling starts in right earnest. To make it more effective and speedy, he even does a fancy dress and 'kidnap' Pramila's child. He is helped in his endeavour by the Providence also by effecting two accidents and an arrest in Dubai. Earthly help come from Immanuel (Innocent) and Kamala. Finally, all the erring husbands are brought back to their senses. They realise how invaluable their families are.
There is another shocker in the script when Kamala's past is unveiled. It is so absurd and pathetic that one wonders whether Sathyan himself has penned the script.
Meera Jasmine and Mohanlal sleep-walk through the film most of the time. And, when GK opens his mouth, it is to deliver inane wisdom and poor psychology on love, sharing, caring and about children who bear the brunt of familial discords, just like a high school teacher. At the end, when Mohanlal makes the 'valedictory speech' and reveals the raison d'etre for his concern about troubled marital lives, one cannot help yawning. Some were heard booing. Poor fellows, they sat through the whole movie!
Sukanya, Mohini and Muthumani have nothing to perform in the wafer-thin script. They remind us of the run of the mill soap characters.
The village humour that set the director apart is conspicuous in the film by its absence. Comedy provided by Innocent and Mamukkoya is painful, to say the least.
As for the duet and kissing by Mohanlal and Meera, a Malayalam proverb comes to mind: To watch a calf frolicking is pure joy, but if a bullock jumps about...
Stating the obvious does not go by the name art. Rather, it is in leaving certain things unsaid, leaving room for interpretation that art makes its presence felt. Without a proper script and plan, Sathyan has made a travesty of a sensitive subject and made it look silly. Simplicity of narration, which was his forte, errs into over simplification, ie, lack of meaningfulness and purpose in the movie.
Anyway, with this bad film, he gives us a chance to realise how good his movies were_like Thalayana Manthram, Mazhavil Kavadi, TP Balagopalan MA, Nadodikkattu and even Rasathanthram.

Hi folks,
Couple of days back, I had the misfortune to see the movie "Calcutta News'. Here are my impressions on it. Feel free to post your comments, and make me happy in the process.
Here it goes:

The confused storyteller

What will happen if one tries to sit on two stools simultaneously? Blessy tries just that in his much touted film 'Calcutta News' and of course, falls miserably. The consummate story teller that the Malayali has seen in 'Kazcha' and 'Thanmatra' has disappeared and in his place, there stands a man trying desperately to juggle too many balls for comfort. And the effort shows.
As in 'Palunku', the script lacks cohesion and unity of purpose. Of course, 'Calcutta News' fares much worse. There are so many loopholes, rather gaping holes in the script that "willing suspension of disbelief" cannot be achieved, however hard one may try.
The story, as the title indicates, takes place at Kolkata. Ajit Thomas, a Malayali born and brought up in the city is a reporter with the news channel Calcutta News comes across a newly-wed couple from Kerala during the Durga Puja festival. A few days later, the body of the husband, killed in mysterious circumstances is found.
That sets the story going. Ajit, played by Dileep, goes in search of the innocent village belle, and gets entangled in her problems. Krishna Priya (Meera Jasmine), an orphan from Palakkad, was tricked into a marriage by Harikumar (Indrajith) who brings her to Kolkata to sell her to a sex racket.
As the hero, Dileep has to save the damsel from all her distresses. And he tries his best and succeeds. Even when she is kidnapped by the fleshtraders to Sonagacchi, the 'biggest red street' in Asia, Ajit follows with the faithful camera mobile, which like a dutiful dog in the films of 60's, rescues its master and its would be mistress. Let alone Sonagacchi, just think of the probability of a police raid at Beemapalli in Thiruvananthpuram. Stretching the imagination also should have limits!
It seems, Blessy was aware of the shortcomings of his script much earlier. Nothing else can explain the pathetic comedy (from Messrs Innocent and Co) and the black magic used to get the story moving.
Not a single character in the movie is well etched. The heroine is such a simpleton that she sings along with a Salil Da song from a transistor while having tea from a roadside shop and finds happiness in reverse speech ( something akin to 'chorichu mallal' ). Except for the queer haircut, Dileep does nothing rememberable in the film.
After the show, somebody was heard asking the question, what was Dileep's character's name? It is a true reflection of the 'impact' of the film on the viewers. Eminently forgettable. The saving grace of the film is the wonderful visuals captured by S.Kumar.
Having honourable intentions is good. But, in a work of art, one expects a little more. A touch of creativity, something that touches the heart. Though Blessy fails in this, he has delivered a product much better than the kangaroos and dinosaurs still roaming the Mollywood.